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PRACTICAL 
 
 HOUSE DECORATION 
 
 A GUIDE TO 
 
 Zbe art of ©rnamentai painting 
 
 THE ARRANGEMENT OF COLOURS IN APARTMENTS 
 AND THE PRINCIPLES OF DECORATIVE DESIGN 
 
 WITH SOME REMARKS UPON THE NATURE AND 
 PROPERTIES OP PIGMENTS 
 
 JAMES WILLIAM FACEY 
 
 AUTHOR OF “ELEMENTARY DECORATION,” ETC. 
 
 fflSfftti) numerous illustrations 
 
 LONDON 
 
 CROSBY LOCKWOOD AND CO. 
 
 7, STATIONERS’ HALL COURT, LUDGATE HILL 
 1886 
 
 [All rights reserved.] 
 
LONDON: 
 
 PRINTED BY J. 8. VIRTUE AND CO., LIMITED, 
 CITY ROAD. 
 
 
J.S. DICKSON 
 
 PREFACE. 
 
 'HE present volume forms, in 
 a certain sense, a sequel to 
 my previous work, “Elemen- 
 taryDecoration,’’which dealt 
 with the preliminary stages 
 of the craft of the decorator, 
 very few words will be suffi¬ 
 cient by way of introduction. 
 
 The great strides which 
 have been made in the prac¬ 
 tice of house painting of 
 recent years have rendered 
 it essential that any workman who seeks to achieve 
 a respectable position among his fellows, either in the 
 workshop or as a “ master-man,” should know something 
 of the laws which govern the application of colours to the 
 various purposes for which he may he at any time called 
 upon to give an opinion. 
 
 It is not sufficient at this date that a man should be com¬ 
 petent to mix paint or to apply it to a given surface with 
 no more feeling in his work than a mere machine ; he is 
 required to bring an intelligence to bear upon the routine of 
 his business which can alone make the successful craftsman. 
 If an employe, the painter possessed of artistic judgment—by 
 
IV 
 
 PREFACE. 
 
 which is meant good taste intelligently applied—is the most 
 trusted man, in his particular branch, on the firm; he has the 
 control of his fellows, and enjoys a corresponding increase of 
 emolument. If a master, or a “jobbing man,” he is generally 
 able to keep moving, even in slack times, because his patrons 
 know that they will be satisfied with the work he turns out 
 if they only give him a general idea of their requirements 
 and leave the details to his superior knowledge. 
 
 To induce the decorator to regard his work apart from the 
 purely mechanical standpoint, and to bring about an intel¬ 
 lectual appreciation of those theories upon which success 
 mainly depends, the following pages have been written ; and, 
 keeping that end in view, the use of technicalities where a 
 plainly worded description would answer equally well has 
 been studiously avoided. A technical manual need not neces¬ 
 sarily he clothed in obscure phraseology to appeal to the 
 handicraftsmen to whom it is addressed, or to convince them 
 that its author is no mere paper theorist, hut himself practi¬ 
 cally conversant with every subject treated in his pages. 
 
CONTENTS. 
 
 CHAPTER I. 
 
 Relation of Ornament to the Colour Theory. 
 
 PAGE 
 
 Decorative Studies—The Decoration of Savage Races—Carved 
 and Painted Weapons—New Zealand and the Malay 
 Peninsula—Cloth Matting—Antiquities—Gradual Rise and 
 Progress of the Art of Painting—Abandonment of Crude 
 and Glaring Colours in Decoration—The Arrangement of 
 Colour—The “ Colour-sense ...... 1 
 
 CHAPTER II. 
 
 The Properties of Colours. 
 
 Positive Colours and their Subdivisions, Primaries, Second¬ 
 aries, Tertiaries, Quartiaries—Neutrals—Mixtures—Tint 
 —Hue—Shade—Tone—Definitions practically explained—• 
 
 Ideal Colours—Warmth and Coldness—Effects of Experi¬ 
 ments in Mixed Tints—Purity of Tone destroyed by certain 
 Mixtures—Red as a Colour—Its Relation to Ancient and 
 Modem Decoration—As an Intermediary Hue—Effects of 
 Artificial and Natural Light on Decoration—Blue as a 
 Colour—As a Pigment—Its Want of Stability—Yellow— 
 Various Pigments of Yellow—Their different Peculiarities . 8 
 
 CHAPTER III. 
 
 The Laws of Harmonic Contrast. 
 
 Unlimited Choice of Colour—Contrasting and Complemen¬ 
 tary Colours—Difference between “Direct Contrast” and 
 “Harmonic Contrast” — Natural Laws—Preservation of 
 Contrast in Mixed Tints—Appropriate Colour Combinations 
 a 3 
 
VI 
 
 CONTENTS. 
 
 —Natural and Artificial Light—Decomposition of Rays by 
 Coloured Glass—Effects practically demonstrated by Ex¬ 
 periment with Red and Green Glass—Gas Light and the 
 Electric Light in Relation to Decoration—List of Harmo¬ 
 nious Complemental Contrasting Colours as distinguished 
 from “Direct” Contrasts . . . . . . .19 
 
 CHAPTER IV. 
 
 Tiie Application of Colour to Apartments. 
 
 Practical Modifications of Law of Contrast — Experiment— 
 Imitation of Natural Forms—“Self” Colours—Dr. Hay’s 
 Theory—-Defects commonly experienced in Arrangement of 
 Colours ; 1st, Want of Definite Idea ; 2nd, Undue Promi¬ 
 nence of Bright Colour; 3rd, Ineffective Contrast by “Mixed” 
 
 Tones; 4th, Lack of Variety in Harmony—General Rules 
 for House Decoration—Entrance Hall—Staircases—Lobbies, 
 
 &c.—Dining-room—Library — Drawing-room — Boudoir— 
 Bedrooms—Servants’ Offices ...... 27 
 
 CHAPTER V. 
 
 The Admixture of Colours foe Surfaces. 
 
 Colours considered as Pigments — Compound Tints — Dry 
 White Lead—Straining Colour—Mixing Dark Pigments 
 with the Bulk—Light Tints—Thinning Media—Syme’s 
 Theory—Intensity of White—Experiment—Reduction of 
 Intensity by Admixture with Warmer Tones—White 
 Lead, Genuine and Adulterated—Freeman’s White—Driers 
 —Sugar of Lead—Litharge—Oil Colours and Flatting, a List 
 of—Distemper Colours, a List of—Composition of Mixed 
 Tints ........... 36 
 
 CHAPTER VI. 
 
 Arrangement of Wall Surfaces and Combination of 
 Colours for Interiors. 
 
 Decorative Styles—The Georgian Era—The Wall Flank- 
 Dados—Constructive or Painted —Setting out Design—The 
 Frieze—Cornice—Panelled Dado—Doors—Suggestions of 
 Colour .......... 47 
 
CONTENTS. 
 
 VU 
 
 CHAPTER VII. 
 
 Some Characteristics of Mural Decoration. 
 
 PAGE 
 
 Freehand Drawing—Ornament in the Round—Light and 
 Shade—A Music Room—Decorative Example of Music 
 Group — Symbolic Ornament — Sporting Subjects—Gro¬ 
 tesques—Flowers—The Laws of Art—Wall Decoration in 
 Reign of Henry III. and Edward III.—The Vine Leaf— 
 
 The Value of Decoration—Ornaments drawn from Animated 
 Nature—Trophies—The Louis-Seize Period—Example of 
 Boudoir Decoration for Panel ...... 56 
 
 CHAPTER VIII. 
 
 Polychromatic Ornament in the Round. 
 
 Definition of Polyehromy — Classic Ornament — Drapery— 
 “High” Light and “Reflected” Light—Shadow Softening 
 —Preparation of Panel or Pattern Board—Preparation of 
 Colours for Painting in the Round—Transparent Colours— 
 Thinning Media—The Softening Fitch—Brushes—Decora¬ 
 tive Relief or Chiaroscuro —Flatting Varnish—Softening in 
 Distemper Colours . . . . . . . .67 
 
 CHAPTER IX. 
 
 Ornament in Polychrome—Flesh Painting, Etc. 
 
 Pastoral or Idyllic Subjects—Panel-sketching—Ground for 
 Landscape and Figure Subjects—Preparation of Surface— 
 Transfer Paper—Pricking Out—Outlining Subject in Sienna 
 —Colours—Backgrounds—Sky-painting—Cameo Panels— 
 List of Colours for Palette in painting Background—Tube 
 Colours—Flesh-painting—Suited to its Proximity to the 
 Vision—The First Painting—The Tints : Flesh Tint, Half 
 Tint, Shadow—Opaque Colours—Arrangement of Colours 
 on the Palette Board for Flesh-painting—Second Painting— 
 Transparent Colours—List of Colours—Third Painting— 
 Glazing—“Scumbling”—Thinning Media—Light Drying- 
 Oil—Solution of Lead—Avoidance of Dark Varnishes . 
 
 77 
 
vui 
 
 CONTENTS. 
 
 CHAPTER X. 
 
 Technical Teems and Chaeacteeistxcs of Various Styles 
 and Periods of Ornament. 
 
 Assyrian Ornament: Earliest Instance of “Lozenge Diaper;” 
 the Lotus— -Arabian: the Moresque and Turkish Styles ; 
 the Alhambra— Arabesque: Eoliated Scroll Work ; Raffaelle 
 Pilasters in the Loggia of the Vatican— Byzantine: the Rose 
 Patera— Celtic : Interlacement of Lines— Chinese : Diaper 
 Pattern from Wall Paper— Egyptian: the Conventional Lotus 
 Flower; the Papyrus Plant; Representation of Water; 
 Crossed Circle Border, Colours; Suggestion for Dado founded 
 on Egyptian Motifs — Elizabethan : Boldness of Drawing; 
 Perforated Scroll Work; Suitability to Framed Panel 
 Decorations— French : Characteristics of the Style; Panel 
 Decoration in the Watteau Manner— Greek : the Honey¬ 
 suckle ; a Greek Border ; The Colour Scheme of Grecian 
 Ornaments— Grotesque: Human Figures with Scroll Termi¬ 
 nals ; Zoological Forms; Plants and Flowers; “Porce¬ 
 lain;” “Cerquate”— Hindoo Ornament— Indian: Richness 
 of Colouring; Conventionalised Flower Border— Italian : 
 
 Free-Flowing Scrolls ; a Panel Terminal — Japanesque : 
 Oddity of Component Details; Absence of Geometrical 
 Arrangement; Leading Features ; a Japanesque Panel— 
 Mediceval: Rich Tones of Ornament; Diapered Decorations ; 
 Usual Tones of Colour Themes; 14th Century Diaper— 
 Persian : Adaptation of Floral Motifs; a Leaf and Flower 
 Border— Pompeian : Earliest Use of the Dado and Frieze; 
 Common Arrangement of Colours; Stencilled Ornament 
 from a Pompeian House— Eenaissance : Revival of Antique 
 Ornament in Europe ; Bead and Riband Decoration— Roman : 
 the Acanthus Leaf the Foundation of Design ... 87 
 
 CHAPTER XI. 
 
 The Study of Design. 
 
 Suitability of Ornament to its Purpose—Effects of Distance 
 from Point of Sight on Small Ornamental Details—Selection 
 or Invention of Designs—Lack of Symmetry in Ornament 
 fatal to it—Slavish Imitation of Natural Forms not Orna¬ 
 ment—Example—How Natural Flowers and Leaves may 
 be made “ Decoration ”—Brass Repousse Panel—Geometric 
 and Curvilinear Ornament — The “Natural” School — 
 Raffaelle and Cellini as Decorators—The “Perception of 
 the Beautiful ” . . . . ■ ■ • • .104 
 
CONTENTS. 
 
 IX 
 
 CHAPTER XII. 
 
 The Study op Emblematic Design. 
 
 PAGE 
 
 The “Meaning” of Design — Definition of Emblematic 
 Ornament — Ancient Symbolism— Egyptian Decorators— 
 
 Jones and Wyatt on Symbolic Decoration—Dining-room 
 Emblems—The Vineyard and the Farm—Game—Appro¬ 
 priate Inscriptions — Illuminated Letters — Mythological 
 Emblems—Ceres, Bacchus, Pomona—The Deities of Good 
 Living—Processional Subjects—Inscriptions on Frieze as 
 Decorative Accessories — Suitable Examples — Copia, the 
 Goddess of Plenty—Ecclesiastical Symbolism : the Passion¬ 
 flower, the Cross, the Dove, &c.—Landseer Subjects as 
 Decorations for Frieze Medallions . . . . .111 
 
 CHAPTER XIII. 
 
 On the Advanced Uses op Stencilling. 
 
 Cheapness of Modern Decorative Painting—Text Books on Art 
 and Craftsmanship—Mr. Ezra Hoyle’s Stencil Plates— 
 Frieze Study—Practical Application of Stencilling as a Pre¬ 
 liminary to Finished Decorations on the same Outline—- 
 Saving of Time over the Old Process of Pouncing—How to 
 complete the Design in Natural Tints, Colours, and Gilding 
 —Suggestions for Choice of Treatment . . . .122 
 
 CHAPTER XIV. 
 
 Ceiling Oenament. 
 
 Various Methods of Treatment—The Classic—Unsuitability 
 of Mythological Subjects to Flat Ceilings—An Eastern 
 Ceiling Decoration—Dining-room Ceiling treated conven¬ 
 tionally by Hand Painting and Stencilling—Preparation of 
 a Ceiling Surface to receive Decorative Work—Value of 
 “a Key Plan” demonstrated—Selection of Colours and 
 Suggestions—Actual Work.132 
 
 CHAPTER XV. 
 
 Ceiling Decoeation and Subface Gilding. 
 
 Setting out the Work—Loss of Time avoided by Erection 
 of proper Scaffold—Finding the Centre—“Squaring” the 
 Pattern—Gilding—The Gilder’s Tools—Oil Gilding—Japan 
 
X 
 
 CONTENTS. 
 
 Gilding—Water Gilding—Preparation of Surface for Gild¬ 
 ing—How to make Oil Gold Size—Time required to “Set” 
 
 —Sizing tlie Work after Gilding—Parckment Cuttings . 141 
 
 CHAPTER XVI. 
 
 On Gilding and the Decobation oe Doors, Architraves, 
 Etc., in Polychrome. 
 
 Value of Gold as an Accessory to Interior Decoration—Its 
 Harmony of Effect—“ Gold ” in Wall Papers—The Mould¬ 
 ings of Door Panels—Narrow and Broad Surfaces distin¬ 
 guished— Gilding Stencilled Patterns—Preparation with 
 Egg and Whitening—Panel Decoration—Suggestions for 
 Colour Contrasts . . . . . . . .149 
 
 CHAPTER XVII. 
 
 General Suggestions eor Polychrome. 
 
 Peculiarities of the Adams Style—Rectification of Errors of 
 Judgment—Relative Effects of Cornice and Ceiling upon 
 each other—Preservation of Architectural Symmetry in the 
 Decoration of Walls—Effect of Decoration on apparent 
 Dimensions of Apartments—Relative Bearing of Upholstery 
 and Furniture upon Decorative Work—Queen Anne Mantel 
 and Overmantel—Hanging Cabinet—Treatment of Floors— 
 Carpets—Japanesque Cabinet ...... 159 
 
 CHAPTER XVIII. 
 
 The Staircase, Hall, and Vestibule. 
 
 Introduction of Marbles—Suggestions for Effective Combina¬ 
 tions of Imitation Marbles—Prevailing Hue of Staircase 
 Decoration—Woodwork — Value of Graining — Effects of 
 Lighting on Staircases—Conclusion . . . . .171 
 
LIST OF ILLUSTRATIONS 
 
 F30. 
 
 1 . 
 
 2 . 
 
 3. 
 
 4 . 
 
 5. 
 
 6 . 
 7. 
 8 -. 
 9. 
 
 10 . 
 
 11 . 
 
 12 . 
 
 13. 
 
 14. 
 
 15. 
 
 16. 
 
 17. 
 
 18. 
 
 19. 
 
 20 . 
 21 . 
 22 . 
 
 23. 
 
 24. 
 
 25. 
 
 26. 
 
 27. 
 
 28. 
 
 PAGE 
 
 Compasses, Palette, Brushes, and Rule Initial to Preface 
 The Decoration op Savage Races—Shield, Spear, and 
 
 Clubs.4 
 
 Part oe the Handle op a Hew Zealand Paddle . 5 
 
 Diaper Ornament (Modern). 6 
 
 Diagram illustrating the Arrangement op Colours on 
 
 Walls. 
 
 Panel Centre Ornament (French) 
 
 Illustrative Examples of the Relative Proportions op ( 
 Cornice, Frieze, Wall Filling, Dado, and Skirting 
 Trophy op Musical Instruments and Masks (French) 
 Original Design por a Frieze, Fruit and Cameo Subject 
 Decorated Frieze Border, “The Chase” 
 
 Design for a Panel (French). 
 
 Centre for a Panel—Draped Figure and Scroll 
 Armour Trophy (Roman) . 
 
 Rectangular Outline 
 The same shaded 
 Example of Outline and Shadow 
 Frieze Subject (Spring) . 
 
 A Cameo—Wood Nymph . 
 
 Assyrian Ornament, Diaper . 
 
 Arabian Border. 
 
 Arabesoue : Pilaster prom the Vatican 
 Byzantine : Rose Terminal 
 Celtic : Interlacement of Lines 
 Chinese : Floral Diaper 
 Egyptian : Composition for a Dado 
 Elizabethan : Perforated Scroll Terminal . 
 
 French: Watteau Subject, Panel Decoration 
 
 21 
 
 34 
 
 60 
 
 52 
 
 53 
 
 58 
 
 59 
 
 64 
 
 65 
 68 
 69 
 71 
 71 
 71 
 75 
 82 
 88 
 88 
 
 89 
 
 90 
 
 91 
 
 92 
 
 93 
 
 94 
 
 95 
 
XU LIST OF ILLUSTRATIONS. 
 
 FIG. 
 
 29. 
 
 30. 
 
 31. 
 
 32. 
 
 33. 
 
 34. 
 
 35. 
 
 36. 
 
 37. 
 
 38. 
 
 39. 
 
 40. 
 
 41. 
 
 42. 
 
 43 
 
 44 
 
 45 
 
 46 
 
 47 
 
 48. 
 
 49. 
 
 50. 
 
 51. 
 
 52. 
 
 53. 
 
 54. 
 
 55. 
 
 Greek : Honeysuckle Ornament. 
 
 “Grotesque:” Human Figures 'with Scroll Terminal 
 Indian : Ornamental Border Pattern .... 
 Italian : Scroll Terminal for Panel Decoration 
 Japanesque Composition ....... 
 
 Persian Leaf Border. 
 
 Pompeii : A Stencilled Decoration .... 
 
 Renaissance : Bead and Riband Border 
 
 Roman : The Acanthus Leaf (outline) . . . . 
 
 Panel (Repousse). 
 
 Medallion from a Frieze ...... 
 
 Draped Figure, Ceres. 
 
 The “Horn of Plenty”. 
 
 Ecclesiastical Ornament : Panel . 
 
 Medallion, Frieze Border ...... 
 
 Decorative Subjects from Landseer . 
 
 Border, Stencilled ........ 
 
 Stencilled Frieze Subject, Birds and Flowers . 
 Suggestion for Ceiling Ornament . 
 
 Door Panel Decoration ....... 
 
 Queen Anne Mantel and Overmantel . 
 
 Queen Anne Hanging Cabinet . . . . . 
 
 Panel Decoration for Ditto ...... 
 
 Japanese Hanging Cupboard. 
 
 PAGE 
 
 96 
 
 97 
 
 98 
 
 98 
 
 99 
 100 
 101 
 102 
 103 
 108 
 113 
 
 115 
 
 116 
 
 117 
 
 118 
 / 120 
 ) 120 
 
 121 
 \ 121 
 124 
 126 
 134 
 155 
 168 
 169 
 
 169 
 
 170 
 
PRACTICAL 
 
 HOUSE DECORATION. 
 
 CHAPTER I. 
 
 THE RELATION OF ORNAMENT TO THE 
 COLOUR THEORY. 
 
 HE study of decoration is one which 
 possesses a genuine interest, and 
 to the worker , to whom these 
 chapters are more particularly ad¬ 
 dressed, its interest increases with the 
 degree of proficiency he is able to 
 attain. Step by step, just as he com¬ 
 menced his earlier lessons in caligraphy 
 by the tremulous execution of pot¬ 
 hooks and hangers, the decorative 
 workman, be he master or operative, 
 must thread his way through minor forms which are scarcely 
 to be dignified by the name of ornament to those wonderful 
 compositions handed down to us by the genius of Raffaelle 
 and other equally sublime creations of historic masters of the 
 decorative craft. 
 
 We shall find, however, these to be in most instances 
 practically beyond the ordinary range of modern decorative 
 requirements, and yet even to design the more simple modifi¬ 
 cations of conventional ornament some knowledge of the 
 higher, if not the highest, forms of ancient decorative 
 
 B 
 
2 
 
 PRACTICAL HOUSE DECORATION. 
 
 embellishment will be of inestimable service to us in our 
 average undertakings. 
 
 The decorator of the present day is accounted to have 
 achieved but little beyond the dead level of mediocrity if he 
 lack the essential attribute of originality, and originality is 
 only attainable by continuous and painstaking study of the 
 work placed before him by the efforts of those ■who have pre¬ 
 ceded him. To make that study one of pleasure, to endeavour 
 to teach how the requisite faculty of intelligent observation 
 may be cultivated; to deal as tersely as possible with the 
 practical processes of the craft, and to arrest the sympathies 
 and reach the understanding of every one whose daily occu¬ 
 pation brings him in contact with those phases of art-work¬ 
 manship comprehended in the title of Practical Decoration, 
 is the aim of the present work. 
 
 It has been said by some that the “ tendency of the age 
 is to decorate.” But the tendency alluded to has prevailed 
 in all ages and among all sections of the human race. 
 
 The savage, having made for his use some crudely devised 
 weapon wherewith to attack the animals provided by nature 
 for his sustenance, or to defend himself from the approach of 
 his enemies, has not been found to rest content with the bare 
 fact that the article properly answers the purpose for which 
 he had intended it; he did more—by the exercise of an 
 intuitive imagination, he proceeded to carve upon it such 
 rude forms adapted from his surroundings as seemed to his 
 mind to lend the object that elegance derivable from addi¬ 
 tional embellishment, and convert it into an article of luxury 
 as well as use. This may have originated in a desire to 
 mark the ownership of a particular weapon; and as the 
 intelligence of the race developed, the natural desire of men 
 to emulate each other gave rise to an astonishing progress in 
 skilled production, and finely carved and painted weapons, 
 boats, basket-work, and cloths became a characteristic of 
 many of the wildest tribes of Africa and the Eastern Archi¬ 
 pelago. 
 
ANTIQUITY OF ORNAMENT. 
 
 3 
 
 The decorators of more enlightened and civilised communi¬ 
 ties are found upon analysis of their compositions to have 
 grounded their first attempts upon the early workmanship 
 of the savage races, and in their most primitive stage of 
 progress to have striven rather to emulate than to excel the 
 efforts of the barbarian. 
 
 It is narrated in the “ Voyages of Captain Cook ” that 
 many of the painted cloths and weapons, &c., of the natives 
 of the Southern Seas might have been imagined to have had 
 as their decorative ideal some of the most elegant produc¬ 
 tions of Europe ; yet that such was not actually the fact is 
 pretty generally accepted by most authorities, for although 
 many earnest thinkers have endeavoured to theorise upon 
 the probability of early intercommunication between widely 
 remote spots now separated by hundreds of miles of ocean, 
 and have adduced in support of their belief the similarity 
 of ornamental forms in domestic decoration among these 
 scattered dwellers upon the earth’s surface, it is far more 
 probable that the imitative faculty of mankind, which caused 
 them to attempt a copy of the natural objects around their 
 dwelling-places, is the real and only explanation of the uni¬ 
 versality of ornament in all ages and among all men. 
 
 Take the example before us. The shield is one of those 
 used by the Malays, and it will be seen that so far as its 
 decorative details are concerned they are familiar to every 
 student of ornament; there is a carved foliated scroll at the 
 head, springing from a centre stem, and one portion forming 
 the actual top of the shield. Then, on either side, we have 
 a panel with a leaf decoration, and the border is continued 
 right round the shield with an interlaced pattern of equally 
 familiar application. The club behind the shield is decorated 
 with similar uniformity of outline, and the smaller weapon 
 (which is very like an elaborated specimen of a policeman’s 
 truncheon) is decorated with the wavy lines which are 
 peculiar to Egyptian ornament as well as to the inhabitants 
 of the Malay peninsula, the Dayaks of Borneo, and the New 
 
 b 2 
 
4 
 
 PRACTICAL HOUSE DECORATION, 
 
 Zealanders, the latter of whom have also the familiar “ dia¬ 
 mond lozenge,” or chequered ornaments, in numerous 
 instances upon their weapons of warfare or the chase, as 
 well as articles of domestic use. 
 
 In the two next engravings is shown an example of this 
 analogy between the decorative idea of the “ untutored 
 savage ” and that of a more civilised community. The first 
 example, Fig. 2, taken from the handle of a large paddle ex¬ 
 
 hibited in a provincial museum in the west of England, 
 shows the diamond pattern with a border, “ dancette,” or as 
 decorators sometimes call it, in the idiom of the trade, “a dog's 
 tooth ” pattern. Now turn to Fig. 3 on the same page, and 
 we have a diaper which bears as its principal effect a very 
 striking resemblance to the preceding example, and yet we 
 cannot incline to the belief that the aboriginal inhabitants of 
 our far-off colony in the Pacific knew aught of geometrical 
 methods as an aid to ornament, nor could they in this instance 
 
ORNAMENT AMONG SAVAGE TRIBES. 
 
 5 
 
 have derived inspiration from the boundless resources of 
 nature. The same similarity is notable in the cloths and 
 basket-work of savage tribes, and in their cloth matting also; 
 the latter, as exhibited in some of our public institutions, bear¬ 
 ing so striking a resemblance to the productions of modern 
 manufacturers of floor coverings, as to suggest that these latter 
 had gone direct to the huts and wigwams of the “ dark con¬ 
 tinent” for their ideas of that necessary and useful article. 
 Others, again, closely resemble in eccentricity of design much 
 of the so-called “ Japanesque ” decoration, particularly in the 
 heterogeneous admixture of circles and angles, of transverse 
 
 Fig. 2.—Part of the Handle Fig. 3.—“ Diaper” Ornament 
 of a New Zealand Paddle, (Modern). 
 
 lines and curves, and other familiar features of the modern 
 craze for Oriental productions. An excellent specimen of a 
 New Zealand house has been erected in the grounds 
 adjoining South Kensington Museum, in which institution 
 the examples illustrated have been also exhibited. 
 
 Many of the utensils used in the domestic life of long 
 extinct or widely distributed peoples, when dug by persever¬ 
 ing and zealous explorers from the depths of their earthy 
 covering, where they have lain in darkness and obscurity for 
 centuries, have been found to bear upon their surface painted 
 decorative ornaments, the colours of which, although sub- 
 
6 
 
 PRACTICAL HOUSE DECORATION. 
 
 dued by the decaying action of time, are yet in accordance 
 with many of the rules laid down for the guidance of the art- 
 workers of to-day. 
 
 The theory, therefore, of decoration may be said to have 
 been built up by the experiences and lessons of the past, and 
 to be to-day in many respects identical with that which 
 guided the master hand working upon the frieze of the Par¬ 
 thenon, or the art craftsman of the Vatican, and so through 
 vast changes of thought, through varied stages of cultivation, 
 and swayed occasionally by the passing fashion of the times, 
 to that ideal which is set before the nineteenth century 
 decorator as the proper standard of “good taste.” But if 
 the theoretical principles of decoration are based upon the 
 antiquities which, by universal consent, are adopted by nearly 
 every European school of design as the proper models for 
 the imitation of art students, it must be admitted that the 
 modifications which obtain at the present day are more 
 marked in the direction of colour than in form. 
 
 It is probable—indeed, in some instances, undoubtedly the 
 fact—that the entire abandonment of decided or glaringly 
 brilliant colours, especially in large masses, which is a 
 characteristic of modern decoration, arises from the inability 
 of manufacturers to produce many of those wonderfully per¬ 
 manent pigments used by the ancient professors of the art. 
 The ordinary colours obtainable at the present day have an 
 unquestionable tendency to “ fly; ” and more especially in 
 our larger cities and towns where the atmosphere breathed 
 by their inhabitants is continually charged with gaseous and 
 other chemical impurities in greater or less degree, the tones 
 of colours used in decorative work speedily undergo a trans¬ 
 formation, rendering them totally different to what had been 
 intended in their application. 
 
 Hence our decorator, to be thoroughly successful in his 
 craft, must be practically conversant with the peculiar attri¬ 
 butes of the pigments he may be called upon at any time to 
 use. This knowledge of colour must extend beyond the mere 
 
7 
 
 THE “ COLOUR SENSE.” 
 
 question of “ taste,” in placing particular tints in such 
 combinations as may be most pleasing to the eye, or, in 
 strict consonance with the clearly-defined and necessarily-to- 
 be-observed rules, which are admitted to govern their appli¬ 
 cation to the work he undertakes to carry out. 
 
 A knowledge of the judicious placement of colours is of 
 the greatest importance. The art of drawing is not, however, 
 to be relegated to the second place, as an inferior draughts¬ 
 man possessing a good appreciation of colour would not, 
 by any possibility, succeed in giving grace to his perform¬ 
 ance, but without the colour sense he would be simply unable 
 to develop into a decorator at all. 
 
 An ordinary house painter accustomed to the mixing of 
 paints and the tinting of large quantities of colour, who could 
 exercise discrimination in matching or contrasting his paints, 
 would be far more likely, by acquiring facility in the use of 
 the pencil, to become a satisfactory and even clever decora¬ 
 tive workman. 
 
 For this reason we must consider the colour sense the 
 first essential of practical value to the man of business who 
 desires really to acquire a mastery of his craft, and there¬ 
 fore he should understand thoroughly the properties of the 
 chief pigments used in practice before passing on to other 
 branches of a more advanced character. 
 
CHAPTER II. 
 
 THE PROPERTIES OF COLOURS. 
 
 OLOUR lias been exhaustively com¬ 
 mented upon in works of a preten¬ 
 tious character; in those of a less 
 exalted degree it is too frequently 
 ignored, from the supposition that 
 the really practical man knows 
 “ all about it.” A lengthened ex¬ 
 perience among decorators would 
 incline one, however, to the belief 
 that ignorance of the fundamental 
 principles of the relations of colours is often rather 
 the rule than the exception. 
 
 In the pictures of the Venetian and Flemish 
 schools, which undoubtedly supplied many of the 
 principles upon which most of the really successful 
 interior decorations of the period were effected, we 
 find the ruling combinations seldom included the primary 
 colours except in the slightest possible degree. The “com- 
 plementaries ” or mixed tints, founded upon them by the 
 addition of white, were extensively used to break or vary 
 them. 
 
 Colours have been by some authorities classed as consist¬ 
 ing of positive and ideal. The positive colours are again 
 subdivided into primaries, secondaries, tertiaries, and quar- 
 tiaries. Taking them in their regular order, they may be 
 thus defined for the purposes of the decorator :— 
 
CLASSIFICATION OF COLOURS. 
 
 9 
 
 POSITIVE COLOURS. 
 
 Primaries :— 
 
 Blue (the only pure primary). 
 
 Yellow (including primrose, lemon, straw, &c., hy the 
 admixture of white). 
 
 Red (including, by admixture with white, rose, carnation, 
 pink, &c.) 
 
 Secondaries :— 
 
 Orange (composed of yellow and red, and including scarlet 
 and crimson). 
 
 Purple (composed of red and blue, and including violet and 
 lilac). 
 
 Green (composed of yellow and blue, and including blue and 
 purple). 
 
 TertiAeies :— 
 
 [Colours in the third degree and further combinations are 
 usually designated hues.'] 
 
 Citrine (yellow predominating). 
 
 Russet (red predominating). 
 
 Grey (blue predominating). 
 
 Besides these we have huff, tawney, dun, chestnut, 
 marone, and chocolate. 
 
 Quartiaries. —These are auburn (orange predominating), brown (in 
 deeper tone), puce (purple predominating), lavender (for a 
 lighter tone of puce where the red and blue are equally 
 balanced prior to their admixture with white, or where the 
 violet predominates). 
 
 NEUTRAL COLOURS. 
 
 Neutrals have been well defined as tone in which the three 
 primaries balance each other— i.e., are mixed in perfectly 
 equal proportions, and thereby serve each to destroy its 
 individuality, the result being in plain language “neither 
 one thing nor the other,” or neutral. The deepest neutral 
 
 is BLACK. 
 
 The mixture of opaque white with another colour, although 
 practically the method adopted in actual work for the pro¬ 
 duction of particular tints, must not be supposed to give the 
 delicate tints of the colour itself. 
 
 Thus a mixture of black and white will result in a grey— 
 more often described in practice as “lead colour”-—but it 
 fails in conveying to the eye the immediate neutral shades. 
 As it will frequently be necessary to speak of tints, hues, 
 b 3 
 
10 
 
 PRACTICAL HOUSE DECORATION. 
 
 shades, and tones of colours in treating of particular plans of 
 decoration, it would be well that a brief glossary of the pre¬ 
 cise meaning of the words should be placed at the disposal 
 of the reader. No expressions are used so indiscriminately 
 by decorators generally as these, and their misapplication 
 might to the intelligent observer create an impression that 
 the operator knew little of the business he professed to 
 follow. 
 
 DEFINITIONS. 
 
 Tint. —A word used to imply gradation where two or 
 more colours are placed in decorative contrast, and more 
 frequently implies the mixture of a principal colour with a 
 given quantity of white. 
 
 Hue.—A term used in a somewhat more elastic sense, and 
 indicates any variations of colour independent of strength, 
 whether light or dark, and directly applies to a mixture of 
 either primary or secondary colours. 
 
 Shade. —An expression intended to convey to the mind the 
 idea of an admixture of colours or hues with a darker tone 
 or with black. A tertiary or quartiary colour is therefore a 
 shade of the positive colours. 
 
 Tone. —A term used to signify the prevailing colour of hues 
 in combination. Thus a wall decorated in one or two colours 
 or any greater number would be spoken of, as to tone, 
 according to the degree in which any one colour first arrests 
 the eye. A wall painted red would be red in tone. Add a 
 variety of decorations to the red surface, and unless by their 
 vivid contrast they destroy the prominence of the ground 
 colour, the wall would still be described as of a red tone. 
 
 White and black, possessing none of the attributes of the 
 primary colours, are not theoretically colours at all. 
 
 We may now pass to the consideration of ideal colours, by 
 which term is denoted such as—although bearing the same 
 relations to other colours as do the primaries—are, by reason 
 of their possessing a tinge of another tone, deficient in that 
 
IDEAL COLOURS. 
 
 11 
 
 purity which constitutes a primary. Thus red is a primary, 
 but madder lake and carmine—both reds—are not primary 
 colours; they are, as a matter of fact, ideal, neither of them 
 being a pure red. 
 
 Carmine, which in brilliancy excels madder lake, contains 
 yellow; it is, in consequence, a warm red. The last-named 
 is not quite free from a tinge of a bluish nature ; it is there¬ 
 fore considered a cold red. 
 
 By mixing these two reds we find that it is out of the 
 question to consider either of them a primary colour; the 
 yellow and blue in their combination form a green, and green 
 means destruction at once to the brilliancy of both colours. 
 If, by reason of the minute quantity contained in their com¬ 
 position, the change is scarcely perceptible to the uninitiated 
 eye, the skilled colourist will note at once that the resulting 
 red is impure, and consequently they cannot possibly be 
 classed as primaries, for absolute purity is indispensable to a 
 primary colour. 
 
 “ Warmth ” and “ coldness 5 ’ are terms used daily in the 
 practice of decoration. By ‘‘warmth 5 ’ is indicated tints 
 which approach yellow, but do not necessarily contain yellow 
 by admixture, and a “ cold ” tint would be more or less 
 approaching to blue in its composition. 
 
 The fewer actual colours utilised in making a given tint 
 the more satisfactory will be its appearance. As an experi¬ 
 ment, take the three primaries and mix them together care¬ 
 fully on the palette. The result is a neutral. Then follow 
 the process with the secondary and the remaining tints—the 
 result is inevitably a dirty and nondescript grey. The cause 
 of this is found in the impurities existent in every one of the 
 pigments used, and so in making up paint for decorative 
 work, every fresh colour brought into use to form the re 
 quired tint must bring with it its quota of impurity, and in a 
 degree injure the delicacy of the projected tint. 
 
 The peculiar attributes of madder lake and carmine are 
 shown to give them an individuality of hue, of which a 
 
12 
 
 PRACTICAL HOUSE DECORATION. 
 
 knowledge is essential to the operator in colours. This 
 knowledge will, as the work of the decorative painter pro¬ 
 ceeds, be found yet more and more necessary to ensure even 
 a moderate degree of success. 
 
 The decorator ignorant of the effects of colours when 
 mixed as pigments for use, must inevitably fail in obtaining 
 for his work that appearance of freshness which is so essen¬ 
 tial to please the eye alike of the educated or the non¬ 
 professional observer. Hence, w r hen the decorative painting 
 of a room is sneeringly spoken of by the critic as “muddy ” 
 in appearance, we may at once surmise with tolerable assur¬ 
 ance of accuracy that the workman has unintentionally 
 spoiled his effort by an improper admixture of the colours in 
 their semi-fluid state as prepared for use, through his 
 inability to perceive that the foreign ingredients, always to 
 be found in them, have had the effect of deteriorating from 
 that exactitude or purity of tone without which all schemes 
 of decoration must be unsatisfactory in character. 
 
 Thus, if we presuppose carmine to be the true illustration 
 of red, another and brighter pigment, viz. vermilion, 
 becomes to our understanding simply a deeper degree of 
 orange, and, on the other hand, by adopting vermilion as the 
 correct type, we must relegate carmine to the category of 
 purple. 
 
 One authority on the science of colour—Syme —has given 
 eighteen degrees of red, but, on examination, they will be 
 found to be, generally speaking, compounds into which the 
 complementary colours largely enter. 
 
 The use of red in decoration is a subject for the most 
 careful consideration by the practical man. Looking back to 
 the decorations of buried Pompeii, we find a tone of this 
 primary was commonly used by the house artists of that 
 period, and that in the embellishment of domestic architecture 
 its use was very considerable. And yet no colour can with 
 less impunity be indiscriminately employed. 
 
 But the germ of these antique successes lies in the fact 
 
THE PROPERTIES OF RED. 
 
 13 
 
 that the colour in its first state as a primary was but sparingly 
 utilised—the wall expanse being almost invariably finished in 
 a modification of the original colour from which much of its 
 brilliancy had been cleverly eliminated by admixture. 
 
 The application of red in the decorations of the Egyptians 
 was more daring, and indeed in all Eastern nations the 
 ornament of particular periods is largely made up of red in 
 even its pristine brilliancy. It is only as we approach a 
 higher civilisation that the superior intellectual attainments 
 of the people, finding a reflex in the ornamentation of the 
 period, gradually cause its art workmen to look to less pro¬ 
 nounced colours and to rely rather upon elegance of form for 
 the achievement of decorative triumphs. 
 
 Red, as applied to modern work, has been popular for 
 exteriors; in this case it is usually the purple tone which 
 should be aimed at, although orange-tinted decoration would, 
 in a sunnier climate than that of England, be considered more 
 in keeping. The magnificent orange tinted brickwork of the 
 fa5ade of St. Mark’s at Venice is known to artists throughout 
 the world, and has been reproduced in every imaginable 
 manner for the information of less fortunate folks who are 
 unable to see it for themselves. 
 
 As an intermediate hue between the skirting or dado and 
 the ceiling of an apartment, red is admissible for interior 
 decoration in certain cases. It possesses—where a deep tone 
 is judiciously arrived at—the advantage of vastly improving 
 and heightening the effect of gilding, such as the frames of 
 pictures or mirrors, when placed against it. Mouldings of 
 burnished or matt gold used to panel out the walls are always 
 improved by being made accessory to deep rich reds. 
 
 Another consideration which should be taken into account 
 in deciding a particular scheme of decoration, is that of 
 artificial light. The appearance of red, artificial light being 
 usually of a yellow character, is improved by it, hence in a 
 room or other structure chiefly used at night, it would be the 
 first colour to suggest itself to the mind of the decorator as 
 
14 
 
 PRACTICAL HOUSE DECORATION. 
 
 the one to select for the prevailing tone, while colours to 
 which the artificial light would be injurious would, when 
 prompted by unerring knowledge of his business, be at once 
 discarded as unsuitable. 
 
 In how many cases do we not hear patrons complain that 
 they are disappointed in the effect of their rooms, when 
 perhaps they have been liberal in the expenditure of money 
 on their decoration. Analyse the cause of their dissatisfac¬ 
 tion, and it will in all likelihood be found that the decorator 
 had never considered the use to which the apartment was 
 usually appropriated—farther than the fact that it was a 
 dining-room, a library, a ball-room, or what not—and that 
 his colours are unsuited to the light in which his patron is 
 most accustomed to view them. There is another argument 
 in favour of the necessity for the development of the “ colour 
 sense ” among all engaged in the painting trade. Knowledge 
 of the effect of artificial light upon colours is well known to 
 the linendraper, who is perfectly able to assure his fair 
 customer that a particular shade of silk of which she is 
 dubious by the gaslight will be the identical article she is in 
 quest of when seen by the light of day. Unfortunately a 
 similar acquaintance with the properties of colours in relation 
 to these effects is not so widely apparent among decorative 
 painters. 
 
 Enough has been said, perhaps, at this juncture in the 
 way of urging upon the reader the importance of this branch 
 of his trade knowledge, and to induce him to give some little 
 attention thereto as occasion may arise. 
 
 Summarising, then, our remarks upon red , which we have 
 taken somewhat out of its usual order, as a primary colour, 
 but quite in accord with its decorative importance, we find, 
 first, that it is suitable to most phases of decoration ; second, 
 that it does not suffer deterioration by the artificial illumina¬ 
 tion of apartments in which it is even largely introduced; 
 and s thirdly, that it partakes of a numerous diversity of shades. 
 Of this variety the principal feature is that vermilion more 
 
THE PROPERTIES OF BLUE. 
 
 15 
 
 nearly approaches the ideality of a primary colour, as when 
 absolutely pure (a rarity indeed at the present day) it 
 contains least yellow and inclines in the smallest possible 
 degree to blue. Carmine inclines but very slightly to yellow, 
 yet there is some in its composition. Madder lake inclines 
 to blue. Venetian red contains blue. 
 
 The second of the primaries, blue, has been described as 
 the only pure primary, of which genuine ultramarine is the one 
 and only illustration, as it inclines neither to red nor yellow. 
 The cheap blues sold by colour manufacturers contain more 
 or less foreign matter, fatal alike to the durability of the 
 colour and to the perfection of its tone. All incline in a 
 great measure to red. Cobalt blue has a decided inclination 
 to yellow, and in Prussian blue this peculiarity is so well 
 marked, that to many persons it appears of a decided greenish 
 tendency, more especially when combined with opaque white 
 for light tints. 
 
 Blue is largely a factor in the composition of black, which 
 may be regarded indeed as its proper shade or intensity. 
 Blue-black as a distinct colour is one commonly used in the 
 distempering of ceilings for the purpose of counteracting the 
 yellow appearance of whitening. Blue-black is by some 
 authorities believed to contain the three primary colours. 
 
 Blue in decoration is a colour of doubtful stability, Prus¬ 
 sian blue being especially ill-renowned in this respect. Even 
 when used merely as the staining property in any required 
 tint, this colour cannot be relied upon if exposed to the 
 action of the weather, nor can its durability be assured when 
 protected by the application of varnish, as would be necessary 
 in its exterior uses. This remark applies to all tints in which 
 Prussian blue forms sometimes an ingredient, as purple, lilac, 
 lavender, &c. 
 
 Another consideration in dealing with Prussian blue must 
 not be lost sight of, any more than when treating of the uses 
 of reds, and that is the question of artificial light, the effect 
 of which is decidedly to give a greenish cast to tints in which 
 
16 
 
 PRACTICAL HOUSE DECORATION, 
 
 it forms a factor, by increasing its before-mentioned pro¬ 
 nounced inclination to yellow. 
 
 When arranging, therefore, the harmonious or contrasting 
 tints of dado, skirting, cornices, or “filling,” in any apart¬ 
 ment where blues are to be the prevailing colour, it must be 
 borne in mind that these tints are subject to quite another 
 appearance beneath the gas-jets, and that what in the day¬ 
 light may be in the operator’s judgment a suitable inter¬ 
 mediary tint, may at night bear the semblance of an outrage 
 upon the canons of theory, and be diametrically opposed to 
 the harmonies of decorative taste. 
 
 It may be said, Why should the decorator consider himself 
 bound by those rules of theoretical procedure ? The answer 
 may not improperly be found in the fact that the practical 
 experiences of whole generations of decorators have shown 
 that the theories of successful art craftsmanship have been 
 observed by them all, and that theory and practice in deco¬ 
 rative work have grown together until the one is indispen¬ 
 sable to the other. Sir Joshua Reynolds is stated to have 
 given utterance to the opinion that “ every opportunity 
 should be taken to discountenance the false and vulgar 
 opinion that rules are fetters to the man of genius; they 
 are fetters only to the man of no genius.” 
 
 The third colour upon which it may be necessary to make 
 detailed comment is the primary yellow, of which gamboge 
 in water-colours takes precedence in purity. In oil a pure 
 yellow is scarcely possible, the nearest approach to the 
 primary being, perhaps, Naples yellow ; this, however, suffers 
 from a slight leaning towards blue in its composition. 
 
 Gold ochre contains a proportion of red, and is a 
 most powerful pigment possessing great staining proper¬ 
 ties. 
 
 Yellow ochre varies in precision of tone very considerably ; 
 one sample may approach a warm orange tone by the admix¬ 
 ture in its manufacture of red clay, while another may pos¬ 
 sess in inverse ratio a decided predilection towards blue. 
 
THE PROPERTIES OF YELLOW. 
 
 17 
 
 Roman ochre is of a cold tone, nearly approaching 
 brown. 
 
 Raw sienna is a pigment not to be depended upon, and 
 is consequently used with caution by most decorators. Its 
 tendency is to become darker by exposure ; this peculiarity 
 of course extends to any tint or hue which may receive it 
 as a basis for staining down to its required colour. 
 
 When burnt, sienna becomes a warm chestnut red, and 
 in that form is much used in the production of light warm 
 fleeh tints, cinnamon, salmon-colour, and similar mixtures 
 requiring warmth of tone without too much brilliancy of 
 character. 
 
 Chromes, procurable in light, middle, and orange grada¬ 
 tions of colour, are much used by decorators in tinting. They 
 require carefully grinding with the slab and inuller before 
 utilising them in decorative work. Yellow, being a primary, 
 cannot be obtained by admixture of other colours, the chrome 
 yellows are therefore chromates of lead, of which mineral 
 they contain a large proportion. Although possessing a re¬ 
 markable brilliancy and freshness, and consequently readily 
 appealing to the consideration of the decorator, the stability 
 of chrome yellow is of a doubtful nature. It exercises a 
 most deleterious effect upon such colours as Prussian blue 
 when used therewith to obtain a green, the exposure to 
 certain atmospheric conditions operating by bringing about 
 a gradual destruction of the original tint and the assump¬ 
 tion of a faded hue greatly to be deprecated in decorative 
 work. 
 
 The chrome yellows of commerce vary very much in 
 quality, but inferior manufactures may be easily detected by 
 their lightness of weight and proportionate increase in the 
 bulk of a given quantity. 
 
 Other yellows suitable to the purposes of the decorator, 
 are— 
 
 Cadmium yellow, a rich glowing hue, affording a variety 
 of useful tones when judiciously blended with white, and 
 
18 
 
 PRACTICAL HOUSE DECORATION. 
 
 by admixture with lemon chrome producing a wide range of 
 bright clean tints. 
 
 King’s yellow—sometimes known as yellow orpiment—■ 
 a remarkably bright colour, but lacking the essential quality 
 of durability, and incapable of satisfactory admixture with 
 white lead. It is a preparation of arsenic. 
 
 Yellow lake, of which there are numerous varieties, pos¬ 
 sessing alike the quality of tolerable permanency and being 
 all very bright and transparent. 
 
 Having dealt thus briefly with the most necessarily to be 
 remembered attributes of the colours upon which depend all 
 our further combinations, it should be added that they should 
 be borne well in mind throughout every phase of our daily 
 experience. 
 
 It will be necessary to refer more particularly in subse¬ 
 quent chapters to the subsidiary tints formed by the mixture 
 of the primaries, each as an individual entity, with opaque 
 white, and also to remark upon the various descriptions of 
 the latter pigment in ordinary use among members of the 
 painting trade generally, as well as by those practising it in 
 its higher form as a decorative art. 
 
CHAPTER III. 
 
 THE LAWS OF HARMONIC CONTRAST. 
 
 OTHING- renders the proficiency 
 attained by the decorator more 
 readily perceptible to the ordinary 
 onlooker, nor is the want of it 
 more strikingly brought to the 
 front in the choice of the several 
 colours, whether they partake of 
 the nature of hues, shades, or tints, 
 than in their arrangement of place 
 in the decorative whole, 
 certain laws govern their disposition is a 
 fact tending rather to increase than to diminish 
 the scope of the workman. The figures formed 
 by the simple turning of a kaleidoscope are nearly 
 inexhaustible in their continual variety, yet then- 
 components are limited by the number of pieces 
 of the coloured glass from which they derive their 
 effects, and still more so by the comparatively small choice 
 of tints in which the glass is ordinarily procurable. In the 
 same ratio the relative dispositions of decorative colours are 
 capable of the widest diversity, and are, practically, alone 
 limited by the necessity of choosing those only which best 
 bring into the required prominence the details created by 
 the particular form of ornament introduced into the design. 
 
 The decorator has therefore to consider the generally 
 accepted “harmonic contrasting” and “complementary” 
 
20 
 
 PRACTICAL HOUSE DECORATION. 
 
 colours only so far as they may be applicable to bis individual 
 patterns, and such rules as are believed to be indispensable 
 to aid him in arriving at a right appreciation of his responsi¬ 
 bility, may be so modified in particular cases as to leave him 
 ample discretion in the attainment of any desired effect. 
 
 In an earlier work on the more simple forms of dec oration, 
 is given a table of the direct contrasting colours as laid 
 down by some of the highest authorities on the subject, but 
 although as applied to primary, secondary, and even one or 
 two of the tertiary colours, the brief table there given may 
 meet the wants of those employed only upon minor forms of 
 ornament, it will be necessary that the decorator should be 
 able to follow the principle out through all the combinations 
 known in the art of polychromatic embellishment. 
 
 For greater convenience in illustrating, this subject has 
 been arranged the linear diagram (Fig. 4) which we will 
 suppose to represent the flank of a wall in some particular 
 apartment. The plan is arranged to show the skirting, 
 dado, band, and filling which we may imagine in this instance 
 to be carried up to the junction of the wall with the cornice. 
 It would perhaps be well to remark, with a view to avoid 
 misconception, that the diagram must not be supposed to 
 give the relative apportionments of space to the respective 
 parts of the wall flank ; the lines do not of course indicate 
 the scale, but are used simply to show more readily the 
 application of the colours mentioned. 
 
 The principle of causing the various colours to commence 
 at the floor line with the darker shades for the skirting and 
 dado is one which need hardly be the subject of extended 
 remark. Everything in nature recedes from the eye, and by 
 the aid of infinite modifications of light and shade the 
 monotony of the view is effectually subdued. In the work 
 of interior painting we are unable to avail ourselves of 
 nature’s aid to obviate the crudity of effect brought about by 
 
 *' “ Elementary Decoration,” page 2. London : Crosby Lockwood 
 and Co. 
 
ARRANGEMENT OF COLOURS, 
 
 21 
 
 CORNICE 
 
 FILLING. 
 
 BAND . 
 
 DADO . . . 
 
 SKIRTING . 
 
22 
 
 PRACTICAL HOUSE DECORATION. 
 
 the employment of positive colours ; we are, in consequence, 
 compelled to adopt a modification of the positive contrasts, 
 and to rely upon their complementaries to secure for us a 
 satisfactory application of a similar principle. 
 
 The vision is less strained by comparatively minute 
 surfaces painted in the positive tones than it would be were 
 the same colours applied to the broader area comprehended 
 in wall painting. We are thus, in a measure, compelled to 
 use only the combinations brought about by the admixture of 
 complementary colours for the purpose, but, nevertheless, 
 the same rule which governs the direct contrasting powers of 
 the positive tones must be easily discernible in every appli¬ 
 cation of their minor degrees. 
 
 The gradations of a primary into a secondary are doubtless 
 pleasing enough, but they require the aid of a complementary 
 to effectually contrast them. 
 
 Thus, in mural painting, we may have, as in example C 
 in the diagram, red, a primary, used for the dado, with a 
 secondary, lilac, for the upper surface of the flank. But the 
 dado simply meeting the lilac filling without other assistance 
 would be unsatisfactory and harsh. We therefore find it 
 advisable to paint a band—the breadth of which should be 
 proportionate to the height of the room and the amount 
 spaced off for the dado—of cinnamon tint between the two 
 colours, both of which are materially heightened in their 
 effect by their juxtaposition with the complementary hue. 
 
 The diagram gives at a glance the relative value of each 
 suggested arrangement, hut its suitability to any special 
 apartment is dependent upon, and should be resolved by, the 
 particular circumstances of the case. Thus, B, D, and I 
 would perhaps form a satisfactory selection for a library or 
 dining-room. A, C, and H would look well in a vestibule 
 or lobby, while E, F, and G would be applicable to more 
 general purposes. 
 
 A study of the various degrees of contrasts given by tints 
 proportionate in their intensity to the few instanced in this 
 
EFFECTS OF LIGHTING UTON COLOURS. 
 
 23 
 
 example, will readily enable the workman to judge for himself 
 the precise combination he may desire to effect, but in them 
 all he must be guided by a consideration of the amount of 
 natural light admitted into the apartment during the day, as 
 well as the manner of its illumination by artificial means. 
 
 Taking first the natural light given his work, we may be 
 reminded that the precise degree of daylight obtainable in any 
 ordinary room is, in the first instance, dependent upon the 
 amount of window space allotted to it by the architect; 
 secondly, by the “ aspect,” or point of the compass, from 
 which the light is derived—as, for instance, the windows of 
 a room facing the direct north are known to admit a different 
 degree of intensity to those of an apartment having a southern 
 aspect, hence we speak of a light or dark room in allusion to 
 the natural means of light afforded it by its particular con¬ 
 structive or architectural arrangement; and, thirdly, by the 
 glass used for the windows. 
 
 Since the rapidly marked development of the revived system 
 of lead glazing which has been so generally adopted for 
 modern houses, the effects thrown upon the work of the 
 decorator in the daytime must, more especially than at any 
 previous period, be thoroughly understood, as the colours 
 thrown or refracted upon the painted work by the cathedral 
 tinted or still more brilliantly stained glass materially alter 
 the appearance of the colours employed, the natural light 
 being, by its use, more or less decomposed, according to the 
 degree of opacity or brilliant colouring displayed in its 
 arrangement. 
 
 By the expression “decomposed” is meant to be conveyed 
 to the understanding of the reader the fact that by the 
 employment of coloured glass the actual component rays 
 comprised in the natural light have been intercepted, and, as 
 regards their natural laws, destroyed by passing before 
 entering the apartment through the coloured glass in the 
 window frames. 
 
 To illustrate more fully these effects the workman may 
 
24 
 
 PRACTICAL HOUSE DECORATION. 
 
 take a piece of board or canvas, and paint thereon two colours. 
 Red and green, as being the brightest at hand, may be most 
 readily called into requisition for the purpose. Then let him 
 take a tolerably large piece of good flashed ruhy glass—say, 
 a foot square—and hold it in such a position before the two 
 painted squares upon the panel that the rays of light may 
 pass through it before falling upon the work. The result 
 will be somewhat surprising, for the green becomes at once 
 a black, the red, however, retaining its colour. Now, red 
 against black would be a totally different effect in the deco¬ 
 rative harmony to that intended by the craftsman, who, 
 possessing the “colour sense,” would under no circum¬ 
 stances fall into an error of judgment which might seriously 
 jeopardise his other combinations. To continue what is 
 undoubtedly a valuable experiment, he may next follow up 
 the proceeding with a similar square of green glass, when 
 the red will be found to assume the appearance of black, 
 while, as in the first instance, its opposite colour, refracting 
 the rays of light thrown upon it, retains its previous indi¬ 
 viduality. 
 
 In the first chapter it was pointed out that the admixture 
 of carmine with madder lake, the first containing yellow and 
 the other blue, created a greenish tone fatal to their brilliancy. 
 As will be seen, by these effects of the coloured glass upon 
 both the red and the green paint, a precisely similar result 
 is brought about by the decomposition of light as if the 
 decorator had mixed the destructive tones with the colour 
 upon his palette. And, just as no workman who knew his 
 business would be likely to spoil his colours by wilfully 
 mixing them in that manner, so he would not, we may 
 suppose, ignore the results brought into notice by this experi¬ 
 ment. No more persuasive argument than this need pro¬ 
 bably be advanced in support of the statement that the 
 degrees of natural light must enter largely into the con¬ 
 sideration of decorative details. 
 
 As for the question of artificial lighting, the decorator is 
 
ARTIFICIAL LIGHTING. 
 
 25 
 
 placed in these times in a much more unenviable position 
 than formerly, owing to the infinite systems of illumination 
 which may be brought to bear upon his work. 
 
 When our ancestors were content with the feeble rays of 
 wax candles the night effects might have been accurately 
 gauged. Now, the proprietor of a mansion with a taste for 
 the acquisition of improved scientific inventions may suddenly 
 determine to take down his handsome candelabra or his 
 imposing gasaliers, and substitute for them the electric light, 
 with the result that the decorations of his apartments present, 
 beneath its cold, bluish-white rays, a totally different appear¬ 
 ance to that intended by their designer. Where he would 
 have placed delicate or pronounced warm tints as a counter¬ 
 foil to the rays from an Edison or a Brush incandescent 
 lamp, he finds he has retained cold tones, rendered still more 
 sterile by its uncompromisingly searching brilliancy, and the 
 pleasing satisfaction of knowing that he has put the right 
 tint in the right place is denied him forthwith. 
 
 This is noticeable in many of the larger public buildings 
 wherein the newest illuminating agent has been introduced, 
 and, as a case in point, may be mentioned that of two courts 
 at the South Kensington Museum, where the electric light 
 has, in the commonly accepted parlance, completely “killed” 
 many of the decorative examples upon which so much labour 
 and taste have been expended. Even Sir Frederick Leigh¬ 
 ton’s fresco painting, which occupies the large lunette at one 
 end of the court, suffers in decorative effect by the coldness 
 of tone imparted to it by the electric lamps. 
 
 Warmth of colour—which does not necessarily mean the 
 employment of garish or overbright tones—is materially 
 assisted by the yellow light afforded by oil lamps or by the 
 use of gas. The decorator should, therefore, know how the 
 apartment he is about to work in is illuminated both na¬ 
 turally and artificially, and should be sufficiently conversant 
 with his business to select or reject particular combinations 
 of colour on that account, and it will undoubtedly occur to 
 
 c 
 
26 
 
 PRACTICAL HOUSE DECORATION. 
 
 him that in giving theoretical contrasts it must be understood 
 that they are based solely upon the supposition that they 
 are to be shown in a purely natural light. Even in this 
 case, however, modifications are essential, for apartments 
 lighted by rays from the south and west admit of the employ¬ 
 ment of cooler tints than those taking their natural light 
 from the north and east; while in town houses, where, from 
 their close proximity one to another, the whole of the light 
 obtainable is, in a measure, refracted and certainly subdued, 
 a generally warmer tone of colouring is believed to be 
 desirable. 
 
 The following is a list of harmonic complemental contrasts 
 recognised by all authorities on colour:— 
 
 White contrasts with Black and all colours. 
 
 Yellow 
 
 Red 
 
 Blue 
 
 Orange 
 
 Violet 
 
 Green 
 
 Citrine 
 
 Russet 
 
 Grey 
 
 Olive 
 
 Violet, Lavender, and Puce. 
 
 Green and Olive. 
 
 Orange, Auburn, and Brown. 
 
 Blue and Grey. 
 
 Yellow, Straw Colour, and Buff. 
 Red, Russet, Marone, and Chocolate. 
 Purple, Violet, Lavender, and Puce. 
 Green and Olive. 
 
 Auburn, Orange, and Brown. 
 
 Red, Marone, Russet, and Olive. 
 
CHAPTER IV. 
 
 THE APPLICATION OF COLOUR TO APARTMENTS. 
 
 )E have considered and tabulated 
 the contrasts which are found 
 generally effective for actual 
 work, and it will be remembered 
 that they differ, in a measure, 
 from the actual contrasting 
 colours, given by most authori¬ 
 ties, in the fact that they are in 
 some cases not direct contrasts. 
 To know how successfully to modify direct con¬ 
 trasts in such a manner that the guiding principle 
 is kept in view throughout the minor gradations, 
 is, or should be, one of the first considerations 
 i ^ with the workman who seeks to understand the 
 ) v trade he follows. 
 
 For example, blue contrasts with orange, but 
 the effect of these two colours in juxtaposition is harsh, dis¬ 
 pleasing, and unsatisfactory. Try them on a pattern-board, 
 and it will at once be seen that they are unsuited in their 
 pristine hues to the requirements of the decorator. But add 
 a little white lead to each of them, and repeat the experi¬ 
 ment with the tints brought about by so mixing them, and 
 it will then appear that, although the principle has been 
 adhered to that blue and orange should contrast, the 
 tints, when opposed to each other, are as pleasing as 
 any other combination, when placed judiciously upon 
 
 c 2 
 
28 
 
 PRACTICAL HOUSE DECORATION. 
 
 that portion of the apartment we may be desirous to 
 decorate. 
 
 The art of mixing colours is one too frequently neglected, 
 even by men who possess originality in design, hence we too 
 often remark a carefully chosen style of ornament com¬ 
 pletely marred by its rendition in ill-balanced tones of 
 colour. 
 
 At the present day, when so much of the ornamentation of 
 apartments takes the form of reproduction in painting of 
 natural objects, this consideration is glaringly lost sight of in 
 numberless instances. The artist, relying upon his facility 
 in imitation of natural forms taken from the animal or 
 vegetable world, is repeatedly found to study little, if at all, 
 the colours in which his work may be set. It is thought 
 sufficient for the purposes of decoration that the flower or 
 animal is reproduced in self-colours; its applicability to its 
 position as the embellishment of a panel or a dado enters 
 upon a wide field of theoretical argument, and has been hotly 
 contested by some of the highest authorities in the world of 
 art. This much must, however, be conceded by the most 
 ardent advocate of the “ natural ” school—that there is much 
 less artistic training (in a decorative sense, of course) 
 required to copy the lily or the sunflower in facsimile, and 
 to introduce it upon the panel of a door or the frame of a 
 looking-glass, than would be necessary in the invention of 
 some graceful design of the commonly termed “conventional” 
 kind. 
 
 Our present stage brings us to the application of self¬ 
 colours, by which term is implied those large masses of 
 painted surfaces which constitute the prevailing tone of an 
 apartment, and upon which as being the “ ground work ” our 
 decorative details have to be executed. 
 
 In many houses of the better class it is customary to 
 designate various apartments by titles signifying their general 
 tone of decoration, as, for instance, the “blue room,” the 
 “ pink chamber,” the “red drawing-room,” and so on, and 
 
HARMONY AND CONTRAST. 
 
 29 
 
 in such cases the colours, or rather tints, employed in them 
 ought necessarily to conform to the rules previously adverted 
 to in the definitions of tone. Everything subsequently intro¬ 
 duced into the embellishment of such apartments should be 
 subordinated to the point de vue —the aim or spirit of the 
 decoration. 
 
 These remarks virtually summarise the whole meaning 
 conveyed by the somewhat widely misunderstood term, “the 
 harmony of contrast,” for while the general impression 
 conveyed to the eye by the tout ensemble when entering a 
 room may aptly justify its special nomenclature—we will 
 suppose it to be, if you will, the “pink chamber’’—-its 
 decorative details must supply the particular contrasts indi¬ 
 cated, but so modified, subdued, or otherwise arranged, as to 
 bring about the result in view for the finished effect, which 
 will, indeed, “ depend quite as much upon the media which 
 accompany and unite them as upon the colours themselves.” 
 The conclusion of this sentence is quoted from Dr. Hay’s 
 excellent treatise : “ By adapting them [i.e. the mediatory 
 colours] properly the greatest distinctions are reconciled and 
 brought to an imperceptible adjunct, and it is by them that 
 tone-keeping, and repose is given to the whole,” 
 
 We may go further, and emphasise the dictum that neglect 
 of these mediatory colours, or inattention to their arrange¬ 
 ment, must create almost irretrievable confusion of detail, 
 besides imparting a crudity of appearance fatal to any artistic 
 effort on the part of the designer. 
 
 Again referring to Nature as our Mentor, we find that all 
 her colouring points to the fact that cool-toned and neutra¬ 
 lised tints are the most agreeable to the eye, and should 
 predominate, while vivid or intense colours should be used 
 sparingly, and then only as a means whereby the whole 
 may be heightened in appea rance by their attractive qualities. 
 
 There are^several commonly recurring defects in arrange¬ 
 ment which are mentioned here only that they may be 
 avoided by the practical craftsman. One of the first is 
 
30 
 
 PRACTICAL HOUSE DECORATION. 
 
 patent to us all, even to the veriest tyro in his business, and 
 is when the “ key ” or general tone in which the apartment 
 may be finished has not been definitely decided upon at the 
 outset of the work. Nothing is more disappointing in prac¬ 
 tice than to be, as it were, moving in the dark, and to go on 
 in consequence aimlessly adding detail to detail, or putting 
 tint against tint, without the least notion of the appearance 
 of the presumably finished work. In everyday language, it 
 is quite as essential as knowing where to begin that the artist 
 should know “ where to leave off,” and what the effect will 
 be like when he does so. 
 
 Another defect in arrangement is found in the undue 
 prominence of any particularly bright or garish colour. This 
 error of taste would, at the present day, be more distinctly 
 observable, perhaps, than at any other period of the history 
 of decorative art, for we are at last attaining to that standard 
 of cultivation and intelligence which should teach us to rely 
 rather upon beauty than brightness. And again, a poor 
 design rendered in subdued harmonies would be less con¬ 
 spicuously bad than it must be were it emphasised by 
 rendition in loud or glaring contrasts. Faults of symmetrical 
 construction in the drawing of, we will say, a running scroll 
 border, would not so outrageously offend the senses if the 
 design were painted in a darker or lighter adaptation of the 
 actual surface-tint of the ground on which it is placed, as it 
 must do if represented by the actual contrasting colour. 
 
 In relation to this phase of the subject, it should be noted 
 that the lighter parts of any architectural embellishment, 
 such as the cornices and architraves, may be subdued by the 
 employment of cool, quiet hues, and that the darker por¬ 
 tions, viz. such parts as are in natural shadow, may be 
 relieved by brighter colours. Yellow being the nearest 
 approach to light, and blue to dark, the various gradations 
 of tone would be severally composed in such a manner as to 
 utilise the characteristic properties of those colours in then- 
 most suitable degree. 
 
ERRORS OF ARRANGEMENT. 
 
 31 
 
 The third defect may easily arise from applying the funda¬ 
 mental laws of colouring without regard to their minutise—- 
 without, in fact, remembering that these theoretical laws can 
 only be imparted to the learner by instructing him in the 
 contrasting properties of the positive colours, but that the 
 principles are, to be successful, equally to be respected in 
 every combination, although some may not, in a work of this 
 kind, be specifically dealt with. This defect is traceable in 
 most cases to the introduction of pale and deep tones of the 
 degrees of strength of which the decorator is uncertain, the 
 intensity of one or more giving to the remaining colours a 
 “ washed out ” or faded appearance. 
 
 It must, in fact, be impressed upon the mind that a neutra¬ 
 lisation of colour cannot be procured alone by admixture 
 with white—the general effect must be taken into conside¬ 
 ration. A pale tint of blue is no equivalent, as a contrast, 
 for the richest orange colour, nor will lilac—the palest 
 possible tint of purple—be found to balance satisfactorily 
 with an intense yellow. 
 
 A fourth error to be avoided is found in the sacrifice of 
 variety, arising from timidity. This, although an opposite 
 evil, provokes a similar result to that just mentioned. 
 “ Variety,” says an old author, “ is found throughout Nature, 
 and decorations struck in a low tone are throughout unsatis¬ 
 factory.” We know what it means at times, when work is 
 spoken of as being “ tame ”—the timidity of the artist in 
 dealing with the choice of colours at his disposal has brought 
 about a want of precision or individuality, and the result of 
 his finished labours is disappointing. 
 
 Apart from the question of lighting, both by day and night, 
 which was briefly noted in the preceding chapter, there are 
 one or two general rules which should guide the decorator 
 in the selection or recommendation to his patrons of colours 
 to be utilised in the various rooms of an ordinary middle- 
 class residence. 
 
 Entrance Hall, Staircases, Lobbies, and Vestibules.— 
 
32 
 
 PRACTICAL HOUSE DECORATION. 
 
 These should be painted in cool tones of colour, to admit 
 nothing calculated to mar the effect of architectural features. 
 Grandeur, imposing height, effects of light and shade, and 
 the general proportions of the structure should be relied 
 upon rather than the arrangement of many colours. The 
 reasonable nature of this rule is apparent, since it is evident 
 that the decorations of apartments entered from the lobbies 
 and vestibules must be enhanced in effect if there is nothing 
 calculated to clash with the more important work within. 
 Thus, marbles and stonework are generally utilised by 
 architects in their construction, and the decorator, following 
 his precedent, is chiefly called upon to adopt various shades 
 of drab, or to imitate occasionally the actual stone or marble 
 itself. 
 
 Dining-room.— The shades of colour in this apartment 
 should be chosen rather for their warmth and richness than 
 for contrast. No vivid tones are ordinarily permissible, and 
 the garish addition of gilding on panels and mouldings is 
 to be deprecated in most instances. Gilding judiciously 
 applied can never spoil anything upon which it is placed, but 
 the dining-room, as an apartment devoted to gratification of 
 gastronomical pleasures, should, in its decorative accessories, 
 become a mere setting for the epicurean delicacies and luxu¬ 
 riant brilliancy of the table appointments. The plate chest, 
 indeed, may well be the only contributory to the pleasure 
 derived from the glitter of the precious metal, except upon 
 the surface of the ceiling where gold is often an essential to 
 the style of decoration that may be adopted, and where from 
 its position it would be free from the objections referred to. 
 
 Library.— Richness of tone is not requisite in the colours 
 to be selected for this room, for it may readily be supposed 
 the contents of the shelves will supply whatever would other¬ 
 wise be wanting in that respect, but the tints may be so 
 chosen as to lend additional grandeur to the proportions of 
 the room. The scheme of decoration need not, of course, 
 be limited to one monotonous tint, but nothing should be 
 
THE DRAWING-ROOM AND BOUDOIR. 
 
 33 
 
 brought in, either as ornament or by the “ cutting in ” of 
 architectural details, which would be calculated to disturb the 
 “repose” proper to a place devoted to study. For this 
 reason, dull sage greens, duck-egg green, dark dull greys, 
 and drab or stone colour, are generally utilised for the wall 
 flanks, and darker gradations of similar colours may be used 
 for the woodwork, and in some instances for the book-cases ; 
 in no instance should the colours used be such as would 
 deteriorate from the appearance of the bindings of the books. 
 
 Drawing-room.— Here we have an exact antithesis of the 
 previous hints, for a drawing-room should before anything 
 be bright, cheery, and even radiant with gilding. The whole 
 array of tints and shades are susceptible of introduction into 
 this apartment, and the more brilliant are the accessories, 
 the greater the range available for the purposes of the 
 decorator, whose colours should, however, be yet kept in a 
 rather more subdued tone than the actual hangings and 
 upholstery of the room. As a rule the lighter tints, admit¬ 
 ting of great contrasts, are the more generally utilised in 
 actual practice, but almost every colour is applicable in the 
 drawing-room, and black and gold or white and gold have 
 both, although entirely opposite, come within the scope of 
 ihe author’s experience. 
 
 Boudoir. —The remarks upon the drawing-room decora¬ 
 tions apply to this with equal force, but a greater discretion 
 may be allowed, if possible, within the precincts of this 
 apartment. Generally speaking, it should be gay, light, 
 cheerful, and aim rather at vivacity than gravity. Its hand- 
 pencilled work upon panels should partake rather of the 
 style of the graceful pencilling of the French school than 
 of the grandeur of Raffaelle or Michael Angelo. 
 
 The panel centre (Fig. 5) is an effective example suited for 
 the boudoir or the drawing-room; the medallion subject 
 might be rendered in cameo, either pink or blue, the figure 
 being white, softened into the ground colour. The scroll, 
 which is somewhat heavy as shown, would appear very 
 
 c 3 
 
34 
 
 PRACTICAL HOUSE DECORATION. 
 
 much lighter if painted in pale and delicately softened tints 
 to give due effect to the turn of the leaf and to show the 
 reverse of the scroll. The bird, the jewelled crown, &c., 
 could be effectively given in self colours. 
 
 The brilliant and fantastic colourings of the Moresque 
 style have, where the architectural conditions have been 
 suitably arranged, been most appropriately introduced. A 
 specially bright example of a lady’s boudoir designed for an 
 imitation, in miniature, of an Alhambric court, with a bijou 
 dome overhead by which the light was admitted through 
 
 Fig. 5.—Panel Centre Ornament (French). 
 
 rose-coloured glass, and having, moreover, a sparkling foun¬ 
 tain in the centre of the floor, may be quoted as a remark¬ 
 ably successful application of the Moresque motif to modern 
 requirements. 
 
 Bedrooms. —The colours chosen are usually of the lightest 
 description, and an effort should be made to avoid the mere 
 production of nondescript tints which have no definite tone. 
 If the wall paper be in neutral colours, a little more bright¬ 
 ness may be pardonably infused into the painted work than 
 the blind following of the laws of harmony and contrast 
 might appear to warrant. We cannot better describe the 
 
COLOUR IN THE BEDROOM. 
 
 35 
 
 idea of a bedroom decoration than by saying it should be 
 “ prettily” decorated as distinguished from the more severe 
 phrase of “ tastefully ” finished. Schemes of decoration 
 founded upon the Persian character, which abounds in light 
 and graceful tints, are especially suited to this apartment. 
 A bedroom is unfortunately at times also a sick-room, and 
 any “ professor of the healing art ” would readily agree that 
 a general “ cheeriness ” of appearance in that apartment 
 would go many points in his favour by helping his patient 
 out of that gloomy state of mind which the compulsory 
 repose of the sick-chamber usually induces in persons accus¬ 
 tomed to daily activity of body. Let the bedroom, there¬ 
 fore, be as light and cheery as it is possible to make it. 
 
 Servants’ Offices.— It is often considered that plain buff 
 or stone-colour paint is all that is requisite for the basement 
 rooms, despite the additional comfort of appearance given by 
 graining the whole of the woodwork. This list would be 
 incomplete if a brief reference to the servants’ rooms were 
 not made, and we may at once assert that nothing bears the 
 wear and tear of this part of the house better than medium 
 toned oak graining. It is therefore cheaper than painting in 
 plain colours, and always looks clean. It can be occasionally 
 —at intervals of two or three years—properly cleansed and 
 revarnished, and there is hardly a definite limit, if this be 
 done, to its durability. 
 
CHAPTER V. 
 
 THE ADMIXTURE OF COLOURS FOR SURFACES. 
 
 UR attention may now be directed 
 to the actual processes by which 
 colour combinations are applied ; 
 having up to the present rather 
 approached our subject from that 
 theoretical standpoint which is in¬ 
 separable from the successful prac¬ 
 tice of the colourist. In the first 
 place it is obvious that, given a 
 S’ required harmony, the decorator should im¬ 
 mediately be enabled to produce it in a manner 
 calculated to ensure its permanency as the 
 finished work. We have considered the pro¬ 
 perties of particular colours in their original 
 condition, and we may now pass to a consideration of these 
 when combined to produce particular tints. 
 
 It is of first importance, as all tints are largely compounded 
 of white stained down to a required tone, that the decorator 
 should make up at the commencement of his work a sufficient 
 quantity of that pigment. This applies equally to work to be 
 executed in distemper, in “ flatting,” or in oils. In the first 
 case, his safest plan is to make up a quantity in excess of the 
 actual requirements, and to let his white in bulk be made 
 with a sufficiency of size to render it tenacious of the surface 
 to which it is destined to be applied. The advantage is that 
 the pigments or powder colours required for staining it may 
 
THE MIXING OF PIGMENTS. 
 
 37 
 
 be rubbed up on the palette board with water only, as the 
 viscid attributes of the whitewash so prepared will be 
 sufficient to ensure the binding property of the tones in which 
 it forms a factor. A great deal of time and trouble in the 
 “ melting up ” of size will also be thereby saved. 
 
 For the mixing of tints in flatting, unless the quantity 
 required be large, the employment of dry white lead may 
 be preferred to the article commonly sold, which contains a 
 proportion of oil as the medium in which it has been ground. 
 Dry white lead, however, will be found a troublesome 
 material to grind by hand, but if turpentine alone be used in 
 the process, it will, by the exercise of care and some little 
 patience, eventually yield to the operator, and once properly 
 ground, it may be introduced into the composition of the 
 flatting with perfect safety. 
 
 For work which is to be finished in oils, the ordinary white 
 lead, thoroughly strained through fine muslin, or rubbed up 
 with the muller upon a stone slab—or preferably both, if time 
 allows—will answer well. 
 
 It is best in all cases, even after colours may have been 
 carefully ground by the muller, that they should be strained 
 before being applied to the work. Small particles of grit, 
 perhaps from the palette-knife, or even from the edge of the 
 muller itself, are almost unavoidable; hence the value of 
 straining all colours which are to be used in decorative work. 
 Much time is frequently lost, and needless trouble entailed, 
 by the persistent neglect of painters to take this simple 
 precaution, under the wrong-headed idea that the time spent 
 in the proper preparation of their materials does not make 
 sufficient show of progress in carrying out their work. This 
 it is which marks the distinction between what is commonly 
 known as “ scamped ” work, and that which is more rarely 
 met with, but is eminently more satisfactory in the long run 
 to both employer and employed—“ a decent job.” Let this 
 be a trade maxim : consider no reasonable time—which to 
 the employer is money—badly expended if it is devoted to 
 
38 
 
 PRACTICAL HOUSE DECORATION. 
 
 the careful preparation of the colours to be used on the work. 
 It does not take nearly so long to execute work with good 
 and properly prepared materials as with inferior or ill-ground 
 colours. 
 
 In staining the bulk to any required tint the decorator 
 should be careful also to rub up the powder or other colour 
 he is about to add to the prepared white before mixing it 
 therewith. How frequently have we not in actual experience 
 observed workmen, “ to save trouble,” as they foolishly 
 imagined,shake somepowder pigment into a pot of white, and, 
 stirring it for some minutes with a sash-tool until it appears 
 to be assimilated, consider they have done all that is neces¬ 
 sary ! Nothing of the kind. In spreading upon a wall or 
 other surface paint so mixed it is found to be a decided failure, 
 for the unabsorbed particles of the powder-colour continually 
 work up in the brush, creating a succession of dark streaks, 
 and of course at once affording evidence of the carelessness 
 shown in its preparation or the incompetence of the workman. 
 
 Even straining tints so mixed will be comparatively useless. 
 Some, perhaps impalpable, grains of the powdered pigment 
 will inevitably find their way through the finest muslin, to 
 reappear at every stroke of the brush, when the mixed colour 
 is applied to the wall. This is especially the case with many 
 of the inferior qualities of so-called ultramarine which are 
 sold at the present day, and the distinguishing property of 
 which is then- non-assimilation with white lead—unless they 
 are most carefully ground, separately in the first instance, 
 and then by repeating the process when a portion of the 
 prepared white has been added before proceeding to stain the 
 bulk of the tint. 
 
 In making any light tints by the addition to white lead of 
 powder-colours this procedure should be followed. First, 
 grind up the colour thoroughly alone ; second, add about an 
 equal proportion of white, and mix well together ; third, add 
 the colour so reduced in intensity to the bulk of the white 
 lead. Stir it well into it until every distinct particle appears 
 
THE ATTRIBUTES OF WHITE. 
 
 39 
 
 to have been absorbed; and, lastly, strain the whole body, 
 and rub it, by the aid of a tolerably stiff sasb-tool, through 
 the finest muslin procurable. The painter may then perhaps 
 depend upon having a properly prepared tint, and will reap 
 the benefit of a little extra preliminary trouble in the pleasure 
 of knowing his work to be capable of standing the strict 
 scrutiny of critical eyes. 
 
 Where purity of tint is an essential, the media used for 
 “ thinning up ” must be considered in relation to their effects 
 upon white or light tones, and for this reason the use of gold 
 size, terebine, boiled oil, and similar dark-coloured thinnings, 
 is inadmissible. 
 
 The purity of white, for instance, would be at once ruined 
 by admixture with gold size, which would instantly turn it 
 to a dingy yellow if used in any quantity. It must not, 
 however, be supposed that white lead ground simply in 
 turpentine really produces an actual white. It has a leaning 
 even then to yellow. As a corrective to this tendency it is 
 usually advisable to add a small proportion of blue, or even 
 black, either of which are capable of imparting an intense 
 whiteness of appearance. 
 
 Syme has mentioned in his nomenclature of colours that 
 there are eight distinct tints of white : which is by the same 
 authority said to be the reflection of all colours simulta¬ 
 neously. If the lightest possible tint of any colour be 
 placed in juxtaposition with the most intense of the same 
 colour, it becomes, so far as the eye can perceive, white. 
 But place it against the intense white, and its true tint then 
 becomes recognisable. 
 
 It is seldom, however, that the decorator is required to 
 use white in its actuality. His taste is called into requisition 
 to take off, rather than emphasise, the “ rawness ” or 
 frigidity of this pigment. Thus, if a room is to be treated 
 in what is conventionally termed “ white and gold, ” no 
 decorator would endeavour to increase in the manner men¬ 
 tioned, or by any other method, the intensity of the white. 
 
40 
 
 PRACTICAL HOUSE DECORATION. 
 
 He would rather remember that the warm rich hue of the 
 gilding would necessitate, for the sake of harmony, the 
 employment of a counterfoil to the crudity of the white 
 ground work, against which the reflecting brightness of the 
 yellow metal would stand out as too bold and even displeasing 
 a contrast. Hence, he would desire, by the admixture of 
 burnt sienna, in infinitesimal proportion, to produce a cream 
 tint, so pale indeed as to be what Syme would probably 
 describe as one of his eight degrees of white. A ground 
 prepared in this manner is usually designated in the trade 
 “ ivory white.” 
 
 In treating a room in pale tints of colour, without gilding, 
 the same rule may be well observed if white forms any 
 considerable part of the decorative scheme, and no harm can 
 be done by adding to the white a portion of the tint which 
 comes immediately in contact with it. Thus we will suppose 
 a door to be finished with white panels, grey or lilac stiles, 
 and pink mouldings. White lead used as ground up in oil 
 would be too yellow in tone for this combination, if rendered 
 a perfect white it would he too cold against the warm tinted 
 mouldings, but by adding to it the merest touch of pink the 
 approximate harmony would be immediately gained and the 
 repose essential to a pleasing result readily attained for the 
 whole. 
 
 It is of course understood that white being the most 
 attractive to the eye of the whole range of colours in the 
 painters’ vocabulary, by its affinity to light, is the most 
 amenable to modifications of tint such as those suggested in 
 the previous paragraph, and as shown to be necessitated by 
 its tendency to cause all colours to recede when any one of 
 them is placed in immediate contact with it. In its original 
 hue, therefore, it can only he regarded as the basis whereon 
 by admixture the whole range of decorative tints may he 
 compounded, and as the one colour which in our table of con¬ 
 trasts we have shown to be the direct contrasting colour of 
 all others, in greater or less degree, as the case may be, in 
 
WHITE LEAD AND ITS ADULTERATION. 
 
 41 
 
 proportion to the intensity of the colour against which it 
 may be placed. 
 
 Too much stress cannot be laid upon the importance of 
 using only the best procurable qualities of white lead for 
 decorative work. The covering body of inferior lead is so 
 much less than that of the genuine article that economy of 
 price can only act detrimentally upon the finished appearance 
 of work in which it is used. 
 
 Genuine white lead should be simply a carbonate prepared 
 by subjecting the metal in various forms to the action of 
 acetic acid, and as this gradually brings about a corrosion 
 of the lead surface, an incrustation of subacetate is suc¬ 
 cessively formed, and in due course is converted into a 
 carbonate. 
 
 The ground article is next prepared by collecting the 
 carbonate, which is washed and ground up to the consistency 
 of a thin paste by the addition of water. This, again, is 
 finally submitted to grinding with linseed oil in about the 
 proportion of 100 lbs. of the carbonate or white lead to 8 lbs. 
 weight of linseed oil. 
 
 The constant system of adulteration pursued by some 
 manufacturers is a source of considerable inconvenience to 
 the decorator, and a word here may not be out of place as a 
 hint for its detection. The foreign matter introduced is often 
 chalk, or more commonly sulphate of barytes. In the first 
 case the spurious nature of the pigment may be easily 
 ascertained by the decrease of weight in proportion to its bulk 
 which necessarily ensues. In the latter event, where the 
 presence of barytes is suspected, the solubility of the whole 
 mass may be determined by the addition thereto of diluted 
 nitric acid, when the sulphate of barytes, being indissoluble, 
 will be found precipitated in a solid or granular form on the 
 bottom of the vessel containing it. 
 
 Ground white lead being naturally a drier, will be found 
 to be reliable when mixed with turpentine alone, but where 
 large surfaces are to be covered, for convenience of working 
 
42 
 
 PRACTICAL HOUSE DECORATION. 
 
 it is desirable that an additional proportion of oil should be 
 mixed with it, and, to hasten its drying properties, a small 
 quantity of drying oil varnish, the paler the better, is some¬ 
 times combined with it as “ thinnings.” 
 
 Any remarks upon the preparations of white used in 
 decoration would be incomplete without a reference to 
 another form known as zinc white. This bears among prac¬ 
 tical men an unenviable name, as lacking the requisite 
 “ covering body” for ordinary work, although the absolute 
 purity of its hue renders it for some descriptions of painting 
 almost an essential. To obtain this remarkably pure white¬ 
 ness in the lead pigment without destroying its density has 
 long been an object of research among chemists and colour 
 manufacturers. Although, as we have said above, the deco¬ 
 rator very seldom requires to use (as a decorative effect) an 
 absolutely pure white, it may be remarked that the greater 
 the degree of absolute whiteness procurable in that pigment 
 when considered as a vehicle for compounding various pale 
 and delicate tints, the more cleanly and bright will be the 
 resulting appearance of the various hues ; hence, the inven¬ 
 tion of a non-poisonous white lead, of which the credit 
 belongs to the firm of J. B. Freeman and Co., the well- 
 known colour and varnish manufacturers of Battersea, is 
 likely to prove of great advantage to the decorative painter 
 not less than to the ordinary workman. Of its non-poisonous 
 property it is unnecessary to write. If a decorator were 
 restricted in his work to the use of absolutely innocuous 
 pigments, it is to be feared he would prefer to abandon his 
 task rather than add to his theoretical and practical trammels 
 so irksome a restriction upon his inventive faculties as it 
 would be likely to prove to him. But of the sterling merits 
 of this newly-invented pigment much may be said. Its 
 density is greater than that of ordinary white lead, so that 
 a far less quantity of staining pigment is requisite to obtain 
 any given tone. How great a saving in cost this excellent 
 property will effect on a job of reasonable dimensions will 
 
NON-POISONOUS WHITE LEAD. 
 
 43 
 
 be at once understood, especially in the composition of such 
 tints as carmine-pinks, verdigris-greens, and all hues obtained 
 by adding to the bulk of the white pigment expensive 
 colours of these and similar kinds. The author has himself 
 subjected this new preparation to practical tests, and is fully 
 satisfied of the superiority of “ Freeman’s white ” over the 
 white leads produced by the old or Dutch process. More¬ 
 over, it may be emphasised that it is really white lead, not a 
 preparation of zinc white in the usual sense of the word, 
 although an infinitesimal portion of oxide of zinc is required 
 to bring about a chemical change in the sulphate of lead 
 when held in solution. When the resultant pigment is 
 ground up in the ordinary way “Freeman’s white” is de 
 facto white lead, and being prepared from the sulphate, it is 
 not affected in the least by the atmospheric conditions of 
 climate or by sewer gas. To the decorator nothing is so 
 important as the use of a pigment which shall be reliable for 
 the purposes of “ matching.” It may at times be necessary 
 to repair some portion of a decorative “ bit ” on a wall, 
 dado, or ceiling. Great care may have been taken to match 
 every tint with exactitude, and for a few weeks or months 
 the effect of the general whole is absolutely perfect; but how 
 often does it occur that, in less time even than we have 
 supposed, the repaired portion is observed to be becoming 
 gradually darker than the older parts, until at last an ugly 
 and irritating patch attracts the attention of every person 
 who enters the apartment ? The inventor of a pigment 
 possessing perfect purity of white, together with absolute 
 immunity from chemical change of hue in all conditions of 
 exposure, richly merits the thanks of art-decorators in every 
 way as much as those of the ordinary house painter or the 
 builder, who, perhaps, would prefer to consider the patent 
 pigment in relation to its properties as a preservative of 
 woodwork or its capacity for “ bearing out ” upon a house 
 front. With these we have not in this volume anything to 
 do, but there is no reason why lead prepared by this im- 
 
44 
 
 PRACTICAL HOUSE DECORATION. 
 
 proved process should not flow as readily from the 
 brush of the house painter as from the pencil of the 
 decorative artist; while from the neutral nature of its 
 ingredients it undoubtedly combines with more facility 
 with other pigments than ordinary white lead. 
 
 Litharge (protoxide of lead) is an established drier formed 
 by collecting the grey powder which is found upon the sur¬ 
 face of the melted metal, and exposing it further to the action 
 of heat and air. 
 
 Sugar of lead, procured by gradually sprinkling oxide of 
 lead in pyroligneous acid until by continuous stirring the acid 
 is saturated, and allowing the product to settle until cold, is 
 another recognised drying medium well suited to the require¬ 
 ments of decorative work. 
 
 Possessing no tint in themselves, these may be safely 
 utilised for mixing with the most delicate colours, and they, 
 therefore, have an advantage over gold size, terebine, and 
 the darker descriptions of varnishes, which often injuri¬ 
 ously affect the purity of tints into which they may be 
 introduced. 
 
 We have dealt at some length with the various forms of 
 white, as they occupy so important a place in the composition 
 of the decorative tints which are appended at the conclusion 
 of the present chapter, in the whole of which white will be 
 seen to form, as above stated, the basis of the combinations 
 enumerated. In each case the combination is that found to 
 be the best suited for ordinary work by actual experience, 
 and will be found to differ in many particulars from the 
 tables laid down in contemporary works. The object being 
 to present a practical view of the decorative craft, there is 
 here no merely blind following of theoretical laws enunciated 
 by others, but the pigments given are those most readily to 
 the hand of the modern decorator. With that end it will be 
 seen the list is divided into two sections, as although most 
 colours may be successfully worked in distemper, there are 
 many pigments which are not available for compounding 
 
COMPOSITION OF DECOEATIVE TINTS. 
 
 45 
 
 with oil as a vehicle for painting, notably some of those 
 “ struck ” upon whitening as their basis in bulk. 
 
 OIL COLOURS AND FLATTING. 
 
 Pale Tints. 
 
 White, yellow ochre, burnt sienna,. 
 
 White, Prussian blue. 
 
 White (predominating), yellow ochre or middle 
 chrome. 
 
 White, umber (burnt or raw, as a warm or eool tint 
 may be required). 
 
 White, raw sienna, vermilion. 
 
 White, ultramarine, lake. 
 
 White, burnt sienna, indigo. 
 
 White, vegetable black, lake. 
 
 White, Prussian blue, Indian red. 
 
 White, vermilion, ultramarine. 
 
 White, Prussian blue, lake. 
 
 White, crimson lake. 
 
 White, vermilion. 
 
 White, Indian red. 
 
 White, vermilion, ochre, purple brown. 
 
 White, vermilion, ochre. 
 
 White, chrome yellow. 
 
 White, ochre, umber (see Drab). 
 
 Deep Tints. 
 
 White, Prussian blue, Venetian red. 
 
 White, purple brown, lake. 
 
 White, indigo, ochre, vermilion. 
 
 White, lake, vegetable black, purple brown. 
 
 White, ochre, indigo. 
 
 White, sienna, Prussian blue. 
 
 White, yellow chrome, Prussian blue. 
 
 White, black. 
 
 Orange: White, orange chrome, lake. 
 
 Violet : White, vermilion, Prussian blue, lake. 
 
 In addition to the tints there are several varieties of “ self¬ 
 colours ” or tones obtainable by admixture with white, 
 viz.:— 
 
 Green : (Sage), white, Antwerp blue, ochre. 
 
 (Pm), white, Brunswick green. 
 
 (Duck Egg), white, ultramarine, chrome. 
 
 (Olive ,)Oxford ochre, Prussian blue. 
 
 Blue : White, Antwerp blue. 
 
 White, indigo. 
 
 Purple : White, ultramarine, lake. 
 
 Buff : 
 Blub : 
 Cream : 
 
 Drab : 
 
 Fawn : 
 Grey : 
 
 Lilac : 
 Lavender : 
 Pink : 
 
 Peach: 
 Salmon : 
 Straw : 
 Stone : 
 
 Brown: 
 
 Chocolate : 
 Green: 
 
 T/TCATIi (Im-.nTTT? ■ 
 
46 
 
 PRACTICAL HOUSE DECORATION. 
 
 The blue tones are given as either Antwerp blue or indigo 
 if used in their intensity as oil pigments would appear black. 
 
 DISTEMPER COLOURS. 
 
 The same pigments, either as powder colours or prepared 
 ready ground in water, may be used as in the examples 
 above given, with the following additions in which the colours 
 named are not so suitable for oil colour work. 
 
 Tints. 
 
 Pink : White, rose pink. 
 
 Orange : White, Dutch pink, lake. 
 
 Grey ; White, celestial blue, rose pink. 
 
 White, blue black. 
 
 Straw : White, Dutch pink. 
 
 Either whitening or dry white lead may be used as the basis 
 of distemper tints. 
 
 In all instances the proportionate quantities of each must 
 depend upon the requirements of the decorator, and are 
 determined by the hangings or the furniture of the apart¬ 
 ment, or the general conditions already referred to in the 
 previous chapter. 
 
 While treating of colours in distemper it may be well here 
 to mention the fact that all greens made from copperas have 
 the peculiarity of becoming of a yellowish tinge after exposure 
 to the light when used as distemper tints. This should be 
 borne in mind by the decorator when arranging his details, or 
 he may find the harmony of his effect jeopardised by the 
 chemical change referred to, which does not, however, affect 
 colours prepared in oil. 
 
CHAPTER VI. 
 
 THE ARRANGEMENT OF WALL SURFACES AND COMBI¬ 
 NATION OF COLOURS FOR INTERIORS, 
 
 TTENTION having been duly 
 accorded to the composition 
 of the paint, and to the most 
 advantageous pigments to be 
 used for producing particular 
 tints, we may next refer to 
 the yet more important con¬ 
 siderations of their harmo¬ 
 nious application to the work 
 in hand, in order to suggest, 
 as well as it is possible to 
 convey them to the student of decoration 
 in the absence of the actual colours in 
 illustration of these remarks, some 
 suitable combinations for interior colour¬ 
 ing. The suggested tints show how 
 closely the theories previously advocated are bound up with 
 the practice of the craft. 
 
 Decorative art is divided at the present day into a number 
 of recognised “ styles,” the names of which, in most instances, 
 convey to the mind only in the slightest degree (and in some 
 cases not at all) an idea of the precise characteristics of the 
 ornament employed in them. Thus, we have the “ Georgian,” 
 the “ Queen Anne,” the “ Adams,” the “Elizabethan,” and 
 
48 
 
 PRACTICAL HOUSE DECORATION. 
 
 numerous others which, so far as they refer to the furniture, 
 upholstery, and general architectural details, are perhaps 
 well understood ; but when the painting of surfaces, the 
 “ picking in ” of enrichments, and the addition of applied 
 ornament is in question, we enter upon an entirely different 
 branch of the subject, which, it must be admitted, is but 
 imperfectly comprehended, and to which the simple title 
 of the special period sought to be imitated can give us no 
 clue whatever. 
 
 We will, in the first case, deal with the “ Georgian” period, 
 as being the nearest to the era in which we are living. Any 
 one who has taken the trouble to watch during the past 
 decade the great improvements in decorative taste which 
 have taken place in that period will at once understand that 
 the domestic decorations of the earlier portion of the present 
 century could not, with the exception of those larger works 
 to which reference is frequently made as affording subjects 
 for study and emulation, vie with those which would be in¬ 
 troduced into a middle-class dwelling now. The rules of 
 ornament were not so generally understood by the workmen 
 of that day as the decorators of the present understand them ; 
 hence it follows that much of the decorative work of the past 
 was not carried out with the same consideration of the pro¬ 
 prieties as we should to-day expect to be shown. 
 
 In some houses of that period we may even now look upon 
 the ancient craftsmanship of an apartment where the Greek 
 fret formed the staple adornment of dado and frieze, while 
 the door panels displayed work in the purest Italian style, 
 and the ceilings were carried out in the “ clouded ” manner 
 which years ago enjoyed wide popularity. 
 
 It is obvious that for the modern decorator to take such an 
 apartment for his model, and to found thereon a “ Georgian ” 
 dining-room, would be to subject him to the charge of igno¬ 
 rance of his business when judged by the standard held aloft 
 by such advocates for exactitude of detail as are found among 
 the decorative authorities of to-day. 
 
SETTING OUT OF WALL SURFACES. 
 
 49 
 
 It is a sign of a weakening of originality when decorators 
 are found so ready to fall back unblushingly on these so-called 
 “ styles,” and to adopt them with all their faults and 
 blemishes simply because they satisfy that current hankering 
 after the “ antique,” to which we are indebted for sham 
 “ Chippendale ” or “Sheraton” furniture, bogus sixteenth- 
 century bric-a-brac, and other modern old-fashioned “notions,” 
 as our American brethren term them. 
 
 At the present stage of our work we have rather to deal 
 with the most fitting colours to be introduced than with those 
 forms of ornamental detail which will later engross more of 
 our attention. 
 
 Before applying the colours, however,- we must, if we 
 desire to act upon the axiom that “ no good workman should 
 start before he is ready,” get an idea as to the “ setting out ” 
 of our wall flank. 
 
 Here we are confronted with a wide divergence of plan, 
 and much of our labour and the scope of our decorative 
 treatment will depend upon whether the apartment has a 
 constructive or actual dado, or whether we are to form for 
 ourselves (by the spacing out of the wall-paper, or a contrast 
 of colours in the form of painting) the requisite features of 
 the style to be adopted. 
 
 To impart a clearer idea to the student of the specially 
 prominent characteristics of the walls of apartments in 
 various styles, the drawings which illustrate this chapter may 
 probably be found of service. They are purposely of the 
 simplest possible character, and are strictly illustrative only 
 of the relative proportions of the dado, wall surface, the 
 frieze and lower members of the cornice in each instance, 
 and therefore require but a very brief explanation. 
 
 Fig. 6 furnishes an idea of the setting out of a wall 
 flank as most commonly met with in ordinary working 
 experience, and it would be equally applicable whether 
 intended to be placed in the hands of the painter or the paper 
 hanger. 
 
 D 
 
50 
 
 PRACTICAL HOUSE DECORATION, 
 
 Fig. 6.—Relative Height of Dado to Wall Filling in ordinary 
 Apartments. 
 
 For our present purpose, however, we may assume that 
 
THE DADO AMD FRIEZE. 
 
 51 
 
 if it has to be dealt with by the painter or house decorator, 
 he will mark out his dado at about the height of the middle 
 rail or cross stile of the entrance door. The height of this 
 dado is as nearly as possible about that of the kind generally 
 adopted in an apartment of the ordinary type. 
 
 In old houses belonging to the latter part of the last century 
 it is usually found to be constructed of wood, with a series 
 of proportionate mouldings above the entablature, and cor¬ 
 responding in detail to those of the skirting. 
 
 Where no such architectural construction exists, a plan 
 has been very successfully adopted of selecting a suitable 
 moulding and nailing it upon the wall flank at the required 
 distance from the floor ; the specially-prepared mouldings in 
 black or stained oak, walnut, &c., procurable from many firms 
 in our principal towns, possess the advantage of ready 
 adaptation to the wall after the whole of the painting or 
 papering has been finished, and effectually conceal any 
 inequality of line which may have been caused by inferior 
 workmanship. Indeed, when it is intended to supply such 
 enrichments little care need be taken to ensure precision in 
 this respect, and a considerable saving of time in “ cutting 
 in ” the lower colour to the upper may be thereby effected. 
 
 The addition of a frieze below the cornice, although shown 
 in the diagram, is scarcely a necessity, and when the room 
 has the disadvantage of a low ceiling it is sometimes pre¬ 
 ferable to dispense with it altogether, for the reason that all 
 ornament below the cornice, and immediately abutting upon 
 it, must, as a matter of course, detract from the apparent 
 height of the room. The width of the frieze will therefore, 
 in any case, be dependent upon the actual height of the 
 apartment, and may therefore be increased or decreased in 
 proportion accordingly. 
 
 Fig. 7, as will be seen, differs very materially from the 
 preceding example, inasmuch as the dado has in this instance 
 been increased in height until it is nearly on a level with the 
 top of the upper panels of the door. This extension of the 
 
 d 2 
 
52 
 
 PRACTICAL HOUSE DECORATION. 
 
 dado arrangement is a peculiar characteristic of the houses 
 of the Jacobean period, and where the whole of the fittings 
 and furniture are correspondingly quaint in construction, 
 
 Fig. 7.—High (Panelled) Dado. 
 
 its effect is both novel and pleasing to nineteenth-century 
 connoisseurs. But when so great a width is required, it is 
 obvious that if finished in monochrome its effect would be 
 rather to offend the eye ; it is, in consequence, essential 
 
PANELLED WALL SURFACE. 
 
 £53 
 
 that its monotony should be broken by decoration, and in 
 constructive dados of this kind it is usual to panel them and 
 to pick out in relief the mouldings by which the panels are 
 defined. In this, as in the preceding example, the width of 
 the frieze must depend entirely upon the proportions of the 
 apartment. 
 
 In Fig. 8, we have another departure altogether, and one 
 suited only to a limited range of interiors. The frieze is 
 
 Fig. 8.—Wide Frieze and Panelled Wall. 
 
 here brought down from the cornice to a level with the 
 architrave above the door. The comparatively small dimen¬ 
 sions of the filling are, however, relieved from the meanness 
 of appearance they would otherwise convey by a subdivision 
 of the entire space into panels, which readily lend themselves 
 
54 
 
 PRACTICAL HOUSE DECORATION. 
 
 to decorative embellishments. An arrangement of this kind 
 is often adopted in the quaint mansions which are so rapidly 
 increasing in the fashionable quarters of the metropolis, and 
 may, indeed, be classed as a characteristic of the style. 
 
 Some appropriate styles of colouring applicable to these 
 examples are appended. 
 
 Fig. 6, as a dining-room, has been most satisfactorily 
 finished in actual practice by adopting grey tones with dull 
 blues, and carrying out the decorations upon that ground in 
 a cream tint inclining slightly to green. The stiles and 
 architraves of the doors painted in a grey tone composed of 
 white, vegetable black, and crimson lake, and the panels in 
 a blue composed of white and Prussian blue, with sufficient 
 raw sienna added to break up the brightness of the tint. 
 Upon this an effective decoration in the cream-tinted green 
 may be painted or stencilled, and the mouldings round the 
 panels may be relieved by a pale, dull pink, compounded of 
 Indian red and white. Of course, it is only possible here 
 to give these hints as a key-note to the whole, for, as already 
 explained in a previous chapter, the degree of light or depth 
 of shadows in the room itself will perhaps necessitate a 
 reduction in, or extension of, the brilliancy of the tints sug¬ 
 gested. To the practical painter these will have ceased to 
 be difficulties in the way of success, while the novice may 
 take heart of grace by the remembrance that with the best 
 advice in the first instance for his guidance, actual experience 
 is the most satisfactory teacher. The wall flank in this 
 instance may be a dull pink, the dado several degrees darker, 
 or the whole may be kept as nearly as possible in approxi¬ 
 mate tones to those used in the decoration of the door. 
 
 Fig. 7 may be painted in Pompeian red tones, the enrich¬ 
 ment of mouldings, &c., being picked out in cream colour or 
 cinnamon, the wall filling in dull greens, blues, or salmon 
 tints, and such ornaments as may he applied should be com¬ 
 pleted in lighter or darker variations of the prevailing colours. 
 Although struck in a somewhat low tone, an apartment 
 
SUGGESTIONS FOR APPROPRIATE COLOURS. 
 
 55 
 
 of this kind, by the variety and richness of the construc¬ 
 tive enrichments, may be made to look most satisfactory. 
 Where, however, there is an absence of such decorative 
 accessories it may be desirable to throw in a little more 
 warmth of tone, and to carry out the ornamental work in 
 brighter colours, but always in accordance with the rules of 
 harmonic contrasts. 
 
 In Fig. 8, which might be a boudoir or a “ morning- 
 room,” the depth of the frieze necessitates some amount of 
 attention being bestowed upon it; and a variety of pleasing 
 patterns may be suggested of a more or less ornate character, 
 while a variety of bright tints may readily be introduced into 
 the cornice. Pale “ peacock blue,” pale green relieved with 
 bright pink, pale cinnamon tints, and generally bright toned 
 modifications may here be introduced, and the fullest selec¬ 
 tion from the list of mixed tints which was given in the 
 fifth chapter is permissible in this case. The panels round 
 the room may be made the medium for the display of 
 exquisite pencilled ornaments, and to them, in a sub¬ 
 sequent chapter, it will be necessary to direct our atten¬ 
 tion. 
 
CHAPTER VII. 
 
 SOME CHARACTERISTICS OF MURAL DECORATION. 
 
 EAUTIFUL and varied forms of 
 ornament, not less than the proper¬ 
 ties and relations of colours and 
 pigments, demand equally our 
 eaimest study, that we may be able 
 intelligently to comprehend those 
 which have been handed down to 
 us by the art craftsmen of the past, 
 and more especially to determine 
 their adaptability or unfitness, as 
 the case may be, to the style of 
 decoration chiefly in vogue at the present day. 
 
 That a knowledge of freehand drawing is es¬ 
 sential to the decorator almost “ goes without 
 saying,” and with the many facilities afforded by 
 the schools of design which are to be found in all our pro¬ 
 vincial towns and in every district of the metropolis, there 
 should be few readers who have not gained some degree of 
 proficiency in the imitation, at least, of freehand outlines of 
 a more or less ornamental character. 
 
 In decoration that proficiency must be extended to the 
 designing not only of outlined scrolls or geometrical combina¬ 
 tions, but of figure and landscape. Ornament “ in the flat,” 
 to use the proper technical term, belongs to the former cate¬ 
 gory, and relies for its effect upon mathematical accuracy 
 together with firmness and precision of outline. The next 
 
THE COMPOSITION OF ORNAMENT. 
 
 57 
 
 step is the execution of ornament “ in the round,” in which 
 we shall have to treat of light and shadow, depth and breadth, 
 and graceful delineation of form, the chiaroscuro , in fact, of 
 the entire combination. In the next chapter will be shown 
 how the colours are prepared, and in what manner they must 
 he applied in order to produce this necessary effect, without 
 which no “ artistic ” effort would he held to be worthy of the 
 name. 
 
 As we are now chiefly concerned with wall or mural 
 decoration, in which every one of the branches of decoration 
 hinted at may be, and are, frequently employed, the student 
 of ornament has a wide field of observation before him, and 
 may profitably study the reproduction in colours of a large 
 number of familiar objects, some of which as decorative forms 
 appear as illustrations. 
 
 To make the meaning more clear, let us suppose we have 
 to decorate the walls of a music-room—such an apartment as 
 is often found in these days of musical culture in the mansions 
 of the wealthier classes. If the wall is to be panelled the 
 decorator will often be called upon to represent in colours the 
 lyre, the harp, the Pandean pipes, and even drums, tambours, 
 &c., are not infrequently grouped together as if fastened by 
 scroll ribbons and pendent from the walls. Fig. 9 gives a 
 pen-and-ink sketch of this kind of decoration ; it is of French 
 origin, and was much used in the time of Louis XYI.; painted 
 on panels, and in the magnificent cabinet work of that era, 
 it found a place in the inlaid designs for which the French 
 were then celebrated, being rendered in various choice woods 
 to give as much as possible the natural colours to the group. 
 
 Again, in the case of a billiard or card room, representa¬ 
 tions of popular sports may be effectively introduced. In 
 this case the artist has only to consider the practical work 
 before him, but the designer—and the happier result will be 
 found, in most cases, when the two are combined in an indi¬ 
 vidual executant—should be able to infuse poetry and mean¬ 
 ing into the decorative scheme. 
 
 d 8 
 
58 
 
 PRACTICAL HOUSE DECORATION, 
 
 Thus in the representation of sports he might by a little 
 exercise of thought depict on the four walls of his apartment 
 
 or the four corners of his 
 ceiling, perhaps, those 
 appropriate to the four 
 seasons of the year, as 
 football in the spring, 
 rowing for summer, 
 cricket or shooting for 
 autumn, and skating in 
 winter. If he desires to 
 give a free appearance 
 to his panels he may 
 introduce these as 
 “cameo” figures, he 
 may array them in 
 judicious drapery and 
 thereby give his fancy 
 the fullest scope. 
 
 He would not, for in¬ 
 stance, array his skating 
 party in “chimney pot” 
 hats, or the female figures 
 in a nineteenth-century 
 
 “ crinolette,” but by a 
 Fig. 9,-Pendent Music Group (French). ^ study he would be 
 
 enabled to so modify the exigences of costume as to preserve 
 his meaning without detriment to the subjects represented. 
 
 If he is engaged upon a dining-room he has at his command 
 “ all the kindly fruits of the earth,” and marvellously beauti¬ 
 ful are the combinations that may be made with them in 
 skilful hands, while the more substantial viands, or the 
 representation of animals and birds of rare plumage, may be 
 worked up in aid of the decorative effect. 
 
 In the frieze pattern (Fig. 10), an original design is given 
 as an illustration of the decorative application of fruits, &c. 
 
1 
 
 A DINING-ROOM FRIEZE. 59 
 
 It will be seen that the vine leaf from its graceful shape 
 is an aid to decorative 
 effect, forming a support 
 on either side to a cameo, 
 which contains a repre¬ 
 sentation of Sappho with 
 her lyre. This would be 
 suited to a music-room 
 or boudoir if harmoni¬ 
 ously connected with the 
 general surroundings of 
 the room, but in this 
 instance the remaining 
 panels of the frieze con¬ 
 tain baskets of fruit; 
 and this with the vine 
 leaves and grapes would 
 fit it for reproduction 
 in a dining-room. The 
 medallion should not be 
 repeated more than once 
 on each side of the room, 
 unless the apartment be 
 oblong in shape, when 
 its longer sides would, 
 perhaps, take a replica 
 of this feature of the 
 pattern, or if the room 
 be very large a repeat 
 might be foundnecessary 
 —and in that case the 
 centre subject of the 
 cameo should be 
 changed, so as not 
 absolutely to follow one 
 only idea. The figures might, as suggested above, be made 
 
 Fig. 10.—Original Design for a Frieze. Fruit and Cameo Subject. 
 
60 
 
 PRACTICAL HOUSE DECORATION. 
 
 representative of the seasons, and the other panels would 
 then be altered in such a manner as to keep in view the 
 leading idea or “ key,” by filling the baskets with appro¬ 
 priate fruits, and giving other support to the cameo than 
 merely the grape pattern shown in the drawing. Such 
 an arrangement for a four-sided apartment, giving to each a 
 “ season,” could not fail to be satisfactory if rendered artisti¬ 
 cally by the decorator. It is, in fact, the infusion of variety 
 into the work, while preserving its leading features, that 
 marks the distinction between the work of the decorator and 
 that of the paperhanger, wherein the sole variety is found in 
 endless alternations of two or three subjects, and in an 
 apartment of any considerable dimensions there is invariably 
 an inordinate repetition of each identical panel. The figures 
 in each cameo being varied would obviate that disadvantage, 
 but of course, in a mere printed frieze, however carefully 
 chosen, such an idea would be almost impracticable unless 
 the design were especially printed to the order of the 
 decorator. The cameo should be either a blue or dull red 
 ground, with figure rendered in white on the blue or in pale 
 yellow on the red ground, and shaded into the ground colour 
 with as much softness of outline as consistent with clearness 
 of effect. Some further remarks upon “ cameo ” painting will 
 be found on page 82. In the “basket” panels the fruits 
 may be either painted in natural colours on a dark ground, 
 or treated in the same manner as the medallion subjects. 
 Either plan would look effective, but preference should be 
 given to the first as affording the greater variety of treat¬ 
 ment. The borders at top and below the frieze are conven¬ 
 tional in character as a counterpoise to the naturalesque 
 treatment of the main design, and should be rendered in 
 suitable colours in “ diaper ”— i.e. in flat tints upon an 
 unbroken ground tone. 
 
 In the boudoir or the drawing-room, where the range of 
 colours applicable to their artistic treatment is practically 
 unlimited, as great a licence may be taken with the forms of 
 
EMBLEMATIC ORNAMENT. 
 
 61 
 
 decorative work. Flowers of brilliant hue, foliage, and 
 imitation of bead work, music, birds, animals, landscape-— 
 one and all are at the designer’s command, and by attention 
 to the symbols conveyed in their introduction, so that each 
 may possess its particular meaning, the most pleasing results 
 are obtained. This may properly be termed “ emblematic” 
 decoration, since the aim should be to endow every single 
 feature of the whole with poetic imagery, and thereby lend 
 an additional charm to the work of the artist. 
 
 The ideas here enunciated form a characteristic of the 
 Renaissance period which was carried in France to a great 
 excess in the sixteenth and seventeenth centuries, but in 
 spite of the teaching of those savants who affect the greatest 
 horror of imitative representations of natural objects in their 
 proper colours on places where they could not possibly be 
 in stern reality (as for instance a recumbent figure of one of 
 the Muses on the ceiling of the Hotel de Ville at Brussels, 
 reposing gracefully for support on the upper members of the 
 cornice), we are bound to approach this subject from the 
 practical standpoint of a decorator, and to believe therefore 
 that all that is beautiful in art may—if introduced systemati¬ 
 cally and properly balanced with the surroundings or uses 
 to which a particular apartment is applied—be equally 
 beautiful and quite as much to be admired in decoration. 
 
 Muller, a German writer, says upon this point, “ The 
 laws of art are nothing else than the conditions under 
 which the sensibility of the mind can derive agreeable 
 emotions from external forms. They determine the artistic 
 form according to these demands of sensibility, and have 
 their foundation therefore in the constitution of the sensitive 
 faculty. The artistic form must then in the first place 
 possess a general conformity to laws manifested in the obser¬ 
 vance of mathematical relations or organic forms of life ; 
 without this regularity it ceases to be artistic form. But 
 beauty (of outline) is a more immediate predicate of the 
 artistic form in its reference to sensation. It lies in the 
 
62 
 
 PRACTICAL HOUSE DECORATION. 
 
 notion of a work of art as an infinite combination of an 
 artistic idea with external forms, that it must have a unity to 
 which everything in the work may he referred , and by which 
 the different parts may be so held together that the one, as 
 it were, demands the other and makes it necessary. The 
 work must be one and a whole.” 
 
 The Arabesques of Raffaelle, of which reproductions are 
 to be seen at South Kensington Museum, and a portion of a 
 pilaster by whom is illustrated on page 89, are usually quoted 
 as examples of this application of natural forms, both animal 
 and vegetable, to the purposes of ornament, and in England 
 from the time of Henry III. to the close of the reign of 
 Edward III. a similar system of wall decoration largely 
 prevailed. The brightest and most lively colours were applied 
 in masses, and upon the grounds thus produced were painted 
 representations of animals and the human figure, birds, and 
 foliage, sometimes in one tint only and at others in varied 
 colours. One of the most beautiful of the designs peculiar 
 to this period was a pattern composed of vine leaves, the 
 drawing of which was remarkable for its freedom and the 
 elegance of its curvilinear arrangement; the tendrils, the 
 leaves, and the clusters of ripe fruit were represented in red, 
 green, and purple tints, while birds of beautiful plumage were 
 represented as nestling among the leaves. An illustration of 
 this design exists at Rochester Cathedral in the wall paint¬ 
 ing of the St. William’s Chapel, and another specimen is 
 found beneath the canopy of the monument to the Countess 
 of Lancaster, in the choir of Westminster Abbey. Figures 
 and various devices were often incorporated with the foliage 
 in such designs, sometimes in composition with the foliage 
 and forming the terminals of floriated scrolls, and were often 
 introduced within coloured medallions as vehicles for the 
 display of faces of men and angels, full length figures, and 
 emblems. 
 
 The value of all decoration consists in its being used to 
 add beauty to common things, to relieve the blankness of 
 
APPLICATION OF NATURAL FORMS. 
 
 63 
 
 bare walls, floors, and ceilings, and it is essential that in our 
 consideration of all painted decoration, as in the choice of 
 paper hangings, curtains, and carpets, form must be regarded 
 chiefly as the vehicle of colour. Intense tints at the present 
 day are unsuited to the comparatively smaller apartments of 
 modern houses, unless used sparingly and distributed with 
 sufficient skill to use them as a means of enlivening a mass 
 of secondary tints. Strong contrasts of colour and harsh 
 outlines, as well as preponderance of deep tones, have been 
 over and over again demonstrated as reducing the apparent 
 proportions of the room in which they may be employed. 
 This observation is rendered necessary here, as, while advo¬ 
 cating a study of the work of past centuries to aid the deco¬ 
 rator of to-day, we are not for a moment required to believe 
 that the gaudy colours used in the mediaeval period would be 
 suited for reproduction in an eight-roomed “ villa residence.” 
 Account must be taken of the fact that the halls of our fore¬ 
 fathers were often of gigantic proportions, being divided for 
 various domestic uses by a simple curtain or arras. In the 
 application of natural forms to the purpose of decoration, it 
 should be remembered that no fantastic design can possess the 
 elegance of one based upon that really experienced in nature. 
 Thus for intertwining with scroll work the convolvulus, tre- 
 polium, woodbine, &c., will be found thoroughly in keeping, 
 and the same remark applies with equal consistency to the 
 painted representations of birds and insects. “ These may,” 
 says Mr. Jewitt, “ be twisted into almost any position and 
 shape. A lizard with its beautiful emerald green back, its yellow 
 underparts, and rich brown mottlings might be introduced 
 with its long tail wrapped and twisted round the stem of a 
 plant, and its little head, with brilliant eyes, shown just 
 peeping out from under one of the beautiful flowers.” The 
 lady bird, with its bright red body with small black spots 
 might be effectively shown upon a leaf or stem, while butter¬ 
 flies and moths, their papilionaceous colours in never-ending 
 varieties, lend themselves readily to the requirements of 
 
64 
 
 PRACTICAL HOUSE DECORATION. 
 
 boudoir and drawing-room embellishment. In the examples 
 of the Italian school and the sixteenth-century decorations 
 of France, squirrels, monkeys, goats, and indeed almost any 
 of the smaller animals, are found both naturally and artistic¬ 
 ally treated, and shells, &c., lend their individual beauties 
 to many of the choicest decorative examples of Theodore de 
 Bry, who also introduced jewelled forms, strap work, and 
 flowers in happy combination. Fig. 11 gives an idea of this 
 style of composition. The subject is “ The Chase,” but the 
 decorative treatment so completely subordinates the actual 
 symbolism, that the whole design may be considered purely 
 as ornament. There is the stag, evidently making a 
 desperate attempt to escape the shaft which is being aimed 
 at him by the winged hunter from his well-poised bow, and 
 
 Fig. 11 .—“ The Chase,” Portion of Decorated Frieze Border (French). 
 
 on the other side is a hound in full cry; but each of these 
 is so cleverly interwoven with the foliated scroll work as to 
 impart that symmetrical appearance to the design which 
 lends it its greatest charm. In the Palace of the Dorias 
 at Genoa, we find the cornucopia and ornamented vases also 
 introduced, while in the wall decorations of the Giant’s 
 Staircase, in the Ducal Palace at Venice, by Benedetto and 
 Domenico de Mantua, winged animals, which possess some 
 analogy to the ancient examples of Nineveh, form a cha¬ 
 racteristic of the cinque-cento ornament, and in art phrase¬ 
 ology are generally known by the designation of grotesques. 
 
 To the pendent groups of musical instruments may be 
 added the “trophies” of the Renaissance, in which the 
 cinque-centists painted, principally in yellow cameo on a blue 
 
PANEL ENRICHMENT. 
 
 65 
 
 ground, ancient and modern armour, helmets, weapons of 
 war and mathematical instruments, open books, &c. 
 
 Passing onward to examples of the seventeenth-century 
 
 Fig. 12.—Design for a Panel (French). 
 
 or Louis-Seize ornament, we find this practice to be carried, 
 in the work of Fay and his contemporary decorators, to the 
 bounds of imitative licence. In wall decorations, in panels 
 and friezes, in cornices, and on the ceilings of the apartments 
 
66 
 
 PRACTICAL HOUSE DECORATION. 
 
 of the more important public and private buildings, winged 
 arrows, quivers, game both winged and four-footed, jewelled 
 necklaces, human figures, terminating in acanthus scroll 
 work, together with painted representations of carved wood 
 scrolls, sometimes directly analogous to that of the Elizabethan 
 period in England, were all pressed into the service of the 
 ornamentist, and nothing perhaps can more conclusively 
 point to the practical craftsman of the day how necessary it 
 is (to be a master of his art) that he should be able to por¬ 
 tray with the skill of an artist the representation of almost 
 any object animate or inanimate with which he meets in his 
 daily life, and a great many, also, with which he may only 
 at rare periods become acquainted. 
 
 In Fig. 12 is given an example of this florid style in the 
 form of a decorative panel. The motif is pure French, and it 
 is capable of rendition in colours—the outer scroll in gold 
 shaded in sienna, or in rich glowing colour instead of gold, 
 shaded naturally ; the space between it and the inner panel 
 might be a choice blue or grey, of course only a tint rather 
 than a decided colour, and the inside panel a pale rich cream 
 tint; the leaves and berries should appear either in their 
 natural tints or in some suitable harmony against the ground, 
 the ribbon supporting the pipes in blue with pink for the 
 reverse side, and the figures at top in natural flesh tints. 
 The general ground tone of the panel ( i.e . outside the scroll 
 frame) should be a warm salmon hue to harmonise completely 
 with the various details of the design. 
 
CHAPTER VIII. 
 
 ON POLYCHROMATIC ORNAMENT IN THE ROUND. 
 
 , OLYCHROME ” is a term used ir 
 the ornamental arts to signify 
 a combination of such a variety 
 of colours as, indeed, is indis¬ 
 pensable to carry out particular 
 effects. Any system of decora¬ 
 tion in which the representation 
 of natural forms is sought for 
 is essentially polychromatic in 
 its character, for whilst conven¬ 
 tional ornament may be executed 
 in one colour only, distinguished of course by 
 working the various parts in the different hues 
 ranging from light to dark, in the rendition of arabesque or 
 Italian ornament, or the representation of landscape or 
 Watteau scenes, nearly the whole range of colours known to 
 the artist may be called into requisition. 
 
 In panels of a classic character in which amorini (by which 
 name the chubby figures of Cupid and other figures of boys 
 are generally known), or figures derived from mythological 
 lore, as those of Venus, Diana, Mars, Mercury, &c., are 
 introduced, as well as in the production of sylvan landscape 
 and figures of satyrs, nymphs, and similar groups to that in 
 the initial letter above, a knowledge will be requisite of the 
 art of painting flesh subjects. Although it is given to few 
 to rival the genius of an Etty or a Poynter, at least suffi- 
 
68 
 
 PRACTICAL HOUSE DECORATION. 
 
 cient study must be accorded to these artistic branches of 
 the decorator’s craft in order that he may be enabled to 
 accomplish something fairly representing the subject to be 
 introduced. 
 
 Fig. 13 gives an idea of a decorative panel centre in which 
 a foliated scroll forms the setting to a flying figure with a 
 
 horn, and carrying a palm 
 branch in the left hand, while 
 at the feet of the figure resting 
 upon a curved terminal is a 
 dove, emblematic of peace. 
 
 In this class of decorative 
 work drapery forms a distinc¬ 
 tive feature, and the painting 
 of gracefully flowing robes, 
 as well as the proper por¬ 
 trayal of arms and armour in 
 colours, are subjects to which 
 careful attention must be 
 directed. 
 
 See also the drapery study, 
 Ceres, Fig. 40, on page 115, 
 the rendition of which, in 
 colours, would make an excellent practice. 
 
 One of the first considerations in painting ornament “ in 
 the round,” as distinguished from the flat outlined ornaments 
 produced in stencilling or pencilled work, will be that of light 
 and shade ; and here again arises another important point as 
 to whether the object depicted has to be shown as if bearing 
 a polished or metallic surface or merely as “ dead ” colouring. 
 
 In every object possessing a polished face there are the 
 high light, the natural shadow, the reflected light, and the 
 deep shadow. 
 
 In Fig. 14 is given a Roman helmet and sword; the 
 remarks upon reflected light would bear with special signifi¬ 
 cance upon the painting of this subject, as all objects of 
 
 (Draped figure and scroll). 
 
NATURAL AND REFLECTED LIGHT. 
 
 69 
 
 bright metal necessarily have a strong reflected light in addi¬ 
 tion to the natural shadow. 
 
 A dead-coloured object giving no reflection of light is far 
 
 Fig. 14.—Armour Trophy (Roman). 
 
 simpler to paint, it has no “high” light, and its intensity 
 of shadow is proportionately less. All students of decora¬ 
 tion should practise the painting in proper colours of such 
 “bits” of decorative work as they would be likely -tp see 
 introduced into an apartment as portions of the collective 
 whole, and for that purpose the “ practical examples ” given 
 will afford useful study, and give the novice some initiatory 
 ideas of the difficulties to be surmounted in reducing them 
 to practice. 
 
 If these are properly portrayed in colour on a pattern 
 board, it will prove an invaluable method of learning where 
 these practical difficulties are likely to arise ; and on the 
 principle—more often in these days “ honoured in the breach 
 than in the observance ’’—-that “ practice makes perfect,” 
 the decorator will possess that confidence in himself so neces¬ 
 sary to effective work when he commences operations upon 
 the actual apartment he seeks to embellish. 
 
70 
 
 PRACTICAL liOUSE DECORATION. 
 
 We may then for the present apply ourselves to the repro¬ 
 duction of these examples upon a ground previously prepared, 
 and a great deal of our success will depend upon the amount 
 of care with which the surface has been got up to receive the 
 ornamental figures we design to place upon it. 
 
 Where a number of softened shadows are essential to give 
 the desired effect, the softness and consequently the rotundity 
 of the figure will all hinge upon the absolute smoothness of 
 the under surface. A pattern board should be got up with 
 as much nicety as that with which a coach painter would 
 finish the panels of a carriage, and the trouble of rubbing it 
 down with fine glass paper between each coat of paint, and 
 again previously to varnishing, will be amply repaid by the 
 pleasure the operator will feel in working upon it. One of 
 the best possible grounds on which to execute work of this 
 kind is formed by thoroughly “ felting down” the first coat 
 of varnish when it has become properly hardened. This is 
 done by the use of pumice powder applied with a piece of felt 
 (about 6 in. by 4 in. in size is the most convenient for hand¬ 
 ling readily), and then leaving it unvarnished with a second 
 coat until the completion of the pattern. The “ half gloss ” 
 of this varnished surface forms an admirable body on which 
 to apply the subsequent colours. 
 
 The pigments used for ornament in the round are neces¬ 
 sarily made up in such a manner that they may dry with 
 sufficient hardness, but yet so slowly that they may be 
 manipulated with perfect ease to give the effect of “ soften¬ 
 ing,” which latter is an essential to all naturalistic repro¬ 
 ductions. In nature there is no such thing as a hard shadow, 
 the outline of all shadows is by atmospheric conditions 
 invariably merged into the general whole, hence the colourist 
 must so blend the shadows into his main colour that the 
 hard outline of the shadow, which would mar the whole 
 effect, shall be in no degree discernible. 
 
 That shadows do not affect the shape or general outline of 
 the design, is endeavoured to be shown by diagrams (Figs. 
 
EFFECT OF SHADING ON OUTLINE. 
 
 71 
 
 15, 16, 17), which are purposely of the most simple character 
 possible. Let the painter draw upon his pattern board in 
 cbalk a rectangular figure as in Fig. 15 ; if he then blends 
 the colours in shadow form, as in Fig. 16, by a series of 
 
 Fig. 15.—Rectangular Outline. Fig. 16.—The same, shaded. 
 
 straight strokes of darker tones of his body colour right 
 across the panel, he at once produces an apparent roundness 
 without in any degree interfering with the rectangular outline 
 
 A B 
 
 of the figure. It will be noticed that the darker tone is not 
 carried close to the extreme edge on either side of the square, 
 but that a line of light is left at both ; this is the reflected 
 light which imparts the rotundity to the figure. This reflected 
 
72 
 
 PRACTICAL HOUSE DECORATION. 
 
 light will be apparent on all spherical objects, and will be 
 noted in the helmet, Fig. 14, and also in Fig. 17, which 
 shows three other forms of outline; in the one a scroll 
 composed of the simplest possible curves is shadowed in the 
 same way as the rectangular figure just given, while a 
 cylindrical figure resting upon a spherical ball completes the 
 group. It should he noticed that where the cylinder passes 
 behind the scroll, the shadow thrown upon it takes the curve, 
 not of the scroll from whence it is derived, but of the cylinder 
 upon which it falls. The effect of shadow softening is fully 
 seen by comparing these figures (a) with their plain outlines 
 (b) which are placed with them. It will be noted that the 
 mere circle becomes by the effect of shadow a spheroid figure 
 possessing apparent solidity, while the cylindrical example is 
 evolved from a pair of parallel lines meeting an oval at their 
 upper extremities. All the rest is effected by the process of 
 shading. 
 
 Having said so much then upon shadow softening, it next 
 behoves us to consider the working of the actual colours, 
 which must, as already said, be slow rather than rapid in 
 drying. For this purpose it will be found advisable that 
 each should be ground in raw linseed oil, a very small pro¬ 
 portion of patent driers being added, and that the vehicle 
 used as thinnings should also consist in part of raw oil, 
 a little turpentine and pale hard-drying varnish being added. 
 
 Red sable brushes in tin (both flat and round will be found 
 necessary for certain parts of the work) are the most 
 preferable tools, and an oval palette of fair size is another 
 requisite. Oil colours in tubes are both convenient and 
 cleanly, and although dearer in proportion as compared with 
 powder colours which the decorator may himself prepare, they 
 will he found quite as economical in use, for as much need 
 only he put on the palette as the workman may require, thus 
 avoiding waste, and there is also a deal of time and labour 
 saved which would have otherwise to be expended in pre¬ 
 paration by the decorator himself. 
 
THE PROCESS OF SHADOW SOFTENING. 
 
 73 
 
 Some of the colours are in themselves bad driers, and 
 these may be used almost entirely with varnish, as they 
 require something to ensure hardening. Of these burnt 
 sienna is one of the most unreliable as to its drying ten¬ 
 dencies, verdigris coming into the same category; lake, black, 
 and Prussian blue are also colours which necessitate a more 
 sparing use of raw oil as a thinning medium. 
 
 It is advantageous in practice to use either sugar of lead 
 properly ground up by means of the slab and muller or the 
 best quality of prepared “ patent driers ” with these semi¬ 
 transparent pigments. Their opacity is improved by the 
 addition, and that also ensures for them a greater “ covering 
 body.” 
 
 This, of course, does not apply to the reproduction of 
 shadows on gilded work, as in order to preserve the rich 
 lustre of the metal it is then most essential that they should 
 be transparent. In that case, therefore, the operator may 
 find Japan gold size a safe medium to work with, but he will 
 then avoid the use of turpentine, adding only to the gold 
 size a few drops of raw linseed oil and a small proportion of 
 varnish. 
 
 In working, a cloth on which to wipe the softening fitch 
 after each application will be necessary. For ordinary work 
 the best of softeners will be found to be a one or one-half 
 inch flat sable in tin ; for very broad work a larger size will 
 be requisite. In softening, the dark tones should never be 
 blended into the light, but the light into the dark. As an 
 instance, we will suppose a scroll to be a delicate rich pink, 
 the deep shadows in this would partake of an Indian red 
 tone, but by softening the deep red into the lighter colour 
 much of the delicacy of the pink would be destroyed and the 
 colour would become muddy in appearance. On the other 
 hand if the light be carried too far, or is too much “ softened ” 
 into the dark, a “milky” shadow will be created which is 
 almost equally objectionable. 
 
 There must invariably be a separate brush for each colour, 
 
 E 
 
74 
 
 PRACTICAL HOUSE DECORATION. 
 
 and. the utmost care must be taken that the softening fitch is, 
 as nearly as possible, freed from paint after each application 
 of it to the work in hand. 
 
 The colours to be softened should never be allowed 
 actually to touch each other until blended by the flat fitch ; 
 they may be brought as close as the sixteenth of an inch 
 towards each other, and then the remainder of the surface 
 may be left to be covered in the process of blending, which 
 commences by drawing the clean softener in a zig-zag man¬ 
 ner, so as to catch the inner edge of each of the wet colours, 
 across the work ; this gives a kind of escalloped appearance 
 which is speedily turned to a softly blended union of the two 
 colours by further strokes given with precision and firmness 
 straight across, but with extreme lightness of touch. A 
 common mistake of inexperienced workers is to soften too 
 much, to go over and over, backwards and forwards, until 
 the whole becomes a smudgy mass. One or two practised 
 strokes are all that is essential, and the fewer in number the 
 more cleanly will be the appearance, and the less colour will 
 there be to wipe out of the fitch after every application. 
 
 Fig. 18 is one of a series of Renaissance frieze subjects 
 for a four-sided apartment, the cameo centre representing 
 spring, the remaining three being also emblematic of the 
 seasons. 
 
 In actual practice for mural decoration where it is desired 
 to give roundness by the introduction of light and shade, 
 attention must be paid to the quarter from which daylight 
 is admitted to the apartment. It would be totally contrary 
 to common sense should the darker side of an ornamental 
 combination of scroll work and figures be that immediately 
 contiguous to the stream of light admitted through the win¬ 
 dow casements. Wherever the natural shadow would fall, 
 were the decorative details reproduced on the wall surface 
 really solid objects instead of painted representations, there 
 should the artist throw his darker colours ; attention to this 
 fact would save him from a charge of incongruity and render 
 
ORNAMENT IN THE ROUND. 
 
 75 
 
 his naturalistic treatment of the decoration more effective 
 because not opposed to probability. In the frieze subject, 
 Fig. 18, it will be seen that the light appears to be thrown 
 upon the scroll and figures from the right, and that the 
 shadows are consequently upon the left of the subject, and 
 that a similar arrangement of shadow obtains in the cameo 
 centre. But the artist would not on all four sides of the 
 apartment so place the shadows ; on the opposite wall flank 
 the light would be from the left and the whole of the shadows 
 upon the right, and he would thus secure a rational effect 
 in the disposition of his details. Every dark should be 
 arranged so as to tell against a light, and vice versa; this is 
 the true art principle of relief, but the contrasts must be so 
 
 Fig. 18.—Frieze Subject (Spring). 
 
 balanced that they may not offend the eye by over harshness. 
 If the colours are made to dry fast the process of blending 
 will be rendered extremely difficult, hence it is particularly 
 unsuited for working in flatting. Where it is desired that 
 the decorations shall be finished without the gloss of ordinary 
 oil colours a “flatting oil varnish ” is not infrequently used, 
 and this has the effect of entirely removing the lustre of oil 
 paint. It is, however, not unlikely to injuriously affect some 
 pigments by causing them to crack, especially if there be a 
 great deal of artificial heat, such as hot air pipes, &c., in the 
 apartment ; its use is therefore not in all instances to be 
 recommended. 
 
 e 2 
 
76 
 
 PRACTICAL HOUSE DECORATION* 
 
 Softening is produced in distemper colours by a much 
 simpler process, as the body of the decoration may be put 
 in entirely in the actual or self colour before attempting to 
 impart roundness to the details of the design. Then the 
 parts which are to appear in shadow may be gone over with 
 the shade tone at leisure. A slightly damped hog-hair fitch 
 will readily blend light and dark distemper tints, the shadow 
 being allowed to dry before the blending is commenced. 
 
 In distemper work it will be, moreover, essential to bear 
 in mind the relative tones as they will appear when dry, as 
 in process of application in their wet state they are very 
 much darker than they will be as a finished effect. It would 
 thus be an unnecessary expenditure of time to soften dark 
 into light by the same processes as we have recommended 
 in the case of oil colours, for when the distemper tones are 
 thoroughly dry they may perhaps lose somewhat of the effect 
 intended. But by tbe simpler method of allowing each tone 
 to dry and then adopting the same course with its shade or 
 intensity it can be seen at once whether the contrast of light 
 and shadow is sufficient, and nothing then remains but the 
 very easy operation of softening with the slightly moistened 
 fitch before mentioned. 
 
 With ordinary care some excellent effects of softening colours 
 may be produced when stencilling in distemper by using two 
 stencil brushes, and s), third for the blending, keeping it as 
 clean as possible, and rubbing it lightly on the work before 
 removing the stencil plate. 
 
CHAPTER IX. 
 
 ORNAMENT IN POLYCHROME. FLESH PAINTING. 
 
 OFTENING,” or blending colours for 
 the purpose of producing the effects 
 of roundness and solidity, is of 
 course carried to great perfection 
 in the representation of natural and 
 animate forms as introduced in 
 panels for the decoration of wall sur¬ 
 faces ; but it is also largely practised 
 by sign and glass writers in the exe- 
 
 cution of “ blocked ” or softened- 
 shaded letters, and in the production of such 
 | illuminated capitals as the initial at the head 
 
 I of this chapter, which would, like several others 
 
 in this volume, be especially suited to work of 
 this class, either in the form of glass tablets or sign-boards. 
 In decoration proper, the use of illuminated capitals is often 
 advisable where inscriptions upon a frieze, &c., are introduced. 
 In the ornamentation of churches or other ecclesiastical 
 design, the illuminated capitals are often the chief feature of 
 the work. Yet not any of these comparatively minor effects 
 could be produced without a true appreciation of the art of 
 softening and blending colours. 
 
 If, for instance, desirous of introducing a pastoral scene 
 suited to the boudoir or the drawing-room, such as were 
 largely used during the luxurious period of the Bourbon 
 dynasty in the palaces and chateaux of France, the decorator 
 
78 
 
 PRACTICAL HOUSE DECORATION. 
 
 should possess the feeling of an artist coupled with the more 
 extended aptitude for the proper disposition of colours > 
 essential to the decorator. 
 
 The most difficult task in all classic or idyllic scenes is ii 
 the painting of “ flesh” subjects. There is a general rule 
 followed by artists that the complexions of male figures 
 should be deeper in tone than those of the females. This may 
 have originated in the desire to make the former serve as a 
 setting to the pictorial presentments of a Yenus or a Juno 
 by force of contrast, and is in many instances carried to a 
 great excess. In the portrayal of Bacchanalian scenes the 
 figure of the bibulous deity is invariably given a deeper tone 
 than those of the nymphs, whose complexion partakes of 
 a pleasing transparency as a counterfoil to the swarthy 
 hues of the satyrs which generally form a portion of the 
 subject of the panel, while the amorini are chiefly notice¬ 
 able for a rosy chubbiness of colour and outline. A gaunt 
 or hollow-cheeked Cupid would be an anomaly not to he 
 tolerated. 
 
 In some paintings by even our leading artists of the modern 
 school this contrast of complexion is especially marked, as in 
 a painting belonging to the National Collection at South 
 Kensington Museum, where the god Mars exhibits the 
 swarthy frame of a Red Indian and Venus has all the graceful 
 pink of a fashionable blonde. It will therefore be understood 
 that in the list of colours introduced in this chapter as suited 
 to the practice of flesh painting only those which form a 
 medium complexion are given. As they may he modified 
 either by heightening or reducing the respective tints, they 
 are the most suited to the present purpose of giving an outline 
 for general instruction. 
 
 It is usual in most instances for the decorator to make a 
 preliminary sketch of his panel subject. This has a twofold 
 advantage, for he can submit his ideas in practical form to 
 the judgment of his patron and make any suggested modifi¬ 
 cation that may he requisite; and, above these essential 
 
PREPARATION OF WORKING DRAWINGS. 
 
 79 
 
 matters, he has the advantage of working as much to a set 
 plan with the artistic portions as with the minor effects of the 
 decorative whole. 
 
 A panel sketch may be either drawn and shaded up in 
 ordinary lead pencil, or it may be sent in as a pen-and-ink 
 sketch, similar to those shown in facsimile at Figs. 9,10, 28, 
 89, &c., which are really reproductions of actual sketches so 
 submitted to a patron to give him an idea of the suggested 
 manner in which it may be proposed to finish the details. 
 It will be conceded that the sketches are quite sufficient for 
 the purpose mentioned, and save considerable time which 
 would otherwise be given over to verbal explanation of the 
 decorator’s ideas. Better still, if the customer is willing to 
 incur the slight additional charge necessary as a reimburse¬ 
 ment to the decorator for his trouble, a water-colour draw¬ 
 ing of the subject may be prepared, and this possesses the 
 additional recommendation that it may be afterwards used as 
 a working copy. Affixed to the wall on which the artist is 
 working (by a simple drawing pin or two) at the left hand 
 of the operator, it will be of invaluable assistance in the 
 “ painting in ” of the subject, especially if it has been drawn 
 to something like a proportionate scale. 
 
 The best ground for laying in a landscape or figure subject 
 will be found a “ broken grey” made by adding to white lead 
 a small quantity of raw umber; just sufficient, in fact, to 
 take off the purity of the white is all that is required, and 
 care should be taken that it has no “ oiliness ” of surface or 
 gloss, which would render some of the lighter-bodied colours 
 likely to “ ciss ” or roll off in ridges ; this is particularly 
 necessary in such cases as those in which glazing or washes 
 of transparent colours are likely to be found of advantage in 
 obtaining a particular effect. Should the decorator find him¬ 
 self compelled to contend against the disadvantage referred 
 to, it will be necessary to “ damp down ” the surface to be 
 worked upon by going over it with a nearly dry and very 
 soft sponge ; this will counteract in a measure the excess 
 
80 
 
 PRACTICAL HOUSE DECORATION. 
 
 of “ oiliness,” and enable him to work with tolerable comfort. 
 On the other hand, “flatting” or dead paint would prove 
 inconvenient from its liability to rub up under the applica¬ 
 tion of colour in which turpentine forms a proportion of 
 the thinning medium. As a rule, it is well to rub down 
 the painted surface with fine glass paper to remove any 
 dust which may have adhered to it while drying. The 
 outlines of the subject, whether it be a landscape, a group, 
 or even a single figure, should be distinctly traceable even 
 after the “first painting,” and may be either drawn with 
 a lead pencil or charcoal on the ground colour, or, better 
 still, they may be transferred from an outline sketch 
 drawn to the actual size of the panel. For this purpose 
 the subject should be carefully reproduced on thin paper, 
 and the paper well rubbed on its under surface wfith finely 
 powdered charcoal, powdered light purple brown, or even 
 the end of a block of ordinary solid blacklead as used for 
 domestic purposes may be found occasionally useful. The 
 paper so prepared and containing the sketch will then be 
 carefully affixed, by the aid of drawing pins, in the proper 
 position on the painted surface, and the whole “ marked 
 in” with a well-pointed pencil; or an agate point, such 
 as used for writing manifold copies by the aid of car¬ 
 bonised paper, will be found of the greatest value. On 
 removing the sketch the design will be found, more or less 
 correctly, as the skill or care shown in going over it with 
 the “ point ” may determine, traced upon the working 
 surface beneath. 
 
 In mere outlined ornament a very good method is practised 
 for obtaining duplicates of a design by “ pricking out ” the 
 ornament with a needle point and “pouncing” it upon the 
 work. This process, which is not so suitable for landscape 
 or figure work, has been fully dealt with in the treatise on 
 Elementary Decoration.* 1 
 
 As in all subjects of the nature now under our con- 
 “ Elementary Decoration,” chapter iii. page 19. 
 
PAINTING OF CAMEO SUBJECTS. 
 
 81 
 
 sideration the background first requires to be worked 
 upon, we have yet to amplify our traced outline, and by 
 rendering it more permanent, preclude the possibility of 
 obliterating any portion of it while engaged on other parts 
 of the surface. 
 
 This end is attained by the use of a small quantity of raw 
 umber and burnt sienna, thoroughly ground, and well thinned 
 down with gold size and boiled oil, to which a little turpen¬ 
 tine is added, until it becomes semi-transparent. With this 
 medium, using a fine round sable fitch for the purpose, the 
 decorator will then go carefully over the traced outlines of all 
 the objects in the foreground of his picture, “ roughing in ” 
 at the same time the foliage of trees, &c., and by the applica¬ 
 tion of a few broad touches defining the shadows, for the 
 proper position of which he has only to direct his eyes 
 occasionally to the finished water-colour sketch which we 
 have supposed him to have placed above the left-hand corner 
 of his picture. At this stage he will find it best to suspend 
 operations until sufficient time has elapsed for his colours to 
 get dry, and generally speaking it may be convenient not to 
 go on until the following day. 
 
 Having completed the outlines, the decorator has next to 
 turn his attention to the background, and the nature of this 
 must be ruled by two considerations, since it will, when 
 viewed as a detail only of the general scheme of decoration, 
 add to or detract from the appearance of other portions 
 of the work. The first consideration to the artist is how 
 much or how little will a particular background enhance 
 the appearance of the figures in his composition ; to the 
 decorator that consideration must of necessity be of the 
 second importance, and his first will be in how great a 
 degree will the other embellishments of the room be affected 
 by a particular tone prevailing within the limits spaced out 
 for the pictorial enrichment. 
 
 For instance, if the wall surface on which the pictorial 
 panel appears is of a warm salmon or pink tone, it would not 
 
 E 3 
 
82 
 
 PRACTICAL HOUSE DECORATION. 
 
 do to introduce the roseate hues of a summer sunset, unless 
 the decorative framework surrounding the picture panel be 
 so balanced in colour, whether painted on the wall surface 
 or of a material kind, as to counterbalance the destruction of 
 the harmonious contrast. Similarly a cerulean sky of 
 Italian uniformity of tint w r ould not be appropriately set off 
 by a surrounding surface in which blue formed the pre¬ 
 dominant feature. For this reason the cameos peculiar to 
 the Italian or Florentine school of design, in which figures, 
 groups, animals, heads, musical and pastoral objects, &c., 
 are represented in monotint upon a solid background, are 
 often more appropriate to the uses of the decorator than the 
 finest gems of scenic painting. 
 
 In the cameos of the Raffaelle school of decoration white 
 figures on a ground of blue, green, or pink were often 
 introduced, the raised appearance of 
 the figures being obtained by soften¬ 
 ing the shadows into the ground sur¬ 
 face. Fig. 19 is a cameo subject, 
 a wood nymph, which could be 
 rendered in white upon either of the 
 grounds mentioned, the shadowing 
 up of the figure being worked in a 
 lighter hue of the ground tone. 
 
 Returning to the work before us, 
 we may, having arranged our back¬ 
 ground to harmonise with the other 
 decorations of the apartment, proceed 
 to paint it in, taking care to work up 
 to, but not over more than need be, the brown tinted outlines 
 of the figure subjects in the foreground. 
 
 It will be convenient to give a list of the colours which 
 may be required for this part of the -work (the whole of which 
 should be upon the bench in the middle of the room we may 
 be working in), and from which the decorator may transfer 
 to his palette such as may be necessary. 
 
 Fig. 19.—Cameo Subject. 
 
ARRANGEMENT OF BACKGROUNDS. 
 
 83 
 
 Colours poe Background. 
 
 Brown. 
 
 Umber (Raw and Burnt). 
 Vandyke. 
 
 Black. 
 
 Blue. 
 
 Lamp. 
 
 Indian. 
 
 Vermilion. 
 
 Red. 
 
 Yellow. 
 
 Ocbre. 
 
 Chromes (1, 2, 3). 
 Blue. 
 
 Prussian Cobalt. 
 Ultramarine. 
 
 These would all be utilised in making up particular tints, 
 which again are modified or reduced by the addition of white 
 —the latter pigment is of course a sine qua non in all lists of 
 decorative requirements. Following are the three principal 
 combinations:— 
 
 Olive. Purple. Green . 
 
 Raw Umber. Blue Black. Blue Black. 
 
 Prussian Blue. Indian Red, Yellow Ochre, 
 
 or 
 
 Chrome. 
 
 or 
 
 Vermilion. 
 
 "White. 
 
 In those cases where the figures occupy the whole of the 
 panel, their heights being nearly equal to that of the picture 
 opening, it is manifestly unnecessary to do more than make 
 the background simply one of light and shade; in this case 
 burnt umber and white will be most useful, merely rubbing 
 over it thinly and giving an after glaze where desirable of 
 transparent colour—that is, of Vandyke or raw sienna. The 
 use of the ground colours supplied by any good firm of 
 artist’s colourmen in collapsible leaden tubes is to be pre¬ 
 ferred for all the more minute details of decorative work, for 
 the reasons given in the preceding chapter. It will therefore 
 be understood that colours so prepared are referred to in the 
 lists above given. 
 
 The painting of flesh figures demands careful study, and 
 proficiency is only attainable by long practice and close 
 observation. Nevertheless it would be idle for a decorative 
 student to go the wrong way to work, and expect thereby to 
 achieve a result worthy of a master. There are certain rules 
 upon which we may for the moment glance as affording an 
 opening on the way to preliminary practice. 
 
84 
 
 PRACTICAL HOUSE DECORATION. 
 
 The painting of the human figure cannot be properly 
 completed at one operation ; sometimes even three distinct 
 paintings may be necessary, according as the situation of the 
 work may necessitate a greater or less degree of delicacy or 
 artistic finish. 
 
 On a frieze, for instance, we should not devote the same 
 amount of minute detail, nor aim at the same delicacy of 
 treatment as we might consider indispensable for the rendi¬ 
 tion of flesh subjects upon a wall panel. 
 
 In the first painting the colour should be laid in broadly, 
 using for the purpose flat sable fitches in tin, and frequently, 
 as the work progresses, softening gently by the aid of a 
 badger-hair softener, or by a light touch with a dry hog-hair 
 fitch. 
 
 The first palette consists entirely of body colours (i.e. the 
 pigments are opaque, as distinguished from the transparent 
 or glazing tints required for the second painting), and are 
 made up in three combinations: (1) flesh tint, (2) half 
 tint, and (3), shadow. 
 
 Using an oval palette board the decorator would do well 
 to arrange these tints in their proper order, in this way :— 
 
 On one side of the palette farthest from him leave a clear 
 space (which being immediately under the eye of the operator 
 affords an opportunity for making additional mixed tints, and 
 comparing them readily with the painting), then tints No. 1, 
 2, and 3, in their regular rotation, so that the third tint 
 would be on the side nearest his body, and in the centre of 
 the palette the white, with w T hich to modify, heighten, or 
 reduce the three main tints. 
 
 The same rules will apply to the transparent colours 
 required for the second palette, the uses of which are to 
 deepen, where necessary, the shadows, improve the depth or 
 warmth of the general tints, and to heighten or bring out the 
 reflected lights. The half tint of the first palette is a grey, 
 which is made colder or warmer as circumstances require. 
 
 The glazing colours do not of course come into use until 
 
COLOURS FOR FLESH PAINTING. 
 
 85 
 
 the first painting has become properly dry. Appended is a 
 list of the various tints showing the colours of which they 
 are composed. 
 
 Colours foe Flesh Figures. 
 First Palette .—(Opaque Colours.) 
 
 1 . 
 
 Naples Yellow. 
 Yermilion. 
 
 3 . 
 
 Burnt Umber. 
 Indian Red. 
 Black. 
 
 2 . 
 
 Raw Umber. 
 Prussian Blue. 
 4 . 
 
 White. 
 
 Second Palette .—(Transparent Colours). 
 
 1 . 2 . 
 
 Naples Yellow. Cobalt. 
 
 Crimson Lake. 
 
 3 . 4 . 
 
 Vandyke. White. 
 
 Prussian Blue. 
 
 Ivory Black. 
 
 For the third painting (should it be necessary) a selection 
 from both the preceding will be useful with the addition of 
 lake and ultramarine in the 3rd, or shadow tint. 
 
 It will occasionally occur that the flesh will appear to lose 
 colour as the painting approaches completion ; in that event 
 it may be readily intensified by the “ glazing ” process, viz. 
 rubbing over it some transparent colour. 
 
 Should it, however, appear too obtrusive, the tone may be 
 lowered by a thin coat of semi-opaque colour, the application 
 of which is technically known to artists as “ scumbling.” 
 
 In “ laying in ” colours the brush should be held firmly, 
 and each stroke should deliver the body of colour with 
 squareness and precision. 
 
 The thinning medium for first painting is generally light 
 drying oil, a vehicle which, however, may be advantageously 
 assisted in its action of hardening the artist’s pigments by 
 the addition of a small proportion of sugar of lead in the 
 
86 
 
 PRACTICAL HOUSE DECORATION. 
 
 form of solution ; indeed for decorative work, in which nearly 
 always time is an object of consideration, some additional 
 drying medium is an absolute essential to the progress of the 
 work. The artist having his studio at his disposal can 
 afford to “play” with his subject, to touch and retouch, and 
 doubtless thereby improve his effects until they approach 
 perfection ; but the decorator labours under the disadvantage 
 that his work is performed in an apartment, which “ must 
 be ready” for occupation at a stated time ; the rapid harden¬ 
 ing of his work is therefore of vital importance. 
 
 In the second painting linseed oil, turpentine, and a pro¬ 
 portion of light copal varnish is a good medium for the 
 dipper, and will materially aid progress by its drying pro¬ 
 perties. 
 
 The use of common dark varnishes is to be avoided in this 
 as in all other branches of the decorator’s craft where deli¬ 
 cacy of tone is the principal consideration, and for the same 
 reason the use of ordinary Japan gold size is inadmissible. 
 “Patent driers ” also should on no account be added to the 
 pigments used in work of the kind before us ; its density 
 and its liability to discoloration equally militate against its 
 utility in the higher branches of decoration. 
 
CHAPTER X. 
 
 TECHNICAL TEEMS AND CHARACTERISTICS OF VARIOUS 
 STYLES AND PERIODS OF ORNAMENT, ETC. 
 
 . LTHOUGH the remarks con¬ 
 
 tained in this chapter can¬ 
 not be extended to the di¬ 
 mensions of a glossary of 
 art, which would in fact 
 require an entire volume to 
 do it justice, it may be 
 advisable at this stage to 
 advert more particularly 
 to some of the leading 
 technicalities of nomencla- 
 The alphabetical arrange- 
 0^1 ment will enhance its utility, while the 
 illustrations will help to convey an impres- 
 %«& sion of the salient features of each style, 
 
 2 to which end they have been introduced. 
 
 Assyrian.—A style probably borrowed 
 from the Egyptian. Modern knowledge of this description 
 of ornament is derived from the discoveries at Nineveh and 
 Nimroud, and is remarkable as giving us the earliest trace of 
 the uses of lozenge-shaped diapers, the geometrical arrange¬ 
 ment of lines to cover wall surfaces, and adaptations of the 
 lotus flower. The lozenge diaper forms the subject of the 
 engraving (Fig. 20). Compare this diaper with the handle 
 of the paddle on page 5 (Fig. 2). 
 
 ture in ornament. 
 
88 
 
 PRACTICAL HOUSE DECORATION. 
 
 Arabian (or Moresque). —The chief examples of this 
 decoration are found in the palace of the Moors at Granada. 
 It is a free flowing system of interlacing scrolls, worked so 
 as to cover the whole surface of the decorated space. The 
 Moors never allowed any gaps or intervening spaces, crowd¬ 
 ing every part with decorations, in their efforts to preserve a 
 
 Fig. 20.—Assyrian. Diaper. 
 
 general tone irrespective of the number of colours introduced 
 in the details, which generally had for their starting point 
 
 Fig. 21.—Arabian Border Pattern. 
 
 an interlacement formed by the crossing of two squares, 
 while curvilinear decorations are often broken by a straight 
 line. Turkish, Moresque, and Arabian, which are regarded 
 as distinct styles, had each this peculiarity, although in 
 Turkish ornament the rules that curves should flow from 
 a main stem were often ignored. Fig. 21 is a pattern from 
 the Alhambra. 
 
ITALIAN ARABESQUE ORNAMENT. 
 
 89 
 
 Akabesqxje is a system of decoration in which the inter 
 lacement of knots, bouquets, ---——— 
 
 , and leaves is the 
 dominant principle. Several 
 examples of this style have 
 been given. The scrolls are 
 generally heavily foliated, and 
 the various parts spring natu¬ 
 rally from the main curve. 
 Raffaelle, Theodore de Bry, 
 Baccio Pintelli, and other 
 great masters of the Italian 
 and German schools, have 
 handed down to posterity some 
 marvellously beautiful compo¬ 
 sitions of this character. Those 
 of the first named in the Vati¬ 
 can at Rome have been objects 
 of emulation to students of all 
 time, although it is stated on 
 the authority of Hittorff they 
 are themselves founded upon 
 the yet more ancient produc¬ 
 tions of buried Pompeii. Calices 
 of flowers, human figures, 
 views of buildings, vases, 
 animals, &c., were all intro¬ 
 duced into work of this kind, 
 and it possesses this essential 
 difference to modern decorative 
 design, that each detail had a 
 foundation and support in the 
 general starting point of the 
 design, not the meaningless 
 jumbling together of a number 
 of unconnected objects such as 
 
 Fig. 22.—Arabesque. Portion 
 of Pilaster at tile Vatican, by 
 Raffaelle. 
 
 often now passes current for 
 
90 
 
 PRACTICAL HOUSE DECORATION. 
 
 originality. Fig. 22 is a portion of a design in Arabesque 
 scroll, taken from a pilaster in the Loggia of the Vatican. 
 
 It will be seen from the particular character of this subject 
 how valuable to the decorator, not less than to the artist, is 
 that study of flesh painting, to which attention is directed in 
 the preceding chapter, while the natural branches and leaves 
 with their wealth of fruit demand painstaking skill on the part 
 of those who seek to emulate the graceful fancy of the great 
 master of decoration. The subject is readily apparent, since 
 the amorini, who are actively engaged in plucking the ripe 
 fruit, appear to be seconded in their work by others who 
 are pressing the juice beneath their feet, whence it inns into 
 a vessel below, through orifices in the grotesque heads 
 beneath the basin. Thence we may suppose the wine to run 
 to the figures below, who are dipping it into drinking cups, 
 in which proceeding they are somewhat disturbed by the 
 frolicsome proclivities of the tailless quadrupeds held by two 
 other figures. In this as in all the work of Raffaelle some¬ 
 what of a connected interest is maintained throughout the 
 various groupings of the ornament. 
 
 Byzantine. —The ornament of ancient Byzantium. It is 
 
 really a compound of various 
 styles which had preceded it. 
 The acanthus scroll, with a 
 terminal somewhat similar to 
 the conventional “ rose ” 
 pattern, is a characteristic of 
 the style. This simple rose 
 (Fig. 23) has therefore sur¬ 
 vived since the age of Justinian 
 —2,300 years—and is still 
 called into daily requisition by 
 the modern craftsman. 
 
 Celtic. — Ancient British 
 ornament, remarkable for its 
 extremely intricate interlacements, and absolute absence of 
 
CELTIC AND CHINESE ORNAMENT. 
 
 91 
 
 foliated scroll work or leaf details, is almost invariably geo¬ 
 metrical in character, and generally so minute that its beauties 
 are only done justice to by inspection through a magnifying 
 glass. It abounds with the most contorted renderings of 
 animals and birds, having tails so intertwined and knotted 
 as to require some patience to trace them out to their 
 terminals. Many of the interlaced lines are suited to modern 
 uses, forming excellent borders, &c., for panels and similar 
 work. Fig. 24 is taken from an ancient manuscript (enlarged) ; 
 
 Fig. 24.—Celtic. Interlacement of Lines. 
 
 it conveys the idea, but is singular among so many tortuous 
 combinations for its extreme simplicity. 
 
 Chinese. —The attention which has of late been directed 
 to the art workmanship of the Chinese renders their pecu¬ 
 liarities of style tolerably familiar to those who have been 
 fortunate enough to visit their “pavilion” in the several 
 exhibitions which have taken place at South Kensington. It 
 will be considered, however, that 'the Chinaman is more at 
 home, and displays far greater ability, as a carver of elaborate 
 designs in wood and ivory than as a painter, if the specimens 
 seen at the exhibitions may fairly be accepted as a criterion 
 of their efforts in this direction. Beyond a remarkable 
 facility in arranging the disposition of contrasting colours, 
 often of the brightest and most decided hues, the work of 
 these oriental craftsmen is rough and crude in the extreme. 
 
92 
 
 PRACTICAL HOUSE DECORATION. 
 
 Owen Jones even went so far as to remark that they were 1 1 
 in regard to their “ conception of pure form ” very far “ be- J 
 hind the New Zealander.” But in their arrangement of ! i 
 bright and attractive tints, such as pale blues, emerald green, 
 and pink composed largely of the purest vermilion by ad¬ 
 mixture with white, the modern decorator may accord them 
 
 attention to his advantage. 
 
 The example engraved 
 (Fig. 25) will, however, 
 tend to show that in regard 
 to making flowing orna¬ 
 ment tangential to and 
 radiating from the principal 
 stem, they are not far 
 behind their prototypes of 
 the West. In the design 
 given the flat curve breaks 
 into a floral terminal, which 
 is coloured in various hues 
 of pink and yellow, white 
 being also sparingly intro¬ 
 duced in parts. The 
 ground is one of those 
 peculiarly brilliant but 
 pale blue tones for which 
 the almond-eyed Celestial 
 is so generally renowned. 
 Some of their contrasting 
 colours may be given. Deep 
 red upon cream ground. Cream tint upon medium green. 
 Dark blue upon green. Green, red, blue, yellow, and sub¬ 
 sidiary tints of the same upon gold. White, red, and gold 
 upon deep blue. Red upon drab (sienna, raw umber, and 
 white mixed). White upon green. Green, yellow, and white 
 upon drab—and many others. Having but very imperfect 
 knowledge of perspective, their decoration seldom compre- 
 
EGYPTIAN ORNAMENT. 
 
 93 
 
 hends natural grouping, and their greatest success is in the 
 ! arrangement of geometrical detail, in the colouring of which, 
 as will be evident from the instances given, they excel. 
 
 Egyptian. —The conventional treatment of the lotus 
 flower and the papyrus plant was the leading feature of this 
 style. The two in combination formed the shafting and 
 
 i capitals of columns 
 
 in architecture, and - 7 -— - - -—~ 
 
 appear in all their 
 
 I mural paintings. They 
 were singular in pos¬ 
 sessing no frieze or 
 any place answering 
 thereto, nor does the 
 arch appear in any of 
 their architecture or 
 decorations. The 
 colours oftheirpainted 
 surfaces were red, 
 blue, yellow, black, 
 and white, sometimes 
 green for the leaves of 
 the lotus plant, but 
 not invariably. The 
 hues were of the 
 brightest, as the 
 ancient decorators of 
 Thebes appear to have 
 ignored the use of all 
 intermediary tones. In the representation of water they 
 simply painted a number of zigzag lines in a parallel direc¬ 
 tion, and from these depicted growing stalks and flowers; 
 the tones are always surface colours, no attempt at shadow 
 being introduced. Fig. 26 is a composition made up of some 
 of these peculiarities of the style. It could be adapted to a 
 dado, and if the leading principle be kept throughout would 
 
 Fig. 26.—Egyptian. Dado Design. 
 
94 
 
 PRACTICAL HOUSE DECORATION. 
 
 have a by no means displeasing effect. The lower border is 
 a series of oblong rectangular panels coloured red and yellow 
 alternately, the “boss” or crossed circle alternating in the 
 two colours also. The serrated lines are in pale blue on a 
 deeper blue and have a red edge on either side, the stalks of 
 the lotus (the shorter) are green, the flower yellow and red, 
 the papyri (the taller stalks) yellow, outlined with green 
 and red for the heads, the background above the waves is a 
 warm stone colour. The upper border is green with the 
 diamond squares yellow, outlined red, the semicircular 
 compartments above are grey on a blue ground. The divid¬ 
 ing lines are white or cream colour. 
 
 Elizabethan. —This can hardly be designated a “ style” 
 of ornament. It is little more than a subdivision of the 
 Italian and Dutch schools, but lacking the freedom and grace 
 of the first named. Pure Elizabethan ornament, if such 
 there was, could only have been the rendition by English 
 artists of such ideas as had been previously introduced into 
 the country by Holbein, Penni, Toto, and John of Padua, 
 with others who found employment about the court and the 
 houses of the nobles of the period. The chief feature of 
 decorations of this period were the boldness of execution, 
 
 and the use of perforated 
 and curled scrolls and 
 hands, often ingeniously 
 interlaced and possessing 
 therein some analogy to 
 the earlier Celtic orna¬ 
 ment. 
 
 Fig. 27 is a sketch of 
 one of the perforated 
 scrolls referred to. The 
 perforated scroll work 
 belonging to the Eliza¬ 
 bethan period of art is especially suited to the purposes of 
 forming a frame for a decorated panel of a pictorial character, 
 
 Fig. 27. —Elizabethan. Perforated 
 Scroll. 
 
ORNAMENT IN THE WATTEAU STYLE. 
 
 95 
 
 and is often so found in the finest examples of seventeenth 
 and eighteenth century interiors, although relieved of much 
 of the massive character of the original by being more lightly 
 drawn, and by the introduction of free flowing foliage and 
 gracefully pendent floral wreaths, festoons of beaded work, 
 and wavy ribbons intertwining through the perforations of 
 the scroll and supporting, or being supported by, its principal 
 curves. 
 
 French. —This is a generic term applied as often as not 
 to the Renaissance period and to the work of the Italian 
 
 Fig. 28.—French. Original Design for a Panel in the Watteau manner. 
 
 school in France during the reigns of Louis XIV., XV., and 
 XVI. It is remarkable for the richness and freedom of its 
 style, and for its choice of pastoral and idyllic subjects; the 
 latter by Watteau have been universally admired. These 
 figure and landscape views were introduced into decorative 
 panels on walls and ceilings with abundant profusion of birds, 
 flowers, &c. Fig. 28 is an original sketch embracing a view 
 in the Watteau manner. The main scroll might he painted 
 in a rich purple tint upon a ground of warm salmon hue (not 
 too pink) and the flowers and birds coloured naturally, as 
 
96 
 
 PRACTICAL HOUSE DECORATION. 
 
 also the medallion subject. The style is suited to the purposes 
 of drawing-room and boudoir decoration. See also Fig. 5 
 on page 34. 
 
 Greek. —The decorations of ancient Greece are principally 
 founded upon the “ honeysuckle,” as the moderns have elected 
 
 to term it, from a fancied re¬ 
 semblance to that flower. It 
 appears in nearly all work of 
 the best period of Greek art. 
 The Greek “ fret ” or key pat¬ 
 tern is too well known to need 
 remark in this place. Fig. 29 
 is a honeysuckle from a Greek 
 border. In colouring, brown 
 on black grounds, or black 
 ornaments on brown grounds, 
 were, to a great extent, the 
 prevalent taste, but gold orna¬ 
 ments on tones of red and blue 
 were also used. Themes of 
 decoration founded upon Greek 
 motifs will always prove satisfactory, and a thorough 
 knowledge of this class of ornament is an essential to the 
 modern craftsman. 
 
 Grotesque.— A system of free-hand ornament, in which the 
 human figure is often made to terminate in foliated scrolls, 
 together with winged monsters bearing more or less resem¬ 
 blance to zoological forms, such as dogs, squirrels, monkeys, 
 goats, birds, &c., and such mythical figures as minotaurs, 
 satyrs, dragons, griffins, and so on, are found intermingled 
 with twisted branches, from which spring parasitical and 
 climbing plants, flowers, and fruits. Cameos bearing effigies 
 of all kinds, and trophies of arms, &c., are also incorporated 
 in the design. The various forms are sometimes treated in 
 natural tones on surfaces of plain colour, and often in mono- 
 tint. In the latter class of work shaded white scroll work 
 
 i - --- 
 
 Fig. 29.—Greek. 
 Honeysuckle Pattern. 
 
 
GROTESQUES AND INDIAN ORNAMENT. 
 
 97 
 
 upon blue grounds or cream tinted upon red are tbe most 
 usual combinations. “ Grotesque ” is really a subdivision of 
 the style generally designated “ Italian,” to which also 
 Arabesque ornament belongs. When the ornament is painted 
 upon a white or pale cream-tinted ground work in pale blue 
 
 Fig. 30.—Grotesque. Scroll Figure Terminals. 
 
 tints shaded up in a darker tone it is sometimes called 
 “ Porcelain.” Oak leaves and branches intertwined, painted 
 in deep yellow on blue ground, were known as “ Cerquate.” 
 Fig. 30 gives an illustration of the foliated terminals to the 
 human figure common in the “ Grotesques ” of the Italian 
 decorators. 
 
 Hindoo. —But little is known of this, but the remarks upon 
 Indian decoration will be applicable in a measure to the earlier 
 efforts of the races of India. 
 
 Indian ornament is distinguished mainly for its rich 
 colours and lavish employment of gold. It abounds with 
 rich conventionalised flowers painted upon flat surfaces in 
 the most brilliant hues. In form it partakes of the Arabian 
 and Persian, and ornament placed upon a ground of con¬ 
 trasting colour is always separated by a light or dark line, 
 according to the tone of the work. If on a gold ground the 
 same plan is adopted, but where gold details appear upon 
 colour grounds the brilliancy of the metal itself defines the 
 
 F 
 
98 
 
 PRACTICAL HOUSE DECORATION. 
 
 form. These are rules that decorators at home may remember 
 
 with profit. 
 
 Fig. 31 is a portion of an Indian border orna¬ 
 ment taken from a 
 hookah in the India 
 Museum, London. 
 
 Italian.— This style 
 has been commented 
 upon in connection with 
 
 Fig. 32.—Italian. Scroll Terminal 
 for Panel. 
 
 Jafanesque. —A comparatively 
 
 its leading subdivisions. 
 See Arabesque, French, 
 Renaissance, and Gro¬ 
 tesque. Fig. 32 is a 
 suggestion for a panel 
 terminal in the free flow¬ 
 ing scroll ornament of 
 the Italian school ; 
 rendered either in flat 
 tints or in the round, it 
 would make an effective 
 decoration. 
 
 recent introduction, can 
 
JAPANESE ORNAMENT. 
 
 99 
 
 hardly be classed with the great leading systems of orna¬ 
 ment. It depends entirely for its effect on the oddity of its 
 compositions, which evince no knowledge of perspective 
 or the relative gradation of tints for atmospheric effect. 
 Notwithstanding, it has had a marked influence on the 
 modern decorator, 
 who finds his patrons 
 often more ready to 
 accept a design based 
 upon a Japanese motif 
 than the convention¬ 
 alised schemes of art 
 decoration. It cannot 
 be termed art, for it 
 has no “ leading 
 idea ” to be acted up 
 to, as in more culti¬ 
 vated systems; its 
 very “ haphazard- 
 ous ” arrangement of 
 parts appearing, in 
 point of fact, to please 
 the modern taste, 
 jaded as it has been 
 for years by set con¬ 
 ventionalities. Fig. 
 
 33, by E. Hoyle, dis¬ 
 plays some of the 
 leading features of the 
 style. In nearly all 
 the larger composi¬ 
 tions of the native Japanese artists the burning volcano, 
 Tusi Yama, is a conspicuous feature, while storks, flamin¬ 
 goes, butterflies, and small birds are freely introduced with¬ 
 out any meaning or readily perceptible relation to the design 
 or to each other. 
 
 Fis 
 
 33.—Japanesque. A Design for a 
 Screen. 
 
100 
 
 PRACTICAL HOUSE DECORATION. 
 
 Medieval. —The decoration of the 12th to 15th century. 
 It is distinguished by the wealth of diaper patterns and by 
 the absence of the heavily foliated scroll work of the Greeks 
 and Romans. The richness of the colours is another matter 
 for remark, crimson and gold, green, blue, and other strong 
 tones being used in the decorations of walls, tombs, hangings 
 and illuminated hooks. In many of the painted diapers of 
 the 14th century, the pattern was often rendered in gold 
 on a bright green or red ground, and we have in them a 
 leaf pattern without any attempt at the scroll supports with 
 which the ornament of other periods is usually painted. 
 For the best examples of the ornament of the Middle Ages 
 we must go to the illuminated manuscripts which have been 
 the admiration of posterity, and the splendid specimens of 
 stained glass which yet remain as objects of reverence to 
 the student of decoration, for in these it is acknowledged 
 these early craftsmen excelled all the best efforts of their 
 successors. 
 
 Persian ornament abounds in conventional flowers in 
 groups and on panels and borders. The use of secondary 
 
 Fig. 34.'—Persian. Leaf Border. 
 
 and tertiary tints in most examples of the style renders it 
 very suitable to bedroom decoration, where, as mentioned on 
 page 35, the brightness and “prettiness” of appearance is 
 an undoubted advantage. Although much influenced so far 
 as geometrical design is concerned by their Arabian neigh¬ 
 bours, the Persians went much nearer nature in their embel- 
 
THE ORNAMENT OF POMPEII. 
 
 101 
 
 lishments, the flowers introduced into them being sometimes 
 : shaded and coloured in a natural manner. Fig. 34 is a 
 i border from an old print. 
 
 Pompeiian. —It has been said that almost any scheme of 
 colour decoration might be supported by authority from 
 Pompeii, but there is one feature about the ornament of the 
 city of Pliny, that therein we find the almost universal use 
 of a dado and panelled wall. The dado was commonly about 
 one-sixth the height of the wall, and was often divided per¬ 
 pendicularly by pilasters, on the panels between which 
 
 Fig. 35.—Pompeiian. A Stencilled Border. 
 
 graceful combinations of pencilled ornament appeared, and 
 were rendered with a freedom of execution that has seldom 
 been excelled by later artists. The common arrangement 
 of colour in a Pompeiian house was a black dado with red 
 pilasters united by a band of the same colour, the wall filling 
 being either white or stone colour with decorations in bright 
 tones upon it. Their colours were generally violently con¬ 
 trasted, but were reduced in harshness of effect by lines and 
 fillets of intermediary hues, and they often completely 
 reversed the theory of receding tones by painting the frieze 
 
102 
 
 PRACTICAL HOUSE DECORATION. 
 
 black, the panels red, and the dado yellow. This is “ topsy- 
 turveydom,” indeed! Pompeiian decorators were well 
 acquainted with the use of the stencil plate, with which, in 
 fact, much of their work was carried out; the border at 
 Fig. 35 is a stencilled pattern from the frieze of a Pompeiian 
 house. The “ties” are shown in the engraving, but the 
 ancient craftsmen were quite as punctilious in covering them 
 in, so as to conceal the joints of the stencil plate, as the most 
 careful of modern workmen. More correct taste has of late 
 inclined to the retention of the ties, and if they are sym¬ 
 metrically arranged they will even enhance the appearance of 
 a stencilled ornament in many instances. 
 
 Renaissance. —Italian ornament has been treated under 
 the head of Arabesque, &c. The term signifies the “ revival ” 
 
 Fig. 36.—Renaissance. Bead and Riband Border. 
 
 of artistic culture based upon the examples of the ancients. 
 Cimabue, Giotto, and Andrea Mantegna were the pioneers 
 of this reawakening of an art love that had long slumbered, 
 and aroused their countrymen to a sense of all that was 
 beautiful and noble in the art of decorative painting. Fig. 
 36 gives an illustration of a border in the festooned style, 
 popular towards the close of the 16th century. Very similar 
 are some of the characteristic forms of the Adams style, 
 which were generally rendered in basso relievo on plaster or 
 composition grounds. 
 
 Roman. —The ornament of the Romans was largely founded 
 
ROMAN ACANTHUS ORNAMENT. 
 
 103 
 
 upon the acanthus leaf as conventionalised by their predeces¬ 
 sors the Greeks; it enters into all their decorations, sculptured 
 and painted alike; it is the precursor of the earlier English 
 foliated scrolls, and had a great influence upon the making 
 of mediaeval styles. The acanthus lends itself to almost any 
 position in ornament, hence its general application. Fig. 37 
 is an outline of the leaf as conventionally treated; it is the 
 “starting point” of all Roman foliated scroll work. 
 
 Fig. 37.—Roman. Outline of the conventional 
 Acanthus Leaf. 
 

 CHAPTER XI. 
 
 ORNAMENT IN POLYCHROME.—THE STUDY OE DESIGN. | 
 
 HE application of colours to deco¬ 
 ration is a subject upon which 
 it is scarcely possible to write 
 an exhaustive treatise, possess¬ 
 ing as it does so many complex 
 combinations and so various 
 an array of details. These 
 pages may, however, make 
 both the practice and theory 
 of polychromy intelligible to 
 the beginner, while supplying 
 the practical painter with an occasional hint. 
 
 One of the commonest commentaries made upon entering 
 a newly decorated apartment by amateur and practical worker 
 alike is, generally speaking, a reference to the suitability or 
 otherwise of the details to the purpose they were intended 
 to serve. The standards of taste, good, bad, and indifferent, 
 of the critics, may bring various theories of ornamentation 
 into conflict in determining the precise degree of success 
 attained by the designer, and it would be too much to expect 
 that even the most painstaking master of his craft could 
 satisfy the requirements of every observer; but in the one 
 word “taste” lies a talisman to success which no practical 
 decorator can reasonably ignore. 
 
 Suitability, or appropriateness, in decoration may be divided 
 into several distinct heads—thus, the avoidance of over- 
 
THE SELECTION OF DESIGN. 
 
 105 
 
 
 crowding of details belongs to the category of design, and its 
 converse may consist in an over-elaboration of a good orna¬ 
 mental subject or a puerile repetition of a bad one, until the 
 eye becomes wearied by a monotony which may, perhaps, 
 have been by the ignorance of the workman mistaken for 
 harmony. 
 
 Another error of design would be (and in practice this 
 most frequently occurs) the introduction of details too minute 
 to be easily discernible when placed in their position as 
 embellishments to particular portions of the apartment. 
 Where so great a variety of often excellent designs in ready 
 cut stencils are procurable, this mistake is more frequently 
 to be noted. The painter, who for the occasion is trans¬ 
 formed by the laying aside of his pound brush, and the taking 
 up of a stencil plate and straight-edge, into a fully fledged 
 decorator, selects what he takes to be a “ a pretty pattern.” 
 This is enough for his judgment, and without more ado he 
 at once proceeds to rub the design on to the flat of the ceiling 
 or into the cove of a cornice twelve or fourteen feet, or more, 
 from the floor. Then he descends from the steps to look up 
 at his work, and discovers that all the “ pretty ” part of the 
 stencil is lost by being too closely intermingled with the 
 main pattern; the details which “ made” the design, in an 
 artistic sense, when he looked at it closely are simply thrown 
 away by being too far removed from the observer, and instead 
 of his beautiful pattern he sees what would appear to the 
 uninitiated to be merely a blurred combination of colour 
 without plan or any definite meaning. 
 
 On the other hand, the error is to be avoided of having 
 one’s design too meagre to be effective, and some little ex¬ 
 perience aided by sound judgment must be the chief monitor 
 in the selection of patterns to be applied in various positions. 
 The bold outlines essential to the frieze and cornice would 
 look outrageously out of place on the panels of a door, or 
 anywhere in similarly close proximity to the eyes of the 
 spectator. 
 
 f 3 
 
106 
 
 PRACTICAL HOUSE DECORATION. 
 
 Errors of drawing, such as broken curves and improperly 
 balanced attempts at rectangular figures, are of vital import¬ 
 ance, and to be scrupulously avoided by any painstaking 
 workman. Remember that however beautiful may be the 
 polychromatic effects, if those effects are produced by the 
 perpetuation of mistaken curves, unsymmetrical parallelo¬ 
 grams, and improperly centred repetitions of the pattern, the 
 inferiority of the drawing will stand out conspicuously as a 
 lasting and discreditable monument to the carelessness of the 
 workman. 
 
 It is not necessary to repeat here rules with which every 
 student who has attended a School of Art should be tho¬ 
 roughly familiar, but to emphasise, if possible, the dictum 
 that decorations which are “ out of drawing,” no matter how 
 tastefully the colours in which they have been executed may 
 have been chosen, can never be considered appropriate to 
 even the most humble apartment, if that apartment has been 
 thought worthy of decoration at all. 
 
 Avoid a disjointed and meaningless composition for the 
 same reason, and let every part of the ornamental scheme 
 possess some appearance of possibility. Nothing is more 
 frequently met with in the present day than absolute copies 
 of natural flowers and foliage, painted in “self” colours; 
 they meet the eye everywhere—on the panels of our doors, 
 in the entablatures of mantelpieces, in our mirror frames, 
 and upon the surfaces of our furniture, and in all imaginable 
 constructive embellishments of the draper and the upholsterer. 
 Yet in a great number of such instances the probability of 
 these natural adornments being capable of application in the 
 forms presented is of the slightest character, and consequently 
 they must be classed too frequently as errors of taste on the 
 ground of misapplication. 
 
 To quote a case in point. The author was recently shown 
 an apartment the doors of which were divided into six 
 panels, and on each of these a natural flower had been ex¬ 
 quisitely painted on a black ground. But, despite the actual 
 
NATURAL FLOWERS AS ORNAMENT. 
 
 107 
 
 beauty of the work, the scheme of decoration stood self- 
 condemned, for the stems of the flowers sprang directly from 
 a heavily enriched moulding around each panel, and in no 
 instance had a group been supported by painted design. It 
 was simply an excellent study from nature of some beautiful 
 flowers, but it ivas not decoration. Pendent from the wall as 
 a picture its detractors would have been silenced, but on the 
 door panels the whole of the work was meaningless, unsuit¬ 
 able, and misplaced. 
 
 Having shown by this example the error of inappropriate¬ 
 ness, it remains to suggest how the style could have been 
 improved and rendered probable. The natural stems and 
 leaves could not have been found in such a position on the 
 panels as that in which they were represented, but they 
 could have been placed in a jar or vase, and by simply repre¬ 
 senting in suitable colours a vessel of the kind, that difficulty 
 could have been readily surmounted. But even then the 
 effect would not be so complete as to mark the difference 
 between mere pictorial art and its adaptability to decoration. 
 This result would, however, be attained by introducing a line 
 of colour on the panel, and allowing the jar or vase to stand 
 apparently on that line, while some of the tendrils of the 
 plants, or here and there a turned or broken leaf, might be 
 intertwined with the perpendicular line on either side. Here 
 you create a panel decoration, while the mere representation 
 of natural flowers falls very far short of a purely decorative 
 effect. The one has a definite meaning —you intended to 
 decorate your panels, and you do so; the other simply entitles 
 you to be considered a copyist from nature, good or bad ac¬ 
 cording to the degree of skill you have thrown into your work. 
 
 Passing, for the moment, to combinations of geometric or 
 curvilinear ornament, the same consideration must be brought 
 to bear upon their suitability. A really good design should 
 be one from which it would be found impossible to take a 
 portion without injury to its effect, and to which any 
 additional detail would be equally detrimental. 
 
108 
 
 PRACTICAL HOUSE DECORATION. 
 
 The adaptability of geometric or other conventional design 
 also requires careful judgment in its relation to the respec¬ 
 tive parts. A pattern which is designed to continue hori¬ 
 zontally, as for a frieze, or the platband of an architrave, 
 would be especially unsuited for use perpendicularly, as on 
 the front of a pilaster or the panels of doors, shutters, &c. 
 
 Of naturalistic treatment in decoration, it may be generally 
 remarked that whatever is excellent in art is simply so from 
 its perfect harmony with natural results as seen in common 
 experience. The conception and expression in grand works 
 in painting and sculpture, in the finest examples held up to 
 the admiration of art workers, may be said to derive their 
 greatest value “ from such an embodiment of scene, action, 
 and object as shall have the harmonising probability of a 
 natural aspect rationally sustained throughout.” Such were 
 the principles advocated in an interesting discussion which 
 took place before the Decorative Art Society several years 
 ago, and they are such as should be earnestly borne in mind 
 by modern exponents of the natural school. It is the very 
 probability which arrests our sympathy, and by an inductive 
 
 process of reasoning creates 
 those associative suggestions 
 which most impress the mind 
 and institute that comparison 
 by which the refinements of 
 art can alone be properly esti¬ 
 mated. 
 
 Much of the decorative work 
 in a modern drawing-room 
 may be said to be directly 
 opposed to the tenets referred 
 to. Here, for instance, is a 
 design of a bird calmly resting, 
 with a fish in his beak, upon the 
 back of a brass repousse sconce, in the possession of the 
 author. Considered as a specimen of brazier’s work, it is 
 
THE COMPOSITION OP DESIGN. 
 
 109 
 
 highly commendable; but there is the rising sun in the back¬ 
 ground, apparently giving forth rays of light, the probability 
 of which effect is certainly not enhanced by the flames of four 
 wax candles which, when necessary, are burning in the 
 brackets attached to it, and yet, when hung upon the wall 
 as a panel decoration, it is really a tasteful accessory to an 
 apartment. 
 
 It may be said of the compositions of the Adams style, and 
 the earlier decorative work yet preserved to us by Raffaelle 
 and Benvenuto Cellini, that they abound in improbabilities; 
 but we shall do well to remember that at least they possessed 
 a base, something from which the exuberant scroll work had 
 its origin, or from which the natural foliage sprang in a 
 rational and artistic manner. It was not enough for these 
 early decorators that they depicted pleasingly an animal, a 
 bird, or a beautiful flower ; each of these details had a sup¬ 
 port, and a reason for its introduction; they were not content 
 to paint a realistic apple-blossom, or represent in natural 
 colours a bird or a butterfly, but they were careful to make 
 them in every sense a decorative accessory. In design par¬ 
 ticularly, form and proportion are of the greatest importance. 
 However rich and fanciful the ornamentation, it cannot 
 redeem a want of proportionate repose or grace of form; and 
 when we consider that our own comparatively humble 
 branch of art is indispensable to the general embellishments 
 of modern houses, and that the bare whitewashed surfaces 
 of the Puritan period have been continuously banished dur¬ 
 ing succeeding generations until in all ranks of life there is 
 found an expressed desire for beautiful homes, we readily 
 understand how essential it is to modern decorators that 
 they should approach their work with an educated intelligence 
 and a refinement of artistic principles. 
 
 “A creditable designer,” says Mr. Crabb, “requires to 
 have naturally a fine perception of the beautiful, a feeling 
 for the charming versatility of form and colouring, a lively 
 imagination, facility in associating ideas and applying the 
 
110 
 
 PRACTICAL HOUSE DECORATION. 
 
 materials collected by study to produce invention, and an 
 extensive acquaintance with the sources of ornament, and 
 the principles in which the Arts of Design originated among 
 the nations of antiquity.” 
 
 Apartments in which the rich architectural arrangements 
 are made richer by polychromatic embellishment, by skilful 
 dispositions of gilding, by judicious harmonies of decorative 
 effect, can only be satisfactory in proportion to their fidelity 
 to the recognised and unerring canons of design. 
 
 Such are the axioms which alone can guide the decorative 
 workman along the pathway to success in the practice of 
 his craft, and their due observance is in as great a degree a 
 duty imposed on him as that of any other of the technical 
 processes by which he is enabled to compound his paints 
 or arrange the broader details of ordinary house painting. 
 
 Two all-important subjects have thus been shown to march 
 hand in hand—the one, that knowledge of the harmonies 
 of colours to which our earlier chapters are devoted; the 
 other, a just appreciation of the relative values of the com¬ 
 ponent details which go to make up an appropriate theme of 
 decoration. 
 
CHAPTER XII. 
 
 THE STUDY OF EMBLEMATIC DESIGN. 
 
 Y the remarks in the preceding chap¬ 
 ter it will be understood that it 
 is a recognised obligation on the 
 part of the decorator to suit his 
 ornament to the purpose it is in¬ 
 tended to serve, but a generally 
 accepted canon of that kind would 
 be insufficient unless it were ap¬ 
 proached from another point of 
 view than mere beauty of form or 
 tasteful array of decorative colouring. It is 
 now necessary to look at the meaning or 
 “ spirit ” of decoration in relation to its suit¬ 
 ability to a presupposed system of design. 
 
 An emblem may be, for the better enunciation of 
 this theory, first of all described as something which by its 
 general outline conveys to the mind a pictorial presentment 
 of a given object, and as signs or emblems were originally 
 used in much the same manner as are our alphabets of the 
 present day, viz. to convey to the spectator a sentence or an 
 expression, so they may in the decoration of modern apart¬ 
 ments be made to correspond, in a greater or less degree of 
 artistic treatment, to the uses for which a room or rooms are 
 usually arranged. 
 
 In the very earliest ages, some, like that of ancient Egypt, too 
 remote for the most learned archaeologists of the present to 
 
112 
 
 PRACTICAL HOUSE DECORATION. 
 
 determine tlie precise period at which their decorations were 
 perfected, we find that the conventional representation of actual 
 things was characteristic of every scheme of embellishment, and 
 that each of these representations was the means of imparting a 
 definite impression to the observer. In the elaborate decora¬ 
 tions of their tombs the most stirring scenes in the lives of 
 those they thus delighted to honour were made the subjects 
 chosen for their artistic talent. It was the opinion of the 
 late Owen Jones that Egyptian art was among the most 
 perfect of those styles which formed the model for decorative 
 painters in succeeding ages, and as their decorators were 
 essentially chromatic in their ideas, painting everything that 
 could by any possibility be made to carry colour, it is un¬ 
 doubtedly to the Egyptians that we owe much of the poly¬ 
 chromatic experience upon which the theoretical ideas of the 
 nineteenth century have been built up. 
 
 Mr. Digby Wyatt has well said that “ in all appeals the 
 decorative artist can make to the brain through the medium 
 of the eye, he has open to him two distinct channels of com¬ 
 munication.one by employing conventional forms, 
 
 the other by introducing representations of natural objects.” 
 In the former, he, of course, most usually avoids the compli¬ 
 cation of his work by the introduction of light and shade and 
 similar “ accidental effects,” while in the second case his 
 duty would clearly be to reproduce as nearly as he possibly 
 can the actual appearance of the object he seeks to depict. 
 
 It is chiefly in the second of these courses that the adapt¬ 
 ability of emblematic decoration xvill be found, as the subject 
 matter of panels and medallions, cameos and friezes, may all 
 be, as suggested in chapter vii., made to refer pictorially to 
 the uses of the apartment so treated. 
 
 Let us take as a preliminary illustration the treatment of a 
 dining-room Avhich has been wholly decorated by the painters’ 
 art and from which the paperhanger has been rigorously 
 banished. 
 
 If we have a dado with projecting ledges and architectural 
 
THE SYMBOLISM OF ORNAMENT. 113 
 
 mouldings, its severe expanse of plain surface may be aptly 
 i broken into panels above the skirting and proportioned to 
 the size of the apartment or the extent of continuous dado. 
 If on these panels we desire to paint an artistic view or a 
 figure subject, or a group of objects, how easily we may 
 select an appropriate illustration by a little attention to the 
 principles of “ emblematic ” ornament! 
 
 If we are painting a landscape view, we may select a vine¬ 
 yard with the overhanging clusters of ripe grapes, or a farm¬ 
 ing scene in which those animals which minister to the 
 appetite form the central idea. On the one hand the Bac¬ 
 chanalian, on the other the gastronomical pleasures of the 
 table are, so to speak, symbolised in the pictorial treatment 
 of these subjects. 
 
 Fig. 39.—Medallion from a Frieze. 
 
 Still life : the grouping of dead game, as in the medallion 
 subject at Fig. 39, which would form part of a decorative 
 
114 
 
 PRACTICAL HOUSE DECORATION. 
 
 frieze; the wine flagon and richly-coloured and luscious 
 grapes, pendent, or lying on a table in clusters, can hardly 
 fail to commend themselves as thoroughly suited to the 
 embellishment of the dining-room ; while our figures may 
 be drawn from the ancient mythology, Ceres the goddess of 
 plenty, Pomona the presiding deity of fruits and orchards, 
 Bacchus the wine-god, and so on to the end of the list. 
 
 On the frieze below the cornice we may paint a proces¬ 
 sional subject in which “ all the good things of the earth ” 
 are portrayed, or we may “conventionalise” the plumage of 
 rare and beautiful birds, the outlines of fishes and beasts, 
 and so arrange a striking but thoroughly emblematic orna¬ 
 mental composition. 
 
 The introduction of appropriate inscriptions around a 
 dining-room, below the frieze, is also a feature sometimes 
 worthy of adoption. In such a case the lettering should be 
 of a classic or Gothic character, and so interwoven with the 
 arrangement of the ornamental details as to obviate the 
 possibility of making it too much in the style of a shop facia 
 or the ordinary every-day work of the sign-writer. Appro¬ 
 priateness here would consist in the choice of a quotation, 
 and suiting its sense and meaning as well as its length or 
 brevity to the other requirements of the apartment. Here is 
 an excellent couplet from Gay—“Every creature was de¬ 
 creed to aid each other’s mutual need; ” another, from 
 Shakespeare—“ He that keeps not crust or crumb, weary of 
 all, he shall want some ; ” and this from Armstrong— 
 “ Oppress not nature. .... with feasts too late, too solid, 
 or too full.” (Wyatt: “ Illumination as it should be.”) 
 
 Such inscriptions as those mentioned might be admirably 
 worked up as an aid to the pictorial decorations by putting 
 the letters in gold with a fine outline, or by illuminating after 
 the style of mediaeval manuscripts the initial letters of the 
 principal words, and supporting the entire sentence on a 
 running ornamental scroll. Such a sentence introduced into 
 a narrow cove of a decorated cornice can hardly fail to please 
 
MYTHOLOGICAL SUBJECTS. 
 
 115 
 
 the appreciative admirer of judicious embellishment. The 
 valuable initial letters which appear at the heading of each 
 chapter in this book havebeen especially introduced in view 
 of their decorative utility for 
 the purposes referred to, 
 those occurring at chapters 
 i., ii,, v., vii., ix., xi., xii., 
 xiv., and xvii. being par¬ 
 ticularly appropriate. The 
 serpents and winged 
 dragons, together with the 
 wealth of graceful scroll 
 foliage in those examples, 
 admit of a wide diversity of 
 polychromatic treatment. 
 
 They would look well if 
 worked upon a solid gold 
 mat as a ground for the 
 colours of the details. 
 
 If we select for portrayal 
 on our panels the pagan 
 deities we must remember 
 their special characteristics, 
 so that we may not err from 
 the ideas inculcated by 
 mythological lore as to their 
 particular attributes. 
 
 Ceres (Fig. 40) in the 
 archaeology of the arts is the 
 goddess of husbandry. In 
 painting and sculpture she 
 is represented as a young 
 woman of pleasing counte¬ 
 nance, and is surrounded by the usual attributes of pastoral 
 existence, such as corn-sheaves, reaping-hooks, scythes, and 
 rakes. In some of the studies from the antique she is shown 
 
 Fig. 40.—Draped Figure. Ceres. 
 
116 
 
 PRACTICAL HOUSE DECORATION. 
 
 as a tall, majestic woman with golden hair surrounded by ears 
 of corn, and holding in her hands poppies and wheat, in 
 allusion to the belief of the ancients that she was the first 
 tiller of the earth. The engraving is from an authoritative 
 work on decoration. 
 
 Bacchus is generally represented as a ruddy-complexioned 
 and sturdy-limbed man, having his head crowned with the 
 leaves of the vine, the figure being undraped. 
 
 Pomona, who was supposed by the Romans to preside 
 over the fruits of the earth, was represented as a nymph 
 seated on a basket containing flowers and fruit, and holding 
 a bough in one hand and apples in the other. 
 
 Copia, the goddess of plenty, is another of the heathen 
 deities whose appearance upon the panels of a dining-room 
 
 would be specially appro¬ 
 priate. She is repre¬ 
 sented as bearing in 
 one hand a horn from 
 which drop fruits, pearls, 
 flowers, and pieces of 
 gold and silver. Her 
 head is usually crowned 
 with flowers. The 
 “ horn of plenty,” of 
 which Fig. 41 is an 
 illustration, is often met 
 with in ornamental com- 
 
 Fig. 41.—Cornucopia or “Horn of 
 Plenty.” 
 
 positions, and is well known by its name of “ cornu¬ 
 copia.” 
 
 In ecclesiastic decoration symbolism by means of emblems 
 is carried out to a greater extent than is the case with other 
 branches of the decorator’s art, and in most instances these 
 emblems are in themselves explanatory of Biblical texts. 
 Therein lies the true meaning of emblematic decoration. 
 Thus upon an apse, or on the ceilings forming the under 
 portions of side galleries, we often see depicted a lily. The 
 
ECCLESIASTICAL OBN AMENT. 
 
 117 
 
 connection is at once apparent to us—“Consider the lilies, 
 how they grow,” &c.; in another place we have a lamb— 
 “ Feed my lambs ; ” in another a dove—“ And he sent forth 
 a dove,” &c. ; while at another part is the cross, the passion¬ 
 flower, and the grapes—their connection with “ the cross 
 
 c 
 
 
 p 
 
 r 
 
 
 
 b 
 
 r ^- —| 
 
 WuWi 
 
 S1& J Tg«l 
 
 --- —— <4 
 
 L. 
 
 
 Fig. 42.—Ecclesiastic Ornament. Panel Treatment of 
 Passion-flower, Lily, &c. 
 
 and passion” and the “true vine” immediately takes the 
 mind to the texts of Holy Writ in which all and every of 
 these objects are severally referred to, and thus they become 
 really emblematical decorations in every sense of the term. 
 
 There is then no reason why the appropriateness of pic¬ 
 torial representation seen in many of our decorated churches 
 
118 
 
 PRACTICAL HOUSE DECORATION. 
 
 should not be brought usefully to bear upon the decorations 
 of our dwelling bouses, and thus do away with much of the 
 incongruity of detail which mars many a well-meant effort in 
 the way of producing “ something suitable,” while the 
 designer has not the faintest notion of what that suitability 
 should consist of. 
 
 In Fig. 42 we see combined the representative subjects— 
 the dove, the lily, and the passion-flower—as appropriate 
 combinations for ecclesiastical adornment. 
 
 The length at which we have dealt with these theoretical 
 generalities is necessary to bring students of chromatic paint¬ 
 ing step by step to practical work, and enables us to con¬ 
 sider the working application of them to the craft. The in- 
 
 Eig. 43.—Portion of Decorative Medallion Frieze Border. 
 
 troduction of landscape and figure subjects into decoration 
 without proper ornament to support them would be disap¬ 
 pointing, inasmuch as the subjects themselves would appear 
 quite as much out of place as the painted flowers mentioned 
 on the preceding page. But given a generally well-balanced 
 ornament as a framework for the landscape panels, there is 
 scarcely anything but may be effectively introduced into them 
 —even our best painters may be laid under contribution, and 
 thus examples of high artistic excellence be placed before the 
 eyes of the decorator’s patron. Fig. 43 is a horse’s head, 
 taken from a picture of Sir Edwin Landseer. Such a subject 
 painted upon a frieze without other embellishment would be 
 inappropriate to its purpose, hut here we have an elegant 
 
LANDSCAPE SUBJECTS. 
 
 119 
 
 interlaced pattern supporting medallions, and at intervals a 
 larger medallion, upon -which is the equine subject. On 
 pages 120 and 121 are four graceful examples of this style of 
 decorative treatment, each of the subjects being taken from 
 the works of the greatest animal painter of the century. 
 Upon a deeply-coved ceiling, or as a mural embellishment 
 for large apartments, work of this kind would prove exceed¬ 
 ingly attractive, the subjects chosen being suited to the 
 I special requirements of particular cases, and judiciously 
 varied, in order to avoid repeating any one subject in the 
 same apartment. 
 
 Of these subjects, Fig. 45 may be referred to as giving an 
 i apt illustration of the combination of an Elizabethan frame 
 with the purely landscape deer-stalking scene of its centre 
 arrangement. The Elizabethan character is preserved in the 
 pointed terminals, between each of which is the perforated 
 scroll form, of which an enlarged illustration appears on 
 page 94. It will be seen that a portion of the detail is 
 made, in the example on the next page, to pass through the 
 aperture in the curl of the scroll. 
 
 In Figs. 46 and 47 the central subjects are treated more 
 in the style of cameos ; the hawking party, from its obvious 
 allusion to the ancient British sport of falconry, would fit in 
 with the remarks made upon sporting subjects generally in 
 our seventh chapter. It is here supported by a free flowing 
 interlacement of curved scroll ornament somewhat analogous 
 to open carved fretwork. A decoration of this kind, rendered 
 in gold for the scroll work, upon a deep marone ground, and 
 with the centre panel in natural colours, would have an 
 exceedingly rich and “taking” appearance; of course with 
 the proviso that the other details of the decoration are in 
 harmony with the composition. 
 
120 
 
 practical house decoration. 
 
 Landscape and Ornament. “ Landseer ” Subjects applied to Decoration. 
 
decorative 
 
 FRIEZE SUBJECTS. 
 
 121 
 
 G 
 
 Fig. 47. 
 
 Portions of Decorative Friezes. Landscape Cameos after Landseer. 
 
CHAPTER XIII. 
 
 ON THE ADVANCED USES OF STENCILLING. 
 
 ECORATIVE work, as generally 
 met with in an ordinary house at 
 the present day, is often said by 
 its detractors, and by so-called 
 advocates for “high art” culture, 
 to have become much more mecha¬ 
 nical and less artistic in its cha¬ 
 racter than was the case a genera¬ 
 tion or two ago, and this much 
 must at all events be admitted. 
 
 We have not to seek far afield for an ex¬ 
 planation of an undeniable fact. At the be¬ 
 ginning of the century—in that “ Georgian ” era 
 which has been on all hands condemned as the 
 very zenith of the age of ugliness in the homes of 
 the people—only the houses of the wealthy were 
 decorated at all. The few patrons of the decorator were 
 limited principally to those who could pay such prices for 
 their domestic embellishments as would ensure the work 
 being that of an art workman not necessarily compelled 
 to fall back upon mechanical aid, or to find in meaningless 
 repetition of one set form of adornment the only method of 
 making his job “ pay ” and yielding a profit to the tradesman 
 undertaking it. Hence the few examples of decoration then 
 to be found were all possessed of more or less originality, 
 and were each, as it were, individualised by the taste or 
 
IMPROVEMENT OF DECORATIVE TASTE. 
 
 123 
 
 skill of those employed upon them. But critics are too apt 
 to lose sight of the fact that at that period the middle-class 
 dwelling house was a veritable expanse of unmitigated 
 ugliness. The marvellous productions of the paperstainer, 
 which have brought art and beauty into the humblest living 
 rooms of to-day, were then subjected to a vexatious impost 
 in the form of stamp duty, which militated against their 
 extended usefulness, and thus the ordinary dwelling was little 
 more than a series of bare painted apartments, unrelieved by 
 any attempt whatever at artistic embellishment. 
 
 As, however, the craving for something beyond mere painted 
 wall surfaces made itself felt, it became necessary to meet 
 the demand for ornament by the execution of work which 
 should please the eye, and be in itself an effective relief to 
 the dull monotony of the home, without incurring the great 
 cost of such paintings as appeared in the palaces of the 
 plutocracy, and stencilling as an aid to decoration was 
 reverted to by the house painter who wanted to cheaply 
 embellish the dwelling houses of his patrons. 
 
 But with the use of the stencil plate at that period, it 
 became apparent that our house painters, notwithstanding 
 the fact that their knowledge of the manufacture and proper¬ 
 ties of colours was in some sense superior to that generally 
 found among the “ brush hands ” of the present day, were 
 lamentably wanting in artistic feeling. Technical hand¬ 
 books, such as might guide and educate men in their respec¬ 
 tive businesses, and of which such works as those published 
 in Weale’s series of practical text-books form noteworthy 
 examples, were as yet in their infancy ; and in such rare 
 efforts as were made to create serial publications for the 
 interchange of trade knowledge it was too often plainly 
 evident that the idea was, generally speaking, weakly and 
 spasmodically brought into practice, and in consequence 
 they were hardly likely to go very far in those grand 
 principles of technical education which have done so much 
 for painters and decorative workers of all grades during 
 
 G 2 
 
124 
 
 PRACTICAL HOUSE DECORATION. 
 
 the last few years. At length, however, the result of 
 improved taste and educated art feeling has brought about 
 its logical result, and there should be no longer any fear that 
 where it is essential to ornament a drawing-room, a boudoir, 
 or a hall cheaply and efficiently the use of stencilling will be 
 inartistically applied. 
 
 The decorator who has carefully studied the work of 
 others, and has as carefully brought his knowledge into his 
 daily business, should be able to take a stencilled design into 
 any ordinary apartment, and to leave that apartment not only 
 
 
 • •••••• 
 
 Fig. 48.—Stencil Border. 
 
 brighter and more beautiful under his hands, but perfectly 
 artistic in its adaptation of design. 
 
 With a view to placing this fact more intelligibly before 
 the decorative student, it will he of service to show how a 
 purely decorative subject may be built up upon the basis of 
 what are necessarily set designs. 
 
 Fig. 48 is a running pattern, by Mr. Rothwell, capable, of 
 course, of being continued out to any length as a band for 
 a dado, or even more suitably in a coved cornice where only 
 one colour is required in which to render the pattern. This 
 
THE ADVANCED USES OF STENCILLING. 
 
 125 
 
 particular design, from its extreme simplicity, will the better 
 elucidate the progressive stages by which more ornate styles 
 have been rendered in decorative stencil plates. In the posi¬ 
 tion indicated, preferably that of the cove of an ordinary 
 cornice where more delicacy of design would by reason of the 
 natural shadow thrown upon a curved or indented surface 
 be, to some extent, hidden, if not entirely lost, when seen 
 from the floor of an apartment, the boldness of this pattern 
 should especially commend it. The ties, inseparable to a 
 stencilled border, are here utilised to add to rather than 
 deteriorate from the general effect; as an evidence of which 
 may be instanced the circle which forms the “ tie ” or break 
 to the broad detail on the leaf portion of the pattern, and 
 which here serves not only the purpose of strengthening the 
 stencil plate, but obviates the heaviness which would other¬ 
 wise render unsightly so large a proportionate mass of colour 
 as would be necessary to define this particular portion of the 
 ornament. Similarly, the circular dots on the lines serve to 
 continue the pattern without the necessity to fill up the 
 ties with the pencil when the design is transferred to the 
 ground surface ; while for the outer circles the spaces be¬ 
 tween each might be considerably reduced in actual prac¬ 
 tice. By transferring the lines between the main ornament 
 to a second stencil plate, on which, of course, that part 
 only would be cut out, the workman has the means at hand 
 of putting in two colours to the design, and thereby further 
 increasing the value of this simple pattern in the practical 
 work of decoration. 
 
 In our sixth chapter are given some sketches illustrative 
 of the arrangement of wall surfaces according to the various 
 recognised styles, and in one of them (Fig. 8) is shown 
 the frieze or band below the cornice as it might be rendered 
 by the decorator. Let us now suppose we are engaged upon 
 the walls of some such apartment. 
 
 We have here a design for a wall frieze (Fig. 49) in 
 accord with our modern notions of surface decoration—a 
 
126 
 
 PRACTICAL HOUSE DECORATION. 
 
 free rendition of 
 natural leaves and 
 birds. To bring 
 it yet more into 
 unity of ideas, the 
 designer, Mr. E. 
 Hoyle, of Brad¬ 
 ford, to -whom the 
 author is indebted 
 for several excel¬ 
 lent suggestions, 
 has selected the 
 bouse swallow for 
 bis ornithological 
 subject. This 
 design, simple as 
 it undoubtedly is, 
 will sufficiently 
 illustrate the 
 manner in which 
 the stencil plate 
 may serve as the 
 pioneer of hand- 
 painted decora¬ 
 tion. To break 
 up the whole into 
 well-balanced com¬ 
 partments, each of 
 the foliated divi¬ 
 sions is judiciously 
 alternated with a 
 panel of purely 
 conventional orna¬ 
 ment. 
 
 Of course the 
 major portion of 
 
TRANSFERRING THE PATTERN. 
 
 127 
 
 this design is simply the too often despised and underrated 
 stencilling, but where a really artistic scheme of decoration is 
 required, no practical man need stop short at the use of the 
 stencil plate. Rather let him take it simply as the beginning 
 of his work, and in a great degree such a design will prove a 
 fitting preliminary to a far higher artistic effort. 
 
 Having determined, then, that the buds and foliage shall 
 have a “ naturalesque ” finish rather than only the flat 
 rendering procurable by the stencil brush, we have simply to 
 adopt the stencil plate in place of the ordinary “ pouncing ” 
 of the pattern upon the frieze, and save thereby an incalcu¬ 
 lable amount of preliminary labour. 
 
 Let us suppose that we have decided upon a dark blue 
 ground for this division of the frieze pattern. If we purpose 
 reproducing this design by actual hand-pencilling alone it 
 must first be drawn upon paper, and then with a needle point 
 (the paper being placed upon a piece of cloth so that the 
 needle may not be broken or its point too quickly blunted 
 during the operation), we have to carefully trace out in 
 numberless minute holes the complete outline of the design. 
 Then follows the “ pouncing ” of the pattern on the dark 
 blue ground, either with finely powdered chalk or some light- 
 powdered colour, in either case confined in a light muslin 
 bag through the texture of which the dust makes its escape, 
 and thence through the needle perforations of the outlined 
 ornament on to the surface of the work. Thus far the task 
 is to the practised craftsman simplicity itself. 
 
 But now let us consider a moment. Is it our desire that 
 the leaves and tendrils, the stems and the free flying birds, 
 shall be light and aerial ? Do we seek to give purity of tone 
 to the feathery plumage of these denizens of the air, or trace 
 in delicate greenery the beauty of natural foliage ? The 
 answer will be that of course we do ! But how is that best 
 to be attained on a ground of a deep blue tone ? Suppose 
 we want to give an Oriental plumage to the bird ; that, 
 instead of being necessarily swallows or counterfeit present- 
 
128 
 
 PRACTICAL HOUSE DECORATION. 
 
 ments of dull-coated London sparrows, we have a desire to 
 give them the bright orange and red breasts, or the yellow 
 plumage with vivid pink and green markings, peculiar to the 
 feathered inhabitants of a tropical forest. We must first paint 
 in our subject with alight grey tint, or a “broken” white 
 to kill the depth of the ground beneath, otherwise we shall 
 have the blue asserting itself through our transparent-glazing 
 tones, and effectually spoiling both foliage and birds alike. 
 
 To save all this expenditure of time and labour, let us take 
 up the stencil plate, and then on our deep blue ground, with 
 a colour composed only of white lead mixed with turpentine, 
 and sufficient varnish to “ bind ” it—that is, to prevent it 
 rubbing up when we apply a wash of colour upon it later on 
 —let us stencil the whole of the “ bird and bough ” subject 
 on to the work. 
 
 The colour for this purpose should be well thinned, and 
 the stencil brush should be used as dry as possible and well 
 rubbed out upon a palette board, after freshly charging it, 
 each time. The workman may then count upon getting both 
 an evenly spread surface and a sharply-defined outline of 
 every detail of the design. 
 
 It may be supererogatory to repeat a standing caution, hut 
 so great sometimes is the decorator’s hurry to make “a good 
 show,” that the warning is hardly thrown away if we again 
 remind the workman to carefully strain through fine muslin 
 even the thin colour used for this portion of the work. Far 
 too frequently are found workmen so careless of their 
 employer’s interests, or so slovenly in their business, that 
 they are satisfied to put some white-lead into a pot with the 
 requisite thinnings, and, having stirred it up for a minute or 
 two, are quite ready to apply it to their work. It is utterly 
 opposed to common sense to suppose that the time occupied 
 in the preparation of the colours makes no show of progress, 
 and no decorator “worth his salt” would regard as labour 
 lost the necessary time taken up in getting his colours 
 properly put into working order. 
 
HAND-PAINTING ON THE FRIEZE. 
 
 129 
 
 Having completed on each side of the apartment the 
 grounding in of the frieze pattern, or rather that portion of it 
 which is destined to be rendered in the “round,” at least 
 twelve hours or so should intervene before the artist takes 
 the completion of the design in hand. By allowing the grey 
 tint to become thoroughly hard, brilliancy of effect on some 
 parts of the work may be obtained by transparent washes of 
 varnish colours without danger of disturbing the body of the 
 lighter colour. The leaves may be painted in with colours 
 prepared with linseed oil and driers, using, in fact, no other 
 drying medium, for it is not necessary that the pigments 
 used should in this case quickly “set;” the process of 
 softening one tint into another to give the curl of the leaves 
 renders the use of varnish colours undesirable where a body 
 of any pigment is required to produce the result desired. 
 
 In the engraving, the leaves, the main stem, and the 
 remaining details are shown “in the flat” as they would 
 appear when stencilled only, but when each division is 
 rendered into “ the round,” the arteries of the leaves, the 
 feathers of the birds, and the roundness of the stem from 
 which the component features take their rise, would be shown 
 in their proper foreshortening, with their lights and shadows 
 in every w r ay as correctly and effectively as though the 
 stencilling brush had never been applied to them. It would 
 further be requisite to bring the leaves in contact with the 
 main stem, which in a merely stencilled design they could 
 not be on account of the “ ties.” It is scarcely necessary 
 in an engraving to crowd in a number of minor sprays or 
 branches, nor is it at all requisite in stencilling the design 
 upon the work to do so, but when using the pencil the deco¬ 
 rator can readily break up with a stroke or two here and 
 there any too pronounced uniformity of detail. By judi¬ 
 ciously exercising this prerogative he should be able to 
 give to the whole composition a freedom of execution amply 
 sufficient for the purposes intended. 
 
 The bold square lines, by which each division of this frieze 
 g 3 
 
130 
 
 PRACTICAL HOUSE DECORATION. 
 
 is rendered distinct in itself, present a difficulty in dealing 
 with them, hut it must be borne in mind that they are capable 
 of considerable modification in actual practice ; and to break 
 the monotony, gilding might with advantage be applied to 
 them, either as a fine edge upon the inner side, or a fine line of 
 gold upon the broad line of colour (in the centre preferably), 
 and such an arrangement would have a perfectly harmonious 
 effect. Gold might also form the circular pieces in the panel, 
 and would have a strikingly rich effect against a dark blue 
 ground. 
 
 For the second or lighter-coloured star, shown immediately 
 behind the smaller and darker detail, if gold be used for the 
 principal figure a shadow tint might best be utilised, and the 
 flowers may be rendered in a rose tint, the high lights in 
 white shadowed away into a lake or rose madder tone, 
 somewhat in the style of Chinese ornament, on which, in 
 fact, the example before us may be assumed to have been 
 based. 
 
 In the treatment of the conventionalised ornament on the 
 smaller division of the frieze a ground of a warm salmon 0 / 
 terra-cotta tint with the star or rose in a darker hue, formed 
 of the same tone colour as a basis, would prove attractive, 
 and would give a pleasing relief to the “ natural ” treatment 
 of the oblong and principal division. 
 
 The colour of the lower band upon which the dotted orna¬ 
 ment appears would be ruled by that of the wall filling, which if 
 the treatment suggested for the frieze be adopted should be a 
 neutral or warm French grey. In this case the lower band 
 might he a pale straw colour, the circles in gold and the line 
 next the wall filling also in gold or a deep marone tint. Of 
 course these suggestions would be modified by the experiences 
 on which comments have been made in preceding chapters, 
 such as the height of the room, the character of its furniture 
 and hangings, and the degree of natural light admitted into 
 the apartment, &c. 
 
 A tabular diagram of suggested colours for walls from the 
 
COLOUR SUGGESTIONS FOR THE FRIEZE. 
 
 131 
 
 skirting to the cornice, including dado, if any, is given on 
 page 21, Chapter III. 
 
 A frieze of the relative width shown in this example 
 would be obviously unsuited to a low-ceilinged apartment, and 
 would have in such a room to be considerably reduced ; in 
 fact a simple conventional decoration, whether stencilled or 
 hand-painted, would be advisable in a room of not more than 
 ten feet in height, while in apartments of exceptional loftiness 
 it is advisable to guard on the other hand against the over¬ 
 elaboration of such decoration as may be decided upon 
 immediately contiguous to the cornice. 
 
 Having shown by these examples how useful an adjunct to 
 modern surface decoration may be made the judicious use of 
 stencilled designs, whether in combination with hand-finished 
 ornament or rendered simply into tasteful combinations of 
 colour, we will now turn to the further consideration of ceil¬ 
 ing enrichment, in which also the use of the stencil plate 
 may often be found available as an aid to the subsequent 
 introduction of purely hand-pencilled compositions, especially 
 in those instances where a saving of time and the minimum 
 of expense in their preparation necessarily enter into the 
 decorator’s consideration. 
 
CHAPTER XIV. 
 CEILING ORNAMENT. 
 
 UCH has been said by writers on 
 decorative subjects of the neces¬ 
 sity of keeping in as light a hue 
 as possible the ceilings of our 
 modern apartments, but there 
 are yet many gradations be¬ 
 tween the bare whitewashed 
 coverings of most modern liv¬ 
 ing rooms, and the heavily en¬ 
 cumbered allegorical compositions of Le Pautre, 
 in France, or Sir William Thornhill, in England, 
 and their decorative prototypes in the past. 
 These would as much annoy our sense of the 
 fitness of things on an ordinary ceiling as they 
 now impress us with their grandeur in the 
 “ painted hall ” of Greenwich Hospital, or in 
 the erstwhile regal seclusion of Hampton Court Palace. 
 
 That these representations of flying figures and mytho¬ 
 logical deities are among the choicest works of artistic genius 
 must be admitted, but of their appropriateness it is impossible 
 to speak; indeed their only justification from the present 
 utilitarian standpoint seems to be found in the fact that being 
 overhead their splendour of detail is not liable to be injured 
 by contact or hidden by the disposition of the furniture or 
 hangings, as would, perhaps, be their fate in a less elevated 
 situation. 
 
ORIENTAL CEILING ORNAMENT. 
 
 133 
 
 And yet with this much granted, it must be borne in mind 
 that such subjects are unsuited to a perfectly flat ceiling, 
 such as is generally met with—that is to say, one merely 
 divided from the wall surface by an ordinary cornice. To 
 give due effect to a pictorial ceiling it should spring not from 
 the termination of the wall plane, but from a boldly arched 
 and deeply recessed cove. 
 
 We may here quote in illustration of the treatment of such 
 a ceiling one carried into practical work at the residence of a 
 gentleman in Park Lane, London, and which certainly has 
 the merit of appropriateness, since the entire fittings and 
 furniture of the apartment are not only of an Oriental 
 character, but were in some instances brought direct from 
 the East by their owner. Most readers are aware that in 
 sunnier climates than our own, and among Eastern peoples, 
 it is not uncommon to dispense with a complete roof 
 covering, while in many buildings a large square opening 
 above the centre of the apartment admits an uninterrupted 
 view of the blue sky peculiar to those latitudes. Taking 
 this for his leading idea, the artist in the example under 
 notice has utilised the cove to paint a representation of an 
 open stonework balustrading upon which creeping plants 
 and graceful foliage are skilfully depicted, while the ceiling 
 itself represents the deep blue of the sky with a fleecy cloud 
 floating in the calm atmosphere, and just a couple of long- 
 legged herons, or storks with expanded wings, in the act of 
 flying swiftly across the opening. It need hardly be said 
 that the result is exceedingly agreeable ; the whole subject is 
 light and aerial, and quite in keeping with the effect intended, 
 that of a luxuriant Oriental boudoir. 
 
 In the decoration of a dining-room a much heavier tone 
 of colour is permissible in ceiling decoration as with the 
 other details of that apartment, and the example (Fig. 50) 
 chosen for illustration in the present chapter is, perhaps, 
 more suited to the decorative requirements of an ordinary 
 dining-room than any other apartment. In its application, 
 
A DINING-ROOM CEILING. 
 
 135 
 
 the recesses caused on either side of the fireplace by the 
 projection of the chimney breast are necessarily ignored, for 
 in a band of the proportionate width shown in the engraving, 
 the breaking up of the pattern into additional angles would 
 present some difficulty, and interfere somewhat with the 
 symmetrical construction of the design. If, however, the 
 depth of these recesses should require a continuance of the 
 border pattern round the angles, the square patera at either 
 corner might with advantage be employed on either side the 
 abutment, both at the point of projection and also in the 
 recessed angle next the wall flank. The members of the 
 cornice next the ceiling if gilded would have a particularly 
 rich and massive appearance. This portion of the work 
 would, however, be the final and completing task, and we 
 may therefore leave that for the present. Although for 
 cheapness and rapidity of execution distemper colours may 
 be used in the rendition of this design, it is decidedly to be 
 preferred that flatting colours should be chosen for the work, 
 and the whole surface of the ceiling should first be care¬ 
 fully flatted in any desired tint of “ broken” white. A small 
 proportion of crimson lake is, perhaps, the best to break down 
 the crudity of white alone, as it imparts the requisite warmth, 
 combined with a delicate purity of tint which forms an 
 appropriate setting for such deeper tones as may be after¬ 
 wards introduced into the design. If the colour is to be 
 worked in distemper the addition of a similar proportion of 
 rose-pink to the white will prove nearly of equal service in 
 toning down the crudity of the bulk. 
 
 Previously to “ flatting ” a plastered ceiling, it should be 
 thoroughly prepared in order to arrest the suction. In 
 many instances a ceiling if in a bad condition may profitably 
 be papered over with a good lining paper, but in this case 
 the greatest care must be taken to smooth down the joins, 
 otherwise the decorations will be seriously marred by the 
 seams left in the hanging. In this process of “ bringing 
 forward,” as it is technically termed, the surface on which 
 

 136 PRACTICAL HOUSE DECORATION. 
 
 the decorator has to exercise his skill, the best medium to 
 employ is thoroughly strained boiled oil, to which a propor¬ 
 tion of red lead is sometimes added. A couple of coats of 
 double size will also answer the same purpose, but the oil is 
 decidedly preferable. The next stage will then be to give 
 the ceiling (and the cornice also if gilding is afterwards to be 
 applied to its various details) several successive coats of good 
 white lead paint or “ Freeman’s white ” (page 42), which from 
 its insusceptibility to change from the action of gaslight is 
 particularly valuable for so large a surface as that of a ceiling. 
 The white pigment, whether ordinary lead or the “ patent” 
 article be used for the purpose, may be mixed with rather 
 more than the ordinary proportions of patent driers, linseed oil, 
 and turpentine. After each coat care should be taken to rub 
 down with fine glass-paper any irregularities of the surface, 
 and if the ceiling has been papered, to reduce as much as 
 possible any projections or overlapping joints. The surface 
 is now ready for flatting, the colour for which will of course 
 be prepared by the admixture of turpentine alone, although 
 the better to “ bind ” the colour, a little oil or varnish is 
 occasionally added. This is an essential where, as in the 
 work before us, we have a number of different colours to 
 manipulate upon the flatted surface, and acts as a preven¬ 
 tive against any portion of the ground rubbing up under the 
 stencil brush, and therefore injuring the more decided tints 
 in which the pattern may he afterwards rendered. It is also 
 much easier to rectify accidents or mistakes if the colour 
 beneath is sufficiently “ bound on ” to enable us to wipe out 
 with a soft cloth (previously moistened in oil or turpentine, 
 or simply damped with soap and water) any spot of colour 
 that it may be necessary to remove, or lead pencil, crayon, 
 or charcoal marks, &c., with which we may find it useful to 
 define or space out certain points in the design. 
 
 We may now pass to the consideration of the colours to 
 be used, and of course these will as in previous examples 
 be dependent upon the general scheme of decoration. A 
 
PREPARATION OF THE KEY PLAN. 
 
 137 
 
 heavy mass of colouring on the ceiling of a room in which 
 the woodwork and walls are relatively lighter in hue would 
 be an anomaly, and must be avoided. We have in previous 
 chapters noted that colours should recede as they are placed 
 farther from the floor, hence in speaking of those to be used 
 in the details of our ceiling ornament we shall be understood 
 as meaning only their relative tints rather than the actual 
 pigments themselves. 
 
 One of the safest guides in work of this kind is to make a 
 preliminary plan of one corner of the ceiling, say one-half 
 the actual size, on a sheet of stout cartridge paper, and 
 having coated it with patent knotting, flat it with the ground 
 colour. Upon this the design should be carefully traced, and 
 the details put in with the colours we contemplate using. 
 We are thus enabled to remedy any defects of harmony or 
 contrast, to soften and subdue some or bring out into greater 
 relief others ; and thus we have, as it were, a key to the 
 whole composition, and an unfailing guide during our pro¬ 
 gress with the work. 
 
 The value of thus preparing a key plan to the decoration 
 of the ceiling will be further enhanced if the room be one in 
 which the light is reflected rather than directly admitted 
 into the apartment, as is the case in many London houses, 
 where absence of air space too often makes the dining-room 
 the darkest apartment in the house, often indeed looking out 
 on a high brick wall and making “ sky ” light quite out of 
 the question. For such a room, the place in which the 
 colours are prepared being probably a well-lighted workshop, 
 great difficulty would be experienced in getting such tones of 
 colouring as best suit the work, but by the use of the key 
 plan the choice of the most appropriate hues will be greatly 
 facilitated. By temporarily affixing it to the ceiling, by 
 the aid of a few tin tacks or drawing pins, a ready means is 
 obtainable of modifying the scheme of colour in any essential 
 particular, and once decided by thus viewing it in the same 
 light as that in which will appear the actual decoration, the 
 
138 
 
 PRACTICAL HOUSE DECORATION. 
 
 rest is tolerably “plain sailing.” The colours may be 
 altered or varied where necessary upon the key plan while 
 it is in position, and when taken down the whole of the 
 tints can be readily matched to it in the workshop with the 
 certainty that they are ready for the use of the decorator. 
 
 Assuming the ground work of the ceiling to be a broken 
 tint of pink, within a degree of absolute white, we may put 
 in the broad band upon which are the diamond-shaped 
 lozenges in a deeper tone of pink, obtained by the addition 
 of a more crimson lake to the colour used for the ground. 
 The broad band enclosing the centre in a lighter tint of the 
 
 iltl 
 
 BTTi 
 
 men 
 
 mn 
 
 same tone will be effective. And we may here remark that 
 although this circular band of pink may be, by several § 
 
 gradations of tint, lighter than that on the border, its appear- if 
 
 ance will, on the actual ceiling, be not perceptibly different 0 j 
 from it, while had we used the same tint it would really C( 
 have presented a deeper tone to the eye. On either side of 
 
 this centre band a line may be carried round of a deeper t 
 
 crimson, and its outside edges may be rendered in gold, | 
 
 using either oil or Japan gold size as the vehicle for running ] 
 
 them. The lines on either side of the rectangular band and 
 the diapered lines which define the diamond lozenges should 
 also be rendered in gilding, those at the edges forming at 
 each corner a square as in the engraving. The patera on 
 these diamond-shaped divisions may be either pale green or 
 French grey, against the actual ground colour of the ceiling, 
 and similarly the triangular ornament or “dog’s tooth” 
 pattern, as it is generally called by decorators, might be the 
 ground colour against a pale umber tint with a dull crimson 
 line outside the entire circle. The ornamental foliated 
 scroll, of which only a portion is shown, as in practice it 
 would be complete, not broken by the border at each 
 corner, is capable of considerable amplification and may be 
 elaborated in various styles. It may be treated as orna¬ 
 ment in the round, each leaf with its proper arteries, and 
 showing, by softening the lights and shadows, the curls 
 
SUGGESTIONS FOR COLOUR SELECTION. 
 
 139 
 
 )f the foliated scroll in its radiations from the principal 
 ;urve. Thus treated it would have a capital effect in a room 
 n which such a frieze as that given in the last chapter had 
 seen used on the decorations of the wall flank. The orna- 
 nents on the circular band surrounding the centre flower 
 may be gilded, or a darker shade of grey may be used to 
 iefine this part of the design. The patera at each corner 
 idmits of several colours appropriate to the remaining por¬ 
 tions of the design being introduced into it. This method of 
 treatment with the upper members of the cornice gilded 
 entire should produce an exceedingly rich effect. 
 
 Although it is suggested that gilding may be effective on 
 the ceiling of a dining-room, care must be taken that little 
 if any is used in other parts of the room. The decorations 
 of the walls, doors, shutters, &c., might best be given in 
 'colours only. 
 
 In setting out a ceiling of this simple description little more 
 need be done than striking the main intersecting and diagonal 
 ! lines by means of a string on which powdered charcoal has 
 | been well rubbed. Or yet further to economise time, a 
 piece of stout paper or cardboard cut to the shape and size 
 of the lozenges may be placed on the ceiling, and lightly 
 pencilled round each at their proper distances. For the 
 ; circle in the centre a similar plan may be adopted, only in 
 this case an actual circle may be made in wood (such as 
 ; framemakers’ ordinary backboarding will answer the pur¬ 
 pose) having its outer edge correctly bevelled. This may 
 ! then serve the double purpose of the preliminary marking 
 out, and afterwards as a ready means of applying the lining 
 fitch in just the same manner as in using an ordinary 
 “ straight edge,” although it is of course preferable to run the 
 outlines with a lining pencil. Such portions of the design as 
 admit of stencilling may also be cut out and finished up by 
 hand as referred to in the preceding chapter; the other 
 details will, of course, be correctly drawn, and then pounced 
 on for such parts as are to be rendered wholly by hand-work. 
 
140 
 
 PRACTICAL HOUSE DECORATION. 
 
 It now remains for us to yet further touch upon the 
 practical application of the design, having arranged as far 
 as may be the general scheme of colours in which it may 
 be tastefully rendered, and of course admitting the ideas 
 suggested to he capable of such modifications as individual 
 tastes may seem to dictate. These may readily be decided 
 in getting up the key plan from which the work will be 
 carried to completion, and the greater the care that has 
 been bestowed upon its preparation, the more readily will 
 the subsequent work upon the actual surface of the ceiling 
 be proceeded with. It should further be noted that the 
 matching of hues will be materially simplified if the key 
 plan is prepared, as suggested, with colours thinned up with 
 the same media as those intended to be used in the work; 
 it is often extremely difficult to obtain precisely the same 
 tint in oil colours as the same pigments would give when 
 ground in water, and it will thus be seen that working in oil 
 colours to a water-colour sketch of the proposed design adds 
 considerably to the strain upon the intelligence of the 
 decorator. 
 
CHAPTER XV. 
 
 CEILING DECORATION AND SURFACE GILDING. 
 
 ^ .^PSSSr^s^^RELIMINARY to the actual decora¬ 
 tion and absolutely essential to a suc¬ 
 cessful finish is the accurate setting 
 out of the intended design, and it may 
 be well at this point to deal more 
 directly than we have hitherto done 
 with the necessary methods to be 
 employed for setting out the surface 
 of the ceiling, since the difficulty in¬ 
 separable from overhead work makes 
 this preliminary labour one requiring 
 Mj§P the greatest exactitude. 
 
 J^jHflgjA The decorator, from his position when at 
 
 work, is only enabled to see that portion 
 upon which he is actually engaged, unless he 
 descends from the scaffolding at frequent inter¬ 
 vals ; and none know better than those employed 
 on delicate details of artistic work how greatly such inter¬ 
 ruptions of the mind as are thereby created militate against 
 success in decoration. But when every line is correctly 
 placed, every detail of the design at its proper angle, or 
 radiating at its proper curve, in the setting out, the skilled 
 worker has the advantage of confidence in every stroke, 
 and his employer reaps a twofold benefit in the quality 
 of the work and its greater expedition in completion. The 
 saving of time alone effected by properly attending to the 
 
142 
 
 PRACTICAL HOUSE DECORATION. 
 
 preliminaries is so great that hardly another word need he 
 said upon this point to practical men. It is, generally speak¬ 
 ing, only the novice or the sloven who is careless about the 
 “ marking out ” of his work, or who thinks every hour wasted 
 that is occupied in setting out his design; and yet these are 
 the very men who are the longest time about it in the long 
 run, since no inconsiderable portion of their time is subse¬ 
 quently expended in rectifying errors which never need have 
 occurred had they used ordinary care in the first instance. 
 
 To find the centre of a given ceiling is often enough a 
 work of difficulty even to practical men, where there is no 
 centre flower. The author recently had occasion to enter a 
 room in which a gasfitter was endeavouring to find the place 
 at which to bring out his pipe for fixing a chandelier, and 
 could but be amused by his clumsy expedient, although the 
 decoration afterwards had to be manipulated so as to hide the 
 damage he succeeded in doing. He had a long lath, which 
 he held flat upon the surface over his head, one end being 
 against what he “guessed might be about the middle of the 
 chimney breast,” and from the other end he let fall a plumb 
 line to the floor, upon which he had chalked a spot for the 
 centre. After witnessing him make three successive holes 
 with an auger, neither of which was in the centre, the 
 decorator interfered and found it for him, meeting only with 
 his resentment, since he asserted he would have found it 
 himself shortly! And yet this man had been twelve years 
 or more a London gasfitter, while it was necessary in conse¬ 
 quence of his ignorance to introduce some additional detail 
 into the ornament, so that some of the leaves might fall on 
 the patches of stopping, and thereby hide these abortive 
 attempts at getting the centre of the ceiling. 
 
 The proper plan is simplicity itself .* Let two workmen 
 take each one end of a line of fine whipcord, previously well 
 rubbed with powdered charcoal, and hold it diagonally across 
 the ceiling from the angles, repeating the process from the 
 * Vide “Elementary Decoration,” p. 42. 
 
 i$ 
 rive 
 
 t 
 
 fc 
 
 it 
 
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 F 
 
 of 
 
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 r 
 
 ii 
 
 ft 
 
 to 
 
 tl 
 
 ft 
 
 I 
 
 t 
 
 
SETTING OUT THE CEILING. 
 
 143 
 
 reverse corners of the room. The lines, when struck, at once 
 give at the point of intersection the exact centre. When 
 there are deep recesses on each side of the chimney breast, 
 the point should be taken from an angle formed by an 
 imaginary line drawn parallel to the cornice at a distance 
 equal to the projection of the chimney breast, otherwise the 
 point of intersection would be too close to the abutment, but 
 sometimes the angles may be taken at only half the distance 
 of the projection with advantage, as the symmetry of the 
 work may be better, although the “ centre ” would be rather 
 imaginary than real. These remarks apply equally to either 
 a square or oblong apartment. 
 
 When a ceiling is conspicuously “ out of square,” and the 
 angles are in consequence of different degrees, it may be 
 necessary to make a special modification of the corner pattern 
 for each angle, the border, of course, running parallel with 
 the cornice ; but if the irregularity be very slight, it is pre¬ 
 ferable to “ease” the pattern gradually, so as to preserve the 
 rectangular features of the design. To do this take a side of 
 the room which presents a straight line, and at any distance 
 from the cornice, but parallel to it, strike a charcoal line, say 
 twelve inches from it, measure off the centre of this line, and 
 from it describe a half circle of any radius intersecting the 
 line on either side. From each of these points where the 
 circle intersects it describe an arc outside the diameter of the 
 circle, and intersecting each other. From the point where 
 these arcs intersect to the original centre point draw a line 
 towards the cornice, which will be at an exact right angle to 
 that side of the apartment, and, taking this line as the guide, 
 strike on each of the sides another line twelve inches from the 
 cornice, and parallel to it. If the divergence of the cornice 
 from the rectilinear parallelogram as now struck on the ceiling 
 in charcoal be but slight, the whole of the decorative work 
 may be executed on the lines constructed by the decorator ; 
 if, on the other hand, the difference be greatly marked, there 
 is no alternative but to work to the cornice, and, as a conse- 
 
144 
 
 PRACTICAL HOUSE DECORATION. 
 
 tiro or 
 
 jjrions 
 
 ieti 
 
 lie to 
 
 01' 
 
 tie B 
 
 JltCK 
 
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 pro' 
 
 quence, the readjustment of the corner patterns, as mentionec 
 above, will be in most cases absolutely necessary. 
 
 Where one of the corners of an apartment, as in cornel 
 houses is sometimes the case, is curved or rounded, and it is 
 essential to ascertain the centre of the ceiling, the most exact 
 method of getting at the angle from which to strike the 
 diagonal lines is by first striking a line across the curve from 
 its two extremities. Next bisect this line, and carry the 1 
 charcoal line right across it at the point of bisection, i.e. 
 from the angle of the cornice opposite, to the cornice on the 
 curved side; this will give precisely the same centre point as 
 though the room had been perfectly square at each corner. 
 In the rendition of the border pattern, given in Fig. 50, the 
 design would be, of course, continued round the curved 
 cornice. This could be effected by reducing slightly the 
 dimensions of the diamond-shaped lozenges, or, as it is cus¬ 
 tomarily termed, by “ easing” the pattern in greater or less 
 degree, as may be required. 
 
 We have now reached that point at which the gilding of 
 various parts of the design require our attention, and it is 
 expedient to devote it to some remarks upon that delicate 
 process which by the very costliness of the material employed 
 is one involving considerable nicety and care. An inferior or 
 unpractised workman often wastes enough of the precious 
 metal to do a decent job twice over, while others, moved by 
 the temptation of easily making a shilling or two by the 
 disposal of “ skewings,” are far less careful than they might 
 be. The employer should watch carefully how far one man 
 can make a book of gold go, and see to it that no unnecessary 
 waste is allowed to occur. For this reason the gilder’s tools 
 should be in good order, his cutting-knife should be scrupu¬ 
 lously clean, and so also should be his cushion, and if it has 
 been very much cut about, let it be properly re-covered with 
 soft chamois leather. 
 
 Another frequent cause of wastefulness in gilding is that 
 disposition to hurry, which causes some employers to have 
 
PREPARATION FOR GILDING. 
 
 145 
 
 l0|!ei jtwo or three different sets of workmen engaged in their 
 various branches of work in the same apartment, and at the 
 same time, as that in which gilding is being proceeded with. 
 The consequent opening and closing of doors, the noise, and 
 the dust, inseparable from this style of carrying on work, as 
 well as the draughts thereby created, handicap heavily even 
 )ffi the most painstaking workmen, and often prove fatal to a 
 successful job. The decorator who knows his business will 
 always let the gilders have “ a clear shop,” and even 
 encourage them to work with locked doors rather than run 
 the chances of being continually interrupted by the incursions 
 of other workmen, whose curiosity often prompts them to 
 neglect their own work for the purpose of watching the 
 gilders. 
 
 Another essential should not be overlooked, and that is the 
 provision of a proper platform from which the whole of the 
 ceiling may be worked upon in comfort. Tressels placed at 
 proper distances, with scaffold boards going round and across 
 the entire room at the height required, with here and there a 
 pair of steps by which to ascend, should be a sine qua non 
 in every well-ordered undertaking. The saving of time, 
 which would otherwise be expended in “ shifting ” from one 
 point to another, will of itself be considerable, without taking 
 into account the increased comfort to the workmen. There 
 should also be a substantial bench in the middle of the room 
 for colours and thinnings, and such mixing of tints as may 
 be required. 
 
 Gilding is capable of being performed in several distinct 
 methods, of which the most usual are those known as “ oil” 
 and “Japan” gilding, and for frames, &c., to mirrors and 
 console tables the “ water” process. Ceiling work is gene¬ 
 rally one of the two former. Oil gilding has the merit of 
 durability and richness or brilliancy ; Japan gilding is the 
 more expeditious of the two methods, and as the work is not 
 liable to “bloom,” there is no necessity to “ size” the 
 work after completion, as is the case with work which hag 
 
146 
 
 ■PRACTICAL HOUSE DECORATION. 
 
 been gilded in oil. For this reason gilding in Japan gold 
 size may be preferred on those parts which do not present 
 a solid or rounded surface, and will be the best vehicle for 
 running the lines in a design. 
 
 The Japan gold size as usually sold is generally far too rapid 
 a dryer, however, if used alone, and to ensure the requisite 
 “ tack ” or adhesiveness, most gilders add a proportion of 
 varnish, together with a few drops of raw linseed oil. It is 
 also an advantage to stain the vehicle slightly, either by 
 adding some finely ground chrome if the lines are to be run 
 upon, or in juxtaposition to, a dark surface colour ; or if in 
 contrast with light tints a proportion of ground burnt sienna 
 should be added. Care must be taken that the quantity of 
 pigment thus used is only sufficient to give the requisite 
 staining property, without destroying the “ tackiness ” of 
 the gold size. 
 
 With the medium so prepared lines may be run with the 
 straight edge and lining fitch as in ordinary colour, stencilling 
 may be done, and such parts as require to be pencilled in by- 
 hand may be readily completed. If the size has been pro¬ 
 perly manipulated it should be ready for gilding in from one 
 to two hours, and should hold the “tack” for at least an 
 hour after being “ ready for gilding.” 
 
 Oil size, from its greater liability to spread, i.e. form a 
 rugged edge on the work, is not suitable for lining or sten¬ 
 cilling. 
 
 Where the paint underneath is not properly hardened, it 
 is necessary to prepare the surface for gilding by brushing it 
 over with white of egg, and then dusting powdered whitening 
 upon it to arrest the adhesiveness of the paint, but this 
 should not be necessary if the colours have been worked in 
 “flatting,” provided the flatting itself has been properly 
 made up. 
 
 Oil gold size is generally a most expensive commodity to 
 purchase, but many gilders prefer to make their own, as being 
 far more reliable than any sold ready prepared. It is simply 
 
 in 
 
 ft 
 
 E 
 
 1 
 
 t 
 
 4 
 
OIL GOLD SIZE. 
 
 147 
 
 a preparation of “ fat ” oil, or linseed oil which has become 
 thickened by age and exposure to the sun. For this purpose 
 the oil which collects on the top of old paint should, when it 
 has been standing a few weeks, be carefully poured off into 
 another vessel. This, with raw linseed oil mixed with it, 
 may be placed in a large wide-mouthed pot, covered with a 
 sheet of glass to protect it from dust, and it may then be 
 placed in some convenient position where it will during 
 the day get the direct rays of the sun for two or three 
 months, during which time it must be occasionally stirred. 
 If water be placed at the bottom of the pot, such impuri¬ 
 ties as may be in the oil will sink through the water to 
 the bottom, and greatly facilitate this stage of the prepara¬ 
 tion. In the course of a few weeks of this treatment the 
 oil will become of the consistency of syrup, and may be 
 then poured off into a bottle. This should be heated gently 
 until the oil again becomes fluid, when it may be finally 
 strained through coarse muslin to remove the sediment, put 
 into gallipots, and covered away for use. When wanted 
 for work, a proportion of yellow ochre and chrome, ground 
 up finely, should be added, and if found to be too slow in 
 drying, a little of the better class of carriage varnish may be 
 added also. About twelve to sixteen hours is the usual 
 time required to enable it to “set ” properly when laid upon 
 the surface to be gilded, and if properly made it will “ hold 
 the tack” for six or eight hours after it has become set, or 
 even longer. 
 
 Turpentine should never be added to either oil or Japan 
 gold size, as its evaporation will greatly impair the brilliancy 
 of the gold, some work even turning black in consequence of 
 its use as thinnings. The best plan is to thin out with oil 
 or varnish. Oil size, however, from its very nature, invari¬ 
 ably works “ ropy ” (which is a technical idiom to indicate a 
 surface streaked with lines of uneven thickness or body), 
 and hence on broad surfaces it must be carefully “laid off” 
 to ensure an even spreading of the vehicle. 
 
 ii 2 
 
14S 
 
 PRACTICAL HOUSE DECORATION. 
 
 On completion of the gilding the work requires to be sized 
 over with parchment size to arrest the bloom. This is made 
 by melting parchment cuttings and diluting with warm water, 
 and is applied with a camel-hair brush lightly over the sur¬ 
 face of the gilding. The greatest care must he taken to keep 
 the apartment free from dust, both while the gold size is in 
 its wet and “tacky” stages, and also while the parchment 
 size is being applied or drying. Some gilders use “ pates ” 
 or paper-stainer’s size instead of parchment. It is consider¬ 
 ably cheaper, but not nearly so transparent, and is unfitted 
 for employment by first-class tradesmen or in good work. 
 One coat of the parchment size will generally be sufficient 
 for such comparatively small surfaces as mouldings, &c., 
 but on a wider expanse of gilding it may, in some instances, 
 be as well to go over the sizing a second time to ensure the 
 whole of the gold being properly covered, otherwise the 
 work might in a few days present a spotted appearance from 
 the blooming of those parts which may have been insufficiently 
 sized. 
 
CHAPTER XYI. 
 
 ON GILDING AND THE DECORATION OF DOORS, 
 ARCHITRAVES, AND DADO IN POLYCHROME. 
 
 OLD LEAF forms an important 
 accessory to colour decoration; 
 but it is yet possible to overdo 
 its use, and, therefore, its ap¬ 
 plication should be considered 
 with quite as much thought and 
 appreciative judgment in refe¬ 
 rence to its effect when finished, 
 as in the case of the colour deco¬ 
 ration itself. 
 
 The conclusion of the preceding chapter dealt 
 briefly with the technique of gilding processes as 
 generally observed in the decoration of interiors, 
 and although chiefly therein discussed in immediate 
 reference to ceiling enrichment, the general terms 
 thus touched upon apply with equal force to that 
 part of the gilders’ art which comes more directly under the 
 eye ; as, for instance, in the application of gold leaf to the 
 mouldings of door panels, and the members of the various 
 architraves, &c., composing the leading features of the door 
 frames and window openings. 
 
 It is, of course, a difficult matter to lay down a hard-and- 
 fast standard of good (or bad) taste in reference to the use of 
 gold leaf, but the writer has, within the scope of his own 
 experience, seen otherwise good work marred by a super- 
 
150 
 
 PRACTICAL HOUSE DECORATION. 
 
 abundant display of the precious metal quite as often as 
 by the absence of it from considerations of an economic 
 character. 
 
 Occasion has been taken in the course of this work to 
 exclaim against the popular fallacy that unfortunately prevails 
 to an amazing extent among house painters (by courtesy 
 styled decorators, even when ignorant of the most rudimen¬ 
 tary approach to decorative ability) that “ matching the wall 
 paper” is the true keystone to harmony of effect. Unhappy 
 and misleading hallucination ! The author has yet, lingering 
 in his “ mind’s eye ” with persistent malevolence, an awful 
 recollection of an apartment which had been “ decorated ”— 
 save the mark !—by one of these wilful destroyers of artistic 
 peace, and which might have brought on a “ bilious ” attack 
 in most of the unfortunates who were doomed to sit (it was 
 at a public gathering) in that wretchedly painted chamber for 
 several hours together. The surveyor had selected a warm 
 pink-hued wall paper, having nothing in particular, by way 
 of design, impressed upon it in a somewhat lighter hue of 
 the same tint—it was the house painter’s conventional salmon- 
 colour, or the fancy draper’s equally pronounced conven¬ 
 tionalism, “ crushed strawberry.” And the depraved de¬ 
 stroyer of all the canons of art had mixed up in his paint 
 pot, and applied to every inch of the woodwork, doors, 
 shutters, mantels, and the old-fashioned dado and skirting 
 as well, an exact reproduction of the pickled salmon wall 
 paper 1 As one sat there everybody’s complexion merged 
 into the wall behind them until the row of faces disap¬ 
 peared from the blurred eyesight altogether, and above the 
 black coats of the company the villanous wall paper shone 
 through them like a transparency, while a row of human 
 hair, supported upon nothing that the eye could perceive, 
 defined the places where the heads ought to be ! Conceive 
 such an effect in a ball-room, and wonder afterwards that 
 maledictions should be showered upon the misguided per¬ 
 petrator of such a huge practical joke effected in the name 
 
APPROPRIATE APPLICATION OP GILDING. 151 
 
 of “ decoration.” This digression—a personal reminiscence 
 —may be pardoned ; the more readily if it effects the end 
 in view, of bringing forcibly home to the reader the evil 
 consequences of these far too frequent laches on the part 
 of so-called practical decorators. The mischief does not 
 end with the production of an awe-inspiring “harmony,” it 
 may create a confirmed dyspeptic out of a healthy subject 
 if he happen to be afflicted with a right appreciation of the 
 laws of artistic contrast. The painter has, indeed, much to 
 answer for! 
 
 Where it is sought to introduce gilding as an aid to 
 decorative detail on the woodwork of an ordinary apartment 
 —more directly with reference to those rooms applied to 
 residential or domestic purposes—the wall paper, if one 
 be used, should be taken as much into account as when 
 deciding upon the proper tones to be selected for the painting 
 of the woodwork. And as it by no means follows that 
 because the wall paper happens to be of a certain tone the 
 painted work should match it, so it must not be supposed that 
 a wall paper relying for its effect upon metallic details in the 
 design needs to be supported by a quantity of gilding in the 
 enrichments of the framing placed in juxtaposition with it. 
 
 On the contrary, if the walls have a mass of metal —or 
 “gold” as the paper-stainer generally terms it—introduced 
 into their hangings, it is often better to dispense with gold 
 in the woodwork altogether, or at least to so sparingly apply 
 it that the eye may have some place on which it may find 
 that repose essential to the comfort and enjoyment of the 
 occupant of the chamber. The fact is too often ignored that 
 a mass of gilding on ceilings, walls, and woodwork has, when 
 an apartment is lit up with artificial light, frequently a 
 painful rather than a pleasing effect—all garish glitter, 
 rather than that calm and dignified harmony which should 
 be the sensation experienced if the apartment be embellished 
 by a decorator of cultivated taste. 
 
 Take any ordinary door panel enriched by an ogee mould- 
 
152 
 
 PRACTICAL HOUSE DECORATION. 
 
 
 ing, and, by way of trial, gild the whole of the moulding—in 
 most cases we shall find the ornament upon the panel itself dete¬ 
 riorated in appearance, lost as it were in the superior effulgence 
 of too solid a metallic frame. As an alternative, gild only the 
 narrow fillet next the panel, painting the body of the mould¬ 
 ing-—or curved portion—in some suitably harmonious tint; 
 the result as compared with the first example will be found 
 infinitely superior at an expenditure of one-third the quantity 
 of gold leaf, to say nothing of the greater facility with which 
 the oil size can be “ run ” by an expert pencil-hand upon the 
 narrow flat, and the consequent saving of time in that respect 
 alone. 
 
 Again, if the moulding of the door panel be exceptionally 
 broad, and it is desired to “ break up ” its solidity of appear¬ 
 ance, cut on a stencil paper some simple ornament, the 
 simpler the better, a succession of triangular notches—the 
 “ dog’s tooth ” ornament, referred to on a preceding page— 
 or any running ornament of not too complex a character, and 
 its rendering in gold—although the time taken will be little in 
 excess of that needed to run in the whole member—will give an 
 artistic effect precisely in the direction desired. There will not, 
 indeed, be a saving in the quantity of gold used in this in¬ 
 stance, for the gilder must of necessity cut his leaves into 
 sections, each the width of the actual moulding. On the 
 other hand, the surplus gold leaf, when removed by the 
 application of the “ dabber,” and finally with cotton wool, in 
 the usual manner, will add to the value and quantity of 
 “ skewings,” and will in some measure compensate for the 
 additional labour. 
 
 It is, generally speaking, impracticable to stencil orna¬ 
 mental details, particularly if made up of minute parts, in 
 oil size on painted work. If well above the level of the 
 eyo, as for example on the cornice, over a facia on a shop 
 front, in exterior decoration, or in any elevated position, oil 
 size may be used as readily as Japan gold size; but, as it 
 invariably “ spreads ” under the stencil plate, the latter 
 
APPLICATION OF GOLD-SIZE. 
 
 153 
 
 vehicle is certainly preferable for stencilling in gold ; indeed, 
 assuming that we are now stencilling on an ogee moulding, 
 oil size must perforce he discarded altogether for such a 
 purpose—its greater hulk or consistency would cause it to 
 leave an unsightly edge to the detail which not even care¬ 
 fully “ cutting in” afterwards with the ground colour would 
 effectually conceal. 
 
 Japan gold size, however, being of a fluid nature, if 
 properly prepared by the addition of a slight modicum of 
 i good copal varnish or linseed oil, if the weather or the 
 temperature of the apartment be exceptionally warm, will 
 answer every requirement and, as explained in the preceding 
 chapter, the work will not necessarily require to be sized 
 with a solution of parchment cuttings as in the case of work 
 rendered in the more solid vehicle of oil size. 
 
 It may be well here to note that, while it is in some cases 
 very essential that painted work should be prepared by means 
 of white of egg and whitening, so that the gold leaf may adhere 
 to the sized parts, a fruitful cause of the “ spreading ” of oil 
 size—and even of Japan also—is that painters dust too great 
 a quantity of whitening over the work. Some men are con¬ 
 tent to rub a soft rag over a ball of whitening and apply it with 
 all the gritty particles, to the work to be gilded. Alivays, 
 if an unpleasant after job of cutting up rough edges is sought 
 to be avoided, tie the powdered whitening up in a bag made 
 of two or three thicknesses of the finest muslin, and even 
 then brush away any superfluity of the dust that may escape 
 from the meshes of the material. If the work is well covered 
 with solution of white of egg the merest touch of the pounce- 
 bag should be sufficient. As there is reason for everything 
 in the practice of the decorator it may be mentioned that the 
 white of egg is used to prevent the gold leaf adhering to the 
 paint, and that the whitening serves the equally essential pur¬ 
 pose of preventing the gold leaf adhering to the white of egg. 
 Thus, it may happen in a particularly hot room, that the 
 white of egg, if used with too small a proportion of water— 
 
 h 3 
 
154 
 
 PRACTICAL HOUSE DECORATION. 
 
 an error to be carefully avoided—or from the extra “ tacki¬ 
 ness” of the groundwork, will be difficult to remove, not 
 yielding easily to the persuasive influence of a damp soft 
 sponge ; in such a case, if the gold leaf also adheres to the 
 white of egg, the work will be “ as good as spoiled,” as the 
 painter would say. At least, a great deal of patience and 
 “ touching up ” would be required before a presentable finish 
 would be achieved, while the waste of gold leaf entailed in 
 consequence would be very considerable. 
 
 In practice the proportion of water should be rather more 
 than one gill to the white of an egg, never less than that 
 quantity; for if the work upon which the gilder is to exercise 
 his skill be very “ tacky,” whether the cause be from the 
 humidity of the atmosphere or from too great a proportion 
 of oil in the preparation of the colour, iFis far and away best 
 to defer the commencement of operations for a few days. If 
 the egg be too weak the gold will stick to the work, and if 
 too strong when the gold is washed off the egg will remain, 
 and the work will be found streaked in all directions Avith 
 the marks of every individual hair composing the tool with 
 which it was applied. Many a good job has been spoiled 
 by inattention to what nine journeymen out of ten met with 
 in the trade will characterise as “ these ««important details.” 
 The master, however, generally begins to realise their import¬ 
 ance about the time that his men are being employed at nine- 
 pence or tenpence an hour for several days “repairing damages,” 
 and all because an apprentice, perhaps, who was sent on to 
 prepare the work, used his white of egg too strong or omitted 
 to test the “ tackiness ” of the ground before proceeding to 
 egg it in. 
 
 Five minutes spent in explanation to the lad, or the 
 exercise of a little common sense on his part, might have 
 saved pounds in Avaste of time alone, without the disagreeable 
 consciousness to any right-minded employer of having turned 
 out a “ botched "job. 
 
 The panel decoration, Fig. 51, is a design Avbich Mr. 
 
Fig. 51.—Decorated Door Panels 
 
156 
 
 PRACTICAL HOUSE DECORATION. 
 
 Hoyle supplied for incorporation into the panels of the door 
 ■which is here depicted; the example affords an instance of 
 the manner in which the stencil plate and hand-pencilling 
 can he utilised together with the happiest effects. The idea 
 is one readily producible in the hands of any intelligent 
 workman, and would be appropriate to a boudoir or small 
 drawing-room. The door itself is enriched with a shelf and 
 ornamental backing, the style of which gives additional scope 
 for panel decoration, either aided by simple stencilling or 
 hand-painted ornament. If the room be finished in pale 
 blues, the most desirable colour for the more prominent 
 members of the architrave would be a deeper shade of 
 “ broken ” blue tone, that is, a blue slightly tinted with 
 burnt sienna or lake, to impart warmth and obviate too 
 crude a distinction between it and the walls. The panels 
 might be a broken white or a subdued cream tint, or they 
 might, if a bolder contrast be aimed at, be a decided pink 
 tone, composed of crimson lake, burnt sienna, and white 
 lead—the lake alone as an addition to white would be too vivid 
 for the purpose. The mouldings of the panels in this case 
 may be white or marone, either extreme would be equally 
 effective. 
 
 The ornament, which is of a free-flowing and quasi-natural 
 character, might be rendered in marone upon the pink ground; 
 or olive green, not too deep a tint, as approaching more 
 nearly to the style of ornament might be preferable ; the 
 vases from which spring the main design could then be put 
 in in marone tint and enriched with gold, the lines on the 
 panels being also in marone or light shade of brown, to har¬ 
 monise more directly with the ground surface. In the centre 
 of each flower a “ dot ” of gold would assist the general effect 
 immensely. Details of the enrichment to the over-door 
 might be in gold and marone, or white and gold, according 
 to the choice made for the panel mouldings. The dado, 
 which, in the drawing, is of wood, may be similarly treated, 
 and any ornament added should partake of the same general 
 
ORNAMENTATION OF DOOR PANELS. 
 
 157 
 
 character as that on the panels of the door. The skirting 
 should be in brown, or at anj? rate considerably deeper in 
 tone than other portions of the work. 
 
 An exceedingly pretty effect may be produced by a design 
 of this kind rendered in gold on a black panel. In such a 
 case the stiles of the door should be of a deep marone or lake 
 hue, and further enriched by lines of gold run on the stiles 
 parallel to and surrounding each of the panels. Of course, 
 the whole of the architrave, the trusses supporting the over¬ 
 door, and other parts of the subject should receive treatment 
 in the same combinations of colours and gilding. On the 
 side of each truss a small spray, or even a rose or patera, 
 formed from one of the details in the pencil design, may be 
 introduced, also in gold. 
 
 Another method of treatment, which would be suited to a 
 bedroom, could not fail to form a pleasing arrangement of 
 colour. Say the Avail paper to be a pale cream ground on 
 Avhich is a pattern composed of pale greens, pale yellows 
 (approaching ochre in hue), and pink; below this a dado of 
 a purple tone and a suitable band on a green ground—all 
 wall paper. Noav, let the outer architrave be a pale creamy 
 blue, composed of white, burnt sienna, and Prussian blue, the 
 details “ cut in ” broAvn or Indian red, and paint the panels in 
 a green tint several shades darker, proportionately, than the 
 stiles and architraves, and not too bright, “ broken,” in 
 fact, by the addition of burnt sienna—not sufficient, of course, 
 to decidedly stain it, but enough to subdue the brilliancy of 
 the green. For green and blue are hazardous colours to 
 place together, and, as some would say, are opposed to many 
 of the dicta laid doAvn in previous chapters of this work, yet 
 it is but another example, gained by experience, of the man¬ 
 ner in which theories are modified in practice, for if these 
 effects be tried by any practical man he will certainly 
 admit the pleasing nature of the resulting combinations. 
 Now reproduce the foliated design and the lines on the 
 panels in a Avarm straAV colour, compounded of ochre, chrome, 
 
158 
 
 PRACTICAL HOUSE DECORATION. 
 
 and sienna, reduced to the proper tint by admixture with 
 white. On the stiles, which are of the creamy pale blue, 
 like the architrave, place some marone or Indian red lines 
 to each panel, and run in the mouldings in white, or reverse 
 it and run the lines in white on the pale blue ground and 
 define the mouldings in marone, reduced in strength of shade 
 if the whole member is run in solid. Finish the skirting in 
 appropriate tones. 
 
 In Chapter XIII. (p. 128), reference was made to the man¬ 
 ner by which a stencilled design might be made a ground 
 for hand-painting in natural tones, by putting it on the work 
 in some broken grey tint, and then proceeding as if the 
 whole had been rendered exclusively with the pencil. It 
 only remains to add, with special reference to the drawing 
 before us, that on account of its freedom and natural group¬ 
 ing, as well as from the positions suggested for its most fitting 
 application, it would appear to lend itself excellently to 
 reproduction in natural colours. The flowers and leaves, 
 the stems and sprays, and the vases might all be admirably 
 rendered into the round with surprising facility, while a 
 butterfly, or any suitable specimen of insect life, here and 
 there added to the design, would give it an additional effect, 
 and all within the sphere of any ordinary “ pencil hand ” 
 who understands the treatment of light and shade when 
 rendered into oil colours. It need not, perhaps, be said that 
 the jar shown over the door in the engraving is “ material ” 
 decoration, and maybe either a valuable specimen of antique 
 “ Worcester,” or an empty jar which had once contained so 
 very ordinary a domestic commodity as a few pounds of 
 preserved ginger, and which now, by the aid of distance, 
 “lends enchantment ” to the beholder who examines it only 
 from the floor-line. 
 
CHAPTER XYII. 
 
 GENERAL SUGGESTIONS FOR POLYCHROME. 
 
 BAYING now the question of panel 
 decoration in its simpler form, we 
 may glance at that more elaborate 
 system of ornamentation which 
 formed the distinguishing charac¬ 
 teristics of what is known as the 
 Adams’ style. The best examples 
 of Adams were perhaps to be seen 
 in the mansion of the Earl of 
 Derby, belonging to a date prior 
 to the commencement of the pre¬ 
 sent century, and were certainly characteristic 
 in every way of the system of decorative effect then 
 prevailing. Broadly speaking, its leading feature was 
 the introduction of medallions, supported by ornaments of 
 the vase kind, and often upheld by winged monsters of the 
 dragon type, while the entire surface of the panels was 
 literally covered in this way with free-flowing and graceful 
 decoration. 
 
 The panels were usually enclosed in large and deeply 
 indented mouldings, resembling greatly the “ dentils ” of 
 the Doric order of architecture, and were frequently covered 
 in “ solid ” with gold leaf. A similar example of these 
 heavily enriched mouldings may be seen by those fortunate 
 enough to obtain access thereto in the grand drawing-room 
 at Grosvenor House, the town residence of the Duke of West- 
 
160 
 
 PRACTICAL HOUSE DECORATION. 
 
 minster. In this instance they appear on doors and shutters 
 of solid Spanish mahogany, highly French polished, and 
 have an imposing effect on account of the great size of the 
 doors. Such effects as these are, however, suited only to 
 apartments of regal dimensions, for the decorations of a 
 palace would he decidedly out of place in a modern middle- 
 class residence, and are mentioned here rather that those 
 decorative readers who may fear that they are being asked 
 to decorate every available square yard of surface in any 
 apartment they enter may suffer from no excess of timidity 
 in suggesting such embellishment to their customers. 
 
 Those who have studied the ideas prevalent in the Louis 
 Seize period will know it is by no means a new departure to 
 cover the room with the decorative painter’s work from 
 skirting to ceiling. It by no means follows, however, that 
 because in these chapters an endeavour has been made to 
 write upon as many as possible of the details that may be 
 made to bear a part in the decorative whole, we should our¬ 
 selves apply so great a profusion of decorative detail, or 
 advise our patrons to do so. It is in a work of this kind 
 advisable to omit, if possible, nothing respecting which the 
 practical painter may desire to receive a hint in the course 
 of his business. 
 
 It is purposed in this place to treat generally of the various 
 details of the apartment in which we have been working 
 during the last two or three chapters, and to give, as would 
 the decorator on completing his job, a general “look round,” 
 commenting upon such matters as may require a little more 
 care at our hands before we debouch upon the staircase, 
 which may next require attention. We have decorated the 
 ceiling, and have described at some length the colours upon 
 its surface, in which the details of the cornice have been 
 “ picked in.” If attention has been paid to the suggestions 
 made, the effect overhead will be satisfactory. Or, have 
 we run in the cornice in tones which appeared suitable when 
 we tried them on the palette board, but now, when looked 
 
General suggestions in painting. 
 
 161 
 
 . 
 
 at as a whole, appeal* too dark ? Let us for the moment 
 I reason with ourselves on this point. Why is it that the 
 colours appear so different to what we anticipated now they 
 are all in ? Probably because w r e have omitted to remember 
 that the upper panes of the windows were to be filled with 
 stained glass, and now that is done, the chequered light has 
 completely altered some of our colours ! And what is the 
 lesson to be derived from this supposition ? the reader will 
 probably be asking. Several. 
 
 First and principally, if, in practical work, any doubt is 
 
 I likely to arise as to the expediency of using particular tones, 
 err rather on the safe side—use modifications of the proper 
 tones in preference to using them in their intensity—it is 
 easier to run in a deeper tone if necessary than to put a 
 delicate tint over some bright or deep tone without marring 
 the delicacy of hue we seek to preserve in all decorative 
 detail. Another deduction which we may draw from this 
 phase of our experience is that it is inexpedient to put a 
 lightly covered expanse of ceiling into a dark framework, as 
 the cornice may have become, if the hues chosen be out of 
 harmony with the general surroundings of the room, and too 
 violently contrasted against the ceiling. Instead, in fact, of 
 the cornice being a part of the entire scheme of decoration, 
 as any appreciative designer would endeavour to make it, 
 it becomes simply the frame in which the work is enclosed ; 
 and just as a beautiful picture may be marred by being 
 exhibited in an unsuitable mounting, so may the most careful 
 attention to colour, harmony, and design on the ceiling 
 surface be sacrificed by the fatal juxtaposition of a badly 
 chosen and inharmonious cornice. 
 
 We have treated this apartment as one possessing a con¬ 
 structive dado-—that is one really existent and not applied by 
 the paperhanger or the painter. In most modern houses the 
 wall flank, however, rises directly from the skirting, and any 
 addition to the decoration of the apartment in this direc¬ 
 tion would fall into the hands of the painter. In Chap. YI. 
 
162 
 
 PRACTICAL HOUSE DECORATION. 
 
 (page 50 et seq.) are given some illustrative diagrams of the 
 relative heights of the dado in the various styles of decora¬ 
 tive periods. Before leaving this subject we may supple¬ 
 ment the remarks then made by briefly recurring to this 
 portion of our work. 
 
 The walls of an apartment are distinguished, of course, 
 by a definite object—that of affording the necessary support 
 required to bear the weight of the ceiling ; if, therefore, our 
 system of decoration has tended to put out of sight the 
 tangible intention of the architect in this particular, the work 
 must prove unsatisfactory in a high degree, for it is a maxim 
 that cannot be successfully ignored that decoration must be 
 used solely as an accessory to architecture, not to supersede 
 it. Thus we should be acting directly in contravention of 
 the laws of gravity if we painted the upper part of our wall 
 darker than the dado and skirting, the example quoted in 
 reference to Pompeian ornament on page 102 to the contrary 
 notwithstanding, since the idea of weight or solidity would go 
 with the deeper tones, and an aerial lightness with the more 
 delicate and subdued, the obvious impression being that the 
 more solid part of the structure was supported upon nothing, 
 and by a perversion of the canons of colour gradation, the 
 architectural symmetry of an apartment is at once over¬ 
 thrown. 
 
 The same rule applies with equal force to the relations of 
 the skirting and dado. Here, then, is a fixed law which, 
 whatever originality may be infused into the design of the 
 decorations so far as it relates only to form, must, when the 
 colour scheme is in course of arrangement, be taken fully 
 into the consideration of the decorative painter. For this 
 reason, also, a constructive dado is to be preferred to one 
 merely defined by painting the wall in gradations of con¬ 
 trasting colours. 
 
 It may be further remarked that the apparent size of an 
 apartment is considerably altered by applied decoration. 
 Thus a heavy mass of colour upon the ceiling will have the 
 
 litt 
 
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 fei 
 
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RELATION OP FURNITURE TO ORNAMENT. 163 
 
 fleet of reducing the apparent height, although ornament in 
 ; omparatively lighter tones will actually tend to give the 
 idea of enhanced height, as compared with a perfectly plain 
 ixpanse of ordinary whitewash. A deeply recessed or boldly 
 irehed cove above the lower members of the cornice will 
 lave the effect of increasing the apparent height of the 
 ;eiling, but dark or heavy tones of applied ornament thereon 
 livill again bring the ceiling plane more directly to the eye, 
 md thus deceptively decrease the apparent height. The 
 breaking up of the wall flank into panels increases the 
 apparent height of the apartment. If the room be of such 
 a height that it is desired to diminish the effect, a high dado, 
 as in Fig. 7, on p. 52, will be appropriate, and will serve the 
 purpose aimed at. If the room be exceptionally low the 
 dado had best be dispensed with altogether, or only brought 
 up to the height of three feet from the floor line, every addi¬ 
 tional inch taken from the wall flank will make the apart¬ 
 ment appear much more than that additional inch lower. A 
 wide frieze is unsuited to a low room, and in such cases the 
 frieze must be dispensed with, and, if decoration is desired, 
 a simple border only would be appropriate beneath the 
 cornice. If the area of an apartment be small a dark tone 
 of decoration will further decrease its apparent dimensions ; 
 it follows then that only light and aerial tones are appro¬ 
 priate for it; but if the area be large, and it is desired to 
 decrease it to the eye, the colours chosen may be deep and 
 rich in exactly inverse ratio to the first hypothesis. Every 
 additional article of furniture has a like effect in decreasing 
 the apparent size of a room in its relative proportions. 
 
 Another consideration in thus reviewing our decorated 
 apartment will be the relations of the furniture to the colour 
 scheme. In some instances within a decorative experience a 
 great waste of gilding and pencilling has taken place, owing to 
 that fact not having been taken into account; for much of the 
 best work has been concealed behind the massive furniture 
 introduced subsequently to the completion of the job, simply 
 
164 
 
 PRACTICAL HOUSE DECORATION. 
 
 4 
 
 it! 
 
 n 
 
 because, in that case, the owner would not perhaps listen to 
 advice from the decorator, but gave the upholsterer carte 
 blanche to furnish the room “ properly.” A little conference 
 between them at the outset of the arrangement would have 
 obviated much of the disappointment experienced by the 
 patron of the two tradesmen, who, of course, would have 
 only himself to blame for not having thus brought them - 
 together in the first place. 
 
 If a room is to be hung with pictures or girandoles, or if 
 there are to be a number of gilded mirrors and console tables 
 included in the furniture, it is obvious that the colours 
 chosen for dado and wall flank should be so neutralised 
 in tone as to aid the effect of these additions to the 
 chamber, the brighter and more lively tints being reserved 
 for the frieze. 
 
 In large rooms, such as those used for public assemblies, 
 &c., a dado may well be of marble, either real or scagliola, 
 the effect imparted, that of such solidity as to bear the 
 superincumbent weight of walls and cornices, being strictly 
 in accordance with the dicta of good taste and the laws of 
 nature. In cases w r here either of these are unavailable, 
 painted imitations of suitable marbles are by no means so 
 unworthy of consideration as the denouncers of the grainer 
 and marbler would have people believe. The author has seen 
 specimens of rouge royal, serpentine, jasper, &c., by a familiar 
 hand, which, when carefully hand-polished, defied the criti¬ 
 cism of the initiated, and excited the admiration of the 
 leading men known to the trade. Of course they were 
 imitations, and as such come beneath the lash of the “art ” 
 commentators of the day; but as these gentlemen also howl 
 at the gilder because he makes a composition mirror-frame 
 look like the solid metal, the value of their opinions does not 
 count for a great deal in any assemblage of practical men. 
 
 If we cannot afford to hang a solid gold frame against our 
 walls, there is no reason why we should exhibit our paintings 
 and engravings in a framing of putty or composition because 
 
OPTICAL EFFECTS OF COLOUR HARMONY. 165 
 
 lineteenth-century lecturers affect to laugh down “ imita- 
 ions ; ” and if our patrons cannot afford real marble, let us 
 ive them, if they wish, the best painted imitations in our 
 ower. But this much we must admit: if we cannot get 
 he ork done ivell, let us rather confine our decorative effect 
 o dividing the dado by lines, or suitable alternations of 
 .urface colour, and as it is immediately under the eye, let us 
 >e sure that it is at least properly painted—no streaks or 
 H’ush marks or ragged edges, but “ laid off ” in a thoroughly 
 workmanlike manner. If the work be “ scamped ” at this 
 part of the business what may we not be prepared for on the 
 'ceiling or wall above the line of sight ? 
 
 We may take it that our walls, if painted, should be struck 
 in comparatively low tones, so as not to interfere with the 
 decorative details placed against them. No such considera¬ 
 tion need trouble us in dealing with the frieze. It is 
 constantly in sight, even when the walls are hung profusely 
 with pictures, and it should be our desire to see that it acts 
 as an agreeable addition to the cheeriness of the apartment, 
 and that the work upon it is cleanly and well finished. It 
 is indeed the one prominent feature of the room, and may, by 
 the unprofessional observer, be taken as the criterion from 
 which to judge the quality of the workmanship displayed in 
 
 I the general decoration of the apartment. 
 
 We may next glance at the doors, ascertaining that the 
 mouldings of the panels are not too obtrusive, and remem¬ 
 bering that colours inclining to yellow have a tendency to 
 increase the apparent width of the mouldings so treated, 
 while blue diminishes the apparent strength of these impor¬ 
 tant members; and as a concave surface appears really 
 narrower than its actual width, so a convex moulding 
 surface, in inverse ratio, will appear slightly wider to the 
 eye. This is important to bear in mind, for if the moulding 
 appear too wide, and thus seems to dwarf the panel decora¬ 
 tion, it may be that we have used a colour inclining to yellow 
 on a convex surface, thereby lending an additional effect to 
 
166 
 
 PRACTICAL HOUSE DECORATION. 
 
 the optical illusion of excessive width peculiar to that shape 
 of moulding. 
 
 The upholstery or hangings should be as carefully chosen 
 
 8B6B 
 
 piece. 
 
 fist I' 
 
 ■ore 
 
 Sculpt 
 
 as any other details of the decorations, for if, as we have 
 said, the walls form a large mass of colour, and thereby 
 impart the prevailing tone to the apartment, the same 
 remark may, in a lesser degree, perhaps be applied to the 
 carpets and to the curtains. If the walls are aglow with 
 brilliancy of hue, with panels, flowers or symbolism, or the 
 sparkling vivacity of Watteau subjects, or any of the brilliant 
 effects often sought after, the carpet and curtains should be 
 as subdued in colour as it is possible to have them, while 
 bright coloured hangings are only permissible when the pre¬ 
 vailing tones of the decorative detail are of such neutral 
 
 over 
 
 shades as French greys or cream white and similar tints. 
 
 Another and highly important consideration in the furnish¬ 
 ing of a decorated apartment is the shape of the various 
 articles which make up the tout ensemble. Thus, if it is 
 intended to furnish in the popular revival of old-world 
 fashions, such as the Chippendale, Queen Anne, or Early 
 English styles of furniture, the decorations should corre¬ 
 spond. A room decorated in the free-flowing and graceful 
 style of the Louis Seize period would be utterly ruined in 
 artistic effect by the introduction of the heavy and cumbrous 
 chairs and couches of the so-called “Early English” order 
 of upholstery, instead of the light and elegant forms of 
 luxurious furniture peculiar to the gayest and brightest epoch 
 of decorative craft, when tables, cabinets, chairs, escritoires, 
 and couches were remarkable alike for the beauty of their 
 inlaid trophies and graceful lines, and when buhl work and 
 the marqueterie of the Marie Antoinette period distinguished 
 the appointments of any luxuriantly furnished drawing-room 
 
 Mil 
 
 so: 
 las 
 I id 
 on 
 mi 
 le: 
 
 o! 
 
 o 
 
 li 
 
 t 
 
 i 
 
 or boudoir. 
 
 It is an essential in an apartment of the Queen Anne type 
 also that the material decorations, by which are understood 
 the mirrors, cabinets, &c., should correspond with the 
 
A QUEEN ANNE MANTELPIECE. 
 
 167 
 
 i general features, and even the fittings and fixtures should 
 ; partake of the general character. Of the latter the mantol- 
 I piece is the prominent object, and that upon which the eye 
 first rests on entering an apartment. What then could be 
 more disastrous to unity of purpose if in a room possessing a 
 
 ! sculptured white marble mantelpiece the decorator proceeded 
 to develop his “ Early English ” proclivities ? Its presence 
 would simply mar the entire effect, and hence his first con¬ 
 sideration should be the substitution of a mantel and 
 overboard in the style suited to his proposed plan of painted 
 embellishment. In Fig. 52 is given a design appropriate to 
 the Queen Anne character ; it is entirely of wood, and might 
 • be either walnut or ebony or painted and gilded to the general 
 scheme of decoration. In the coved part of the mantel 
 beneath the shelf, which is divided by brackets, the panels 
 so formed admit of decorative subjects, and these should be 
 based upon the rules as to emblematic selection previously 
 adverted to ; but the meaningless portrayal of natural flowers 
 
 » on gilded backgrounds, much affected by manufacturers of 
 mirror frames, should be avoided as not in accord with the 
 leading features of this style of ornament. 
 
 A word in season as to the floor coverings of an apartment 
 . of this kind. The ordinary Brussels carpet, with ornaments 
 of flowers in natural hues and leaves rendered in wool¬ 
 like imitation of natural shadows, would be conspicuously 
 
 I out of place. The carpet pattern should be rather founded 
 upon mediaeval diapered ornament with appropriate bordering, 
 and that part of the floor between the carpet and skirting 
 " board might be stained and polished, or a parquet of various 
 woods arranged in geometrical patterns might be best intro- 
 > duced. Mats of various skins thrown down here and there 
 add materially to the picturesque “ order-in-disorder” which 
 helps so much to give a pleasing effect to j the coup d'ail in 
 apartments of this character. 
 
 The dado in this case is formed of Indian matting fastened 
 to the wall by a fillet, and above it on the band is a stencilled 
 
HANGING CABINETS. 
 
 169 
 
 decoration; the wail filling is a dull red. Fig. 53 is a 
 
 Fig. 54.—Panel Decoration to Cabinet. 
 
 hanging cabinet decorated in the same manner as the mantel, 
 and having a panel decoration in the style given at Fig. 54, 
 
 i 
 
170 
 
 PRACTICAL HOUSE DECORATION. 
 
 which, although partaking of the character of Elizabethan 
 ornament, is far more suitable than would be a study of lilies 
 and storks, as would probably be suggested for it by the 
 cabinet-maker. 
 
 Fig. 55 is another hanging wall cupboard, having painted 
 panels decorated after the Japanesque manner with figure 
 
 Fig. 55.—Japanese Hanging Cabinet. 
 
 subjects in colour; it would make a quaint and artistic piece 
 of furniture. 
 
 It will be seen therefore that in order to produce an 
 effect that shall be in harmony with the taste of an educated 
 patron, the decorator and cabinet-maker must act in con¬ 
 cert. They may thereby reasonably hope to ensure success 
 in preserving a well-balanced and appropriate ensemble in the 
 general features of the decorated apartment. 
 
CHAPTER XVIII. 
 
 STAIRCASE, HALL, AND VESTIBULE. 
 
 HE imitation of woods and 
 marbles if it is allowable at all 
 as a phase of the decorator’s 
 art, is surely allowable and ap¬ 
 propriate in the decoration of 
 the hall and staircase, although 
 modern taste has run more fre¬ 
 quently of late in favour of the 
 productions of the paper-stainer. 
 Of course there can be no ana¬ 
 logy, by any process of reasoning, be¬ 
 tween the marble entrance courts of the 
 ancients and the usually sombre entries by which 
 the apartments of a nineteenth-century town 
 mansion are reached ; but, nevertheless, while the walls of 
 a sitting-room would be simply unbearable if covered with 
 a marbled paper-hanging, few would be disposed to cavil 
 at the marbled walls of an entrance hall, or to reject the 
 marbling on the score of inappropriateness. Yet it is 
 undeniable that if an assemblage of various marbles be 
 sought after for the decoration of a hall, the greatest care 
 and taste is requisite in their selection. The ordinary rules 
 of harmony and contrast, of course, would guide the decorator 
 in a measure, but he has in addition to study the character¬ 
 istic “ figure ” of each particular marble, as well as its tone 
 of colour. 
 
172 
 
 PRACTICAL HOUSE DECORATION. 
 
 There is really no valid reason why a large entrance hall 
 should be entirely covered with the usual “ blocks ” of 
 Sienna marble, as is, in the majority of instances, found to 
 be the one and only idea of hall decoration. An excellent 
 effect maybe produced solely by the judicious approximation 
 of a variety of marbles. An instance may be given in which 
 the marbling was wholly hand-painted, the paper-hanger 
 being excluded, and in obedience to that modern mandate, 
 which a decorator almost invariably receives from his patron 
 at the present day, there was to be a “ dado ” round the hall. 
 Here the aid of the carpenter was requisitioned, and the dado 
 was arranged in a series of panels above the skirting, each 
 panel projecting about half an inch beyond the actual wall 
 surface, and having no moulding ; these again were separated 
 by a three-panelled pilaster, viz., at top and bottom a small 
 square plaque, and between these an oblong. In conformity 
 with the idea of rendering the imitation of marble as perfect 
 as possible, these various projecting panels were all finished 
 with a perfectly defined edge, as in an actual slab of marble. 
 The body of the dado was rendered in what is known as 
 “ verde-antique,” which was worked upon a ground of dark 
 green instead of black, as is usually the case. This was to 
 give a less sombre effect to the general appearance, and 
 
 n 
 
 ii it' 
 * 
 
 
 further to ensure that the skirting should still be the darker 
 
 marble of the whole, viz. “ black and gold,” i.e. a veining of 
 ochre and umber upon a black ground. The panels upon 
 the dado proper were rendered in “ jasper,” worked upon a 
 ground of Venetian red and chrome yellow ; the warmth of 
 tone contrasting finely, yet harmoniously, against the green. 
 The pilasters were rendered in blue and gold for the upper 
 and lower divisions, in imitation of that rarest of all marbles, 
 “lapis lazuli,” the centre division being the rich brown and 
 white-veined Pavinazzi. A heavily membered moulding 
 surmounted the dado, and this was rendered in “rouge 
 royal.” The wall itself was also divided into panels of 
 “ dove ” marble, upon a filling of Sienna. 
 
ORNAMENT UPON THE STAIRCASE. 
 
 173 
 
 For the method of working the marbles, thus shown in 
 combination as a decorative effect, the reader may refer to 
 Mr. Ellis A. Davidson’s excellent treatise upon the subject,* 
 in which some of the examples have been admirably rendered 
 into colour for the guidance of the student. 
 
 The leading feature of staircase decoration should be ex¬ 
 treme lightness of general tone, especially in town houses, 
 and anything tending to darken the general appearance should 
 be avoided. For this reason many of the heavily raised 
 flock papers, now so much used on the walls of staircases, 
 are eminently unsuitable, unless the colours used upon them be 
 of the lightest description, and even then so much of the pat¬ 
 tern is in the shadow thrown by those parts of the design 
 which are rendered in relief that the objection is not wholly 
 superseded. Gilding judiciously introduced has a tendency 
 to remedy this defect, or the use of flocked paper may be 
 confined to the dado, if one be introduced, where from its 
 solidity of appearance it would be in better taste than on the 
 main wall surface. 
 
 A dark dado, separated from the wall filling by a band of 
 a suitable contrasting colour, or by a plain line with an 
 ornament above it in “ diaper ” on the wall itself, forms a 
 cheap and readily producible staircase decoration. The 
 division of the wall flank into panels is not suited to other 
 than very large entrance halls, or wide and well-lighted 
 staircases, as every addition of the kind tends to dwarf the 
 apparent dimensions of the surface worked upon. 
 
 The woodwork of any ordinary staircase is usually grained, 
 and for following out this procedure many arguments may be 
 advanced, not the least of which is the superior durability of 
 graining to ordinary plain painting, and its peculiarity of 
 resisting the evidences of the wear and tear inseparable to a 
 staircase. But the doors and architraves may be tastefully 
 rendered in various woods, the panels in the lighter kinds, 
 
 * “ House Painting, Graining, and Marbling.” By Ellis A. David¬ 
 son. Page 115. London : Crosby Lockwood & Co. 
 
 i 8 
 
174 
 
 PRACTICAL HOUSE DECORATION. 
 
 such as oak, satimvood, maple, &c., and the stiles and 
 framing in darker varieties, as walnut, pollard oak, &c. The 
 treads and risers of the stairs, if of wood, may be grained in 
 oak or walnut, and if only “plain-combed” are infinitely 
 better in appearance than if merely painted a drab or stone 
 colour, as they are generally done, while the wear is such as 
 to amply compensate for the first cost incurred in finishing 
 them off in this manner. For the skirting of a staircase 
 where marbling is introduced, Egyptian green, black and 
 gold, or verde-antique, are the best adapted ; but grey and 
 red granite are also suitable unless a darker tone of dado or 
 wall filling has been chosen. As a rule the ceilings and 
 cornices of staircases are merely whitened ; but in the hall 
 or passage, a band, or fillet of colour in the cornice ; and a 
 simple pattern, if merely a line and corner, upon the ceiling 
 will be found to amply repay the slight cost of those embel¬ 
 lishments. 
 
 In no part perhaps of the Avork of the decorator will the 
 effects of lighting upon decoration be more apparent, and 
 require more careful observation than on the staircase, if it 
 be determined to adopt a particular system of colour 
 throughout the house. It is probably simple enough when 
 the local tones of colour are known to be either darker or 
 lighter than others against which they are to be placed, or 
 when the light thrown upon the work is known to be greater 
 or less, to decide upon the tone to be given to a par¬ 
 ticular detail; but when those tones are modified, as they 
 must be by the constructive characteristics of a modern 
 staii-case, by unequal contrasts of light and shadow, the 
 greatest caution is necessary in determining what allowances 
 shall be made in working for those changes of appearance 
 created by relative effects. A door, for instance, situated in 
 a position where the full light admitted by a window case¬ 
 ment falls directly upon it, will appear very different in 
 general tone to another, on the same landing perhaps, which 
 from the angle at which it receives the light will be placed in 
 
CONCLUSION. 
 
 175 
 
 relative shadow. It is manifest that the decorator would not 
 i be expected to vary his colours to meet that peculiarity, but 
 his judgment would be shown by selecting some medium 
 tone of colour for the work, that the apparent difference 
 should be not so clearly observable as a more decided colour 
 would infallibly make it. It is in such comparatively minor 
 points that the master of his craft is able to show his 
 superiority over the mere theorist. 
 
 The paragraph above may be taken to emphasise the 
 lightness of tone which should characterise staircase decora¬ 
 tion ; indeed the whole tenor of a decorative experience goes 
 to show that where the operator commences with dark, heavy, 
 or decided colours he unduly tries his capabilities. The use 
 of vivid and overbold combinations can only lead up to the 
 introduction of others yet more vivid or of greater depth. In 
 the straining after harmony of effect thereby engendered, 
 nothing but vexation and disappointment can possibly result. 
 It is far easier to achieve pleasing harmonies with modified 
 tints than with glaring or deep colours ; but of course there 
 is another side to the picture, viz. the equally objectionable 
 use of meaningless tints arising from timidity, or ignorance 
 of the proper combinations. Purity and clearness of tint is 
 as great an essential to decorative success as skilful design ; 
 muddy or dingy colours are equally as distressing to the 
 educated eye as are glaring or inharmonious colour combi¬ 
 nations. 
 
 This purity of hue is indispensable to decorative success ; 
 it is not dependent wholly upon a punctilious observance of 
 the colour theory, since we have shown that the inherent 
 impurities of the various pigments the workman may be 
 necessarily obliged to use have in themselves a marked 
 influence upon the resultant tints obtained by their admix¬ 
 ture with other tones. The successful practice of decoration 
 is therefore considerably influenced by a just knowledge of 
 the properties and values of the various pigments as well 
 as of the principles of ornamental design. 
 
176 
 
 PRACTICAL HOUSE DECORATION. 
 
 These have been fully dwelt upon in the preceding pages, 
 and little more remains to be done than to urge upon those 
 who have perused them the necessity of bearing well in 
 memory the recognised principles of decoration, not by 
 a merely blind obedience to arbitrary canons, but that the 
 workman may be in a position to apply them intelligently in 
 his daily task. 
 
 Yet another consideration—and one of a very practical 
 nature indeed—must not be lost sight of in thus summaris¬ 
 ing the lessons of the previous chapters, and that is the strict 
 observance of cleanly and methodical habits by the decorative 
 workman in the practice of his craft. He who is found to be 
 the most painstaking, not only in preparing his colours, but 
 in “cleaning up” after his day’s work has been completed, 
 whose palette board is always neat and tidy, and whose 
 pencils and brushes are cleansed with the most scrupulous 
 care, will assuredly also be the most successful in the appli¬ 
 cation of his theoretical knowledge to the practical work of 
 House Decoration. 
 
INDEX. 
 
 (.Italics refer to Illustrations.) 
 
 A CANTHUS leaf, the, 103 
 Acetic acid, 41 
 Adams style, the, 47 
 Adulteration of pigments, 41 
 Agate point, use of the, 80 
 Alhambra decoration, 34 
 Amorini, 78, 90 
 
 Animals, representation of, 68, 
 89, 118, 120, 121 
 
 Antique, modern taste for the, 
 
 49 
 
 Antiquities in ornament, 5 
 Apartments, application of colour 
 to, 27 
 
 of design in, 110 
 decorated, apparent dimen¬ 
 sions of, 163 
 Arabesque, 62, 89 
 Arabian ornament, 88 
 Architectural detail in colours, 
 
 30 
 
 Architraves, treatment of, 157, 
 173 
 
 Arms and armour, painting of, 
 69 
 
 Arrangement of colours for walls, 
 21, 47 
 
 Arrangement, errors of, 31 
 Artificial lighting, effect of, on red 
 tones, 13 
 on gilding, 157 
 
 Artificial light: wax candles, oil, 
 gas, electric, 25 
 
 Artistic form, 61 
 Assyrian diaper, 87 
 
 BACCHANALIAN subjects, 78, 
 D in, 116 
 
 Backgrounds, laying in, 79, 128 
 Bead and riband ornament, 102 
 Bedrooms, decoration of, 34 
 Persian style for, 35 
 cheerfulness essential in, 35 
 suggestions for, 157 
 Billiard-room, the, 57 
 “ Binding on” of colours, 136 
 Birds, representation of, 63, 95, 
 108, 113, 117, 126 
 Black, 15, 83 
 
 Blending shadow colours, 74, 78 
 Bloom on gilding, 145 
 Blue, as a primary, 15 
 properties of, 15 
 instability of, 15 
 Prussian, 15, 45 
 effect of lighting on, 16 
 contrasting hues of, 26 
 cobalt, 15 
 
 ultramarine, 15, 38 
 Antwerp, 46 
 indigo, 46 
 
 as a toning colour for white, 
 39 
 
 Boiled oil, 39, 136 
 Border, Arabian, 88 
 Indian, 98 
 
178 
 
 INDEX. 
 
 Border, Persian, 100 
 Pompeian, 101 
 Renaissance, 102 
 stencilled, 124 
 Boudoir, the, 33 
 gilding in, 33 
 
 pencilling, cameo, panels, 34 
 moresque motif in, 34 
 suggestions for, 55, 60, 78 
 ceiling of, 34, 133 
 Brass repousse work, 108 
 Bright colours, erroneous use of, 
 30 
 
 Brunswick green, 45 
 Brushes for shadow softening, 
 72, 76 
 
 for sizing gold, 148 
 Byzantine ornament, 90 
 
 /fABINET, hanging, 169 
 Japanese, 170 
 Cadmium, yellow, 17 
 Cameo subjects, 34, 57, 58, 59, 82 
 Carmine, 11 
 Carpets, choice of, 167 
 Cartridge paper, 137 
 Ceiling ornament, 132 
 oriental, 133 
 dining-room, 134 
 key plan for, 137 
 to find centre for, 142 
 “easing” pattern for, 144 
 general effect of, 160 
 Cellini, decorative work of, 109 
 Celtic ornament, 91 
 Ceres, 115 
 Cerquate, 97 
 
 Changes in pigments by exposure, 
 6, 15, 43 
 
 Charcoal, uses of, 80 
 Chiaroscuro, 57 
 
 Chinese ornament, colours in, 92 
 suggestion in, 130 
 Chocolate colour, 45 
 
 Chromes, varieties of, 17, 83 
 Citrine, contrasts with, 26 
 Cloth matting, 5 
 Cohalt, 15 
 Coldness of tone, 11 
 Colour sense, the, 7 
 Colours, classification of, 9 
 effects of mixing, 12 
 arrangement df, on walls, 21 
 mixed tints in oil, 45 
 in distemper, 46 
 for interiors, 54 
 for backgrounds, 81 
 flesh subjects, 83 
 cameo, 82 
 
 Watteau subjects, 95 
 stencilled frieze border, 128 
 ceiling of dining-room, 138 
 door decoration, 156 
 Complementary hues, 20 
 Complemental contrasts, list of, 
 
 “1 
 
 ft 
 
 Di 
 
 D 
 
 D 
 
 1 
 
 I 
 
 I 
 
 26 
 
 Complexion of flesh figures, 78 
 Contrast, laws of, 18 
 
 lighting in relation to, 16 
 Conventional ornament, 114 
 Copia, 116 
 Copperas, 46 
 
 Cornices, to subdue or bring into 
 relief, 30 
 
 coved, 119, 124 
 Cream colour, 45 
 Crude colours, abandonment of, 6 
 Crudity of effect, 29, 40 
 Cupid in decoration, 66, 78 
 Curtains, 166 
 
 Curved corners, to bisect, 144 
 
 D ado, the, 49 
 
 relative heights of, 50, 52, 53 
 design for an Egyptian, 93 
 panel painting on, 113 
 general effect of, 161 
 on staircase, 173 
 
 
INDEX. 
 
 179 
 
 “ Damping down” oily surface, 79 
 Decomposition of light, 23 
 experiment in, 24 
 Decoration, early domestic, 3 
 Deep tints, 45 
 Defects of arrangement, 30 
 Definitions of trade terms, 10 
 Dentils on cornices, 159 
 Design, the study of, 104 
 errors of, 105 
 
 definition of successful, 107 
 principles of, 108 
 composition of, 109 
 value of component details 
 of, 110 
 
 emblematic, 111 
 Deterioration of white, 43 
 Diana, 67 
 
 Diaper ornament, modern, 5 
 suggestion for, 60 
 Assyrian, 88 
 Chinese, 92 
 Mediaeval, 100 
 
 Dining-room, colour suggestions 
 for the, 22, 54 
 
 avoidance of vivid hues in, 32 
 dado arrangement for, 54 
 frieze subject for, 59 
 symbolic decoration in, 61 
 suggestions in design for, 113 
 ceiling enrichment for, 133 
 Direct contrasts, 27 
 Distemper colours, list of, 46 
 softening in, 76 
 on ceiling, 135 
 
 Doors, decoration of, 149, 156, 
 165, 173 
 Drab, 45 
 
 for staircases, 32 
 Drapery, painting of, 68 
 Drawing, errors in, 106 
 Drawing-room, use of cheerful 
 tones in, 33 
 
 Drawing - room, suggestions in 
 colours for, 61 
 
 modem taste in the, 108 
 Drier, white lead as a, 41 
 litharge, 44 
 sugar of lead, 44 
 Duck egg green, 45 
 
 E ASTERN ornament, 13 
 
 Ecclesiastic ornament, 116 
 panel subject, 117 
 Egg, white of, for gilding, 146, 
 153 
 
 Egyptian art, use of red in, 13 
 style of, 93 
 symbolism of, 112 
 Electric lighting, effect of, on 
 decoration, 25 
 Elizabethan houses, 47 
 style of ornament, 94 
 scroll work, 95 
 Emblematic ornament, 61 
 study of, 111 
 
 Enrichments, “pickingin,” 47 
 Entrance hall, the, 31, 172 
 Experiment in colour mixing, 11 
 in decomposing light, 24 
 
 “ Tj! AT ” oil for gilding, 147 
 -L Fawn colour, 45 
 “Felting down” varnished sur¬ 
 face, 70 
 
 Figures, human, introduction of, 
 64, 65, 68, 75, 82, 89, 97, 115, 
 120, 121 
 
 “ Filling,” dimensions of the, 49 
 Fitch for softening, 73 
 Flatting colours, list of, 45 
 Flatting oil varnish, 75 
 Flatting ceiling for decorating, 
 135 
 
 for gilding surface, 146 
 Flemish school, the, 8 
 
180 
 
 INDEX. 
 
 Flesh painting in oil, 77 
 
 general rule as to tones, 78 
 colours for backgrounds, 83 
 glazing, 83 
 
 flesh tint, half - tint, and 
 shadow, 84 
 “ scumbling,” 84 
 thinning media, 86 
 Flowers, natural, in ornament, 
 63, 109, 117, 158 
 Freeman’s white lead, 42, 136 
 French ornament, panel centre, 34 
 music group, 58 
 frieze subject, “ The Chase," 64 
 panel with figures, 55 
 pastoral subjects, 95 
 Frieze, the, 50 
 
 suggestions in decoration of, 
 59, 64, 75, 113, 118, 126 
 Fruit subjects for dining-room, 59 
 Furnishing, importance of, to de¬ 
 coration, 163 
 
 EOMETRIC design, 107 
 Georgian houses, 48, 122 
 Glass, effects of tinted, 23 
 Glass paper, use of, 80, 136 
 Glazing colours, 85 
 Glossary of terms, 10 
 Gold leaf, 149, 153 
 skewings, 144, 152 
 on black panels, 157 
 Gold ochre, 16 
 Gold size, 38 
 
 making of oil, 147 
 Graining, durability of, 35 
 use of, for staircases, 173 
 Greek fret, the, 48 
 honeysuckle, 96 
 Green, contrasts of, 26 
 
 varieties of, in mixed tints, 
 45 
 
 Grey, 9 
 
 contrasts of, 26 
 
 Grey, various mixtures, to form, 
 45, 46 
 
 background painting, 81 
 Grinding colours, 17, 37 
 Grotesque ornament, 96 
 Gilding, red accessory to, 13 
 in the dining-room, 32 
 drawing-room, 33 
 for panel decoration, 66 
 shadow softening on, 73 
 illuminated letters on, 115 
 on frieze border, 130 
 ceiling, 138 
 tools, 144 
 waste in, 145 
 oil size for, 146 
 preparing surface for, 146 
 on woodwork, 151 
 sizing, 148 
 mouldings, 152, 159 
 Queen Anne style, 167 
 
 H alf-gloss,” the, 70 
 
 Hall decoration, 171 
 Hand painting on frieze, 129 
 Harmony, importance of, 29 
 Heat, effects of, on gold size, 153 
 High light, study of, 69 
 Hindoo ornament, 97 
 Horn of plenty, the, 116 
 
 I DEAL colours, 10 
 
 Illuminated initials, painting 
 of, 78, 114 
 
 Impurities in pigments, 12 
 Indian ornament, 97 
 Indian red, 83 
 
 Inscriptions, decorative, 114 
 Intense tints in modern work, 63 
 Intensity, proportionate, 22 
 Interiors, styles of, 47 
 colours for, 55 
 Interlaced ornament, 91 
 Italian ornament, 64, 98 
 
INDEX. 
 
 181 
 
 J APAN gold size, 72, 138, 145, 
 153 
 
 Japanese ornament, 99 
 design for screen, 99 
 hanging cabinet, 170 
 
 EY plan, preparation of, 137 
 Key tone, choice of the, 30 
 King’s yellow, 18 
 Knotting, patent, 137 
 
 L andscape subjects, si 
 
 “ laying in” for, 85 
 suggestive ideas for, 113 
 from Landseer, 119 
 Lavender, 45 
 Laws of art, the, 61 
 
 of harmonic contrast, 19 
 Lead colour, 9, 45 
 Lead glazing, effect of, on deco¬ 
 ration, 23 
 Lead, white, 37 
 
 protoxide of, 44 
 sugar of, 44 
 Library, colours for, 22 
 use of dull tones in, 32 
 Lighting, artificial, 13, 151 
 Light, effect of, on ceiling, 137 
 on staircase, 174 
 Lilac, 31, 45 
 
 Lines, vehicle for running, 146 
 Lining paper for ceiling, 135 
 Linseed oil for softening, 72 
 Litharge, 44 
 Lobbies, colours for, 32 
 Lotus, the, 93 
 
 Louis-Seize decoration, 65, 166 
 
 M adder lake, 11 
 
 Malay ornament, 3 
 Mantel and overmantel, 167 
 Marbles and marbling, use of, 32, 
 164, 171 
 Mars, 67, 78 
 
 Matching tints, 43 
 wall paper, 150 
 Maxim, a trade, 38 
 Medallion subject, 113 
 Media for thinnings, 39 
 Mediatory tones, use of, 29 
 Mediaeval art, 62, 100, 115 
 Metallic wall paper, 151 
 Minutiae of the colour theory, 31 
 Mixed tints, list of, 45, 46 
 for background, 83 
 for flesh painting, 85 
 Mixture of red pigments, 11 
 Morning room, tints for, 55 
 Mouldings, use of red against, 13 
 constructive, for dado, 51 
 gilding on, 152, 159 
 concave and convex, 165 
 Muller, use of the, 17, 37 
 Mural painting, 22 
 
 characteristics of, 57 
 Muslin, use of, for straining, 37 
 Musical instruments in decora¬ 
 tion, 57, 58, 59, 65, 68, 75 
 Mythological figures in orna¬ 
 ment, use of, 115 
 
 ATURAL laws, 20 
 light, 20 
 
 decomposition of, 23 
 flowers, 107 
 leaves, 127 
 objects, 28, 63 
 Neutral colours, 9 
 New Zealand ornament, 3 
 paddle, 4 
 
 Nomenclature of apartments, 29 
 Non-poisonous white lead, 42 
 
 O AK mouldings, 51 
 Ochre, gold, 16 
 Oxford, 45 
 Roman, 17 
 yellow, 16 
 
 K 
 
182 
 
 INDEX. 
 
 Oil, boiled, 39 
 
 linseed, 41, 72, 86, 146 
 Oil colours, list of, 46 
 Oil gold size, 145 
 to make, 147 
 stencilling in, 153 
 spreading of, 153 
 Oil lamps, effect on decoration, 25 
 Olive green, contrasts of, 26 
 mixed tints of, 45, 46 
 Opaque colours, 9 
 Orange, contrasts of, 26 
 mixed tints of, 45, 46 
 Orange chrome, 17 
 Ornament, in relation to colour, 1 
 composition of, 57 
 in the round, 57, 67 
 various styles of, 87 
 suitability of, 104 
 in the flat, 129 
 for door panels, 156 
 Outline, painting in of, 81 
 Overhead work, 141 
 
 P AINTER, the, 106, 123 
 Painting, practice of, 69 
 Pale tints, the equivalents of, 31 
 in the boudoir, 34 
 list of, 45 
 Palette, the, 72 
 
 knife, use of the, 37 
 Pandean pipes, 57, 65 
 Panel ornament, 34, 58, 65, 68, 
 95, 98, 108, 117, 155, 169 
 Panelled wall surface, 53 
 Papyrus, the, 93 
 Parchment size, 148 
 Passion-flower, the, 117 
 Pastoral scenes, 78 
 Pates, 148 
 
 Pattern board, preparation of, 70 
 Peach colour, 45 
 Pea green, 45 
 Pencilling, 158 
 
 Persian ornament, 35, 100 
 Pigments, knowledge of, 6 
 mixed, 36 
 
 composition of flatting, 37 
 in oils, 37 
 straining, 37 
 purity of tints in, 39 
 thinnings for, 39 
 adulteration of, 40 
 non-poisonous, 43 
 distemper, 46 
 liability to change in, 46 
 non-drying, 73 
 cracking of, 75 
 Pink tints, 45, 46 
 Plaster ceiling, to arrest suction, 
 136 
 
 Polychrome, 67, 104 
 Pomona, 116 
 Pompeian red, 12, 54 
 ornament, 101 
 colour schemes, 102 
 Porcelain, 97 
 Positive colours, 9 
 Pouncing, 80, 153 
 Powder colours, mixing of, 38 
 Preparing colours, 38 
 ceiling, 135 
 
 “Pricking out,” 80, 127 
 Primaries, 9 
 
 mixture of, 11 
 gradations of, 22 
 Properties of colours, 8 
 Prussian blue, 15 
 Purple, 31, 45 
 
 Q IJARTIARY colours, 9 
 
 Queen Anne period, 48, 166 
 mantel, 168 
 use of gold for, 167 
 cabinet, 169 
 
 R AFFAELLE as a decorator, 
 68 , 89, 109 
 Rational design, 108 
 
INDEX. 
 
 183 
 
 liaw sienna, 17 
 lied, various hues of, 11 
 purity of, 11 
 contrasts of, 26 
 Reflected light, 69 
 Renaissance, tho, 61, 75, 102 
 Roman ochre, 17 
 Roman ornament, 69, 102 
 Rose terminal, 90 
 
 Roundness obtained by shading-, 
 71 
 
 Rules of colour arrangement, 31 
 Russet, contrasts of, 26 
 
 S AGE green, 45 
 
 Salmon colour, 45, 46 
 Sappho, 59 
 Satyrs, 67 
 
 Scaffold for ceiling work, 145 
 Seioll ornament, 63, 68 
 painting of, 73 
 Elizabethan perforated, 94 
 figure terminals, 96 
 panel terminal, 98 
 frieze subjects, 118, 120, 121 
 corners, 138 
 on panel, 169 
 Scumbling, 86 
 
 Seasons, the, in decoration, 60, 
 74 
 
 Secondary colours, 9 
 Self-colours, ornament in, 28 
 list of, 45 
 
 Servants’ offices, 35 
 Setting out walls, 48 
 ceiling, 139, 143 
 Shade, definition of, 10 
 effect on outline, 71 
 Shadow softening, process of, 70 
 in distemper, 76 
 Sheraton style, 49 
 Sienna, raw and burnt, 17 
 marble, 172 
 Sizing gilding, 148 
 
 Sketch, preliminary, 79 
 Skewings, gold, 144, 152 
 Skirting, the, 51, 162 
 Slab and muller, the, 17 
 Sports, decorative treatment of, 
 58, 120, 121 
 
 Staining colour in bulk, 38 
 Staircases, colour for, 32, 172 
 Stencilling, 101, 105 
 advanced, 122 
 on frieze, 126 
 handwork after, 129 
 in gold size, 153 
 Still-life subjects, 113 
 Stone colour, 45, 46 
 Straining colours, 17, 37, 128 
 Straw colour, 45, 46 
 Subacetate of lead, 41 
 Surfaces, treatment of, 22 
 covering, large, 41 
 
 T ACK ” in gilding, 146, 154 
 Technical terms, 87 
 Terebine, 39 
 Tertiary colours, 9 
 Theory of colour, origin, 6 
 relation of, to practice, 47 
 Thinning media, 39, 72, 85 
 Ties in stencils, 102, 125 
 Timidity in ornament, 31 
 Tint, definition of, 10 
 Tone, definition of, 10 
 choice of, 81 
 Tracing designs, 80 
 Transferring the pattern, 127 
 Trophies, 57 
 Tube colours, use of, 72 
 Turpentine, 41, 72, 136, 147 
 
 LTRAMARINE, common, 38 
 genuine, 15 
 Umber for background, 83 
 
 ANDYKE brown, 83 
 Yariety, want of, 31 
 
184 
 
 INDEX. 
 
 Varnish, 70, 72, 86, 136, 147 
 Venetian school, 8 
 red, 15 
 
 Venice, brickwork at, 13 
 Venus, 67, 78 
 Verde-antique marble, 172 
 Vermilion, 12 
 
 Vestibule, colours for, 22, 31 
 Vine leaf, the, 59, 62 
 Violet, contrasts of, 26 
 Vivid hues, 29 
 
 "^TALLS, colours on, 21, 47, 
 
 Walnut wood mouldings, 51 
 Warmth of tone, 11 
 Watteau style, 95 
 
 colours for, 95, 166 
 Weapons, savage, 2 
 White, contrasts with, 26 
 with gilding, 33, 40 
 degrees of, 39 
 
 White lead, staining in hulk, 37 
 
 White lead, preparation of, 37 
 straining, 38 
 toning down, 39 
 adulteration, 41 
 drying property, 42 
 Freeman’s non-poisonous, 4 
 tints on a basis of, 45 
 dry, 37, 46 
 
 use of, on ceilings, 136 
 Whitening, use of, 146, 153 
 Working drawings, 79 
 
 Y ELLOW as a primary, 16 
 ochre, 16 
 
 staining properties of, 16 
 varieties of, 16 
 chromes, 17 
 cadmium, 17 
 king’s, 18 
 lake, 18 
 
 Z INC, oxide of, 42 
 white, 43 
 
 THE END. 
 
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 Part 2. Books vii. to xii., is.6d. Part 4. Books xix. to xxiv., is. 6d. 
 
 The Odyssey: Parti. Books i. to vi., is. 6d Part 3. Books xiii. to xviii., is. 6d. 
 
 Part 2. Books vii. to xii., is. 6d. Part 4. Books xix. to xxiv., and 
 
 Hymns, 2s. 
 
 13. Plato’s Dialogues: The Apology of Socrates, the Crito, and 
 the Phaedo. From the Text of C. F. Hermann. Edited with Notes, Critical 
 and Explanatory, by the Rev. James Davies, M.A. 2s. 
 
 14-17. Herodotus, The History of, chiefly after the Text of Gaisforp. 
 
 With Preliminary Observations and Appendices, and Notes, Critical and 
 Explanatory, by T. H. L. Leary, M.A., D.C.L. 
 
 Part 1. Books i., ii. (The Clio and Euterpe), 2s. 
 
 Part 2. Books iii., iv. (The Thalia and Melpomene), 2s. 
 
 Part 3. Books v.-vii. (The Terpsichore, Erato, and Polymnia), 2s. 
 
 Part 4. Books viii., ix. (The Urania and Calliope) and Index, is. 6d. 
 
 Sophocles: CEdipus Tyrannus. Notes by H. Young, is. 
 Sophocles: Antigone. From the Text of Dindorf. Notes, 
 Critical and Explanatory, by the Rev. John Milner, B.A. 2s. 
 
 23. Euripides : Hecuba and Medea. Chiefly from the Text of Din¬ 
 dorf. With Notes, Critical and Explanatory, 'by W. Brownrigg Smith, 
 M.A., F.R.G.S. is. 6d. 
 
 26. Euripides: Alcestis. Chiefly from the Text of Dindorf. With 
 
 Notes, Critical and Explanatory, by John Milner, B.A. is. 6d. 
 
 30. -rEschylus : Prometheus Vinctus : The Prometheus Bound. From 
 the Text of Dindorf. Edited, with English Notes, Critical and Explanatory, 
 by the Rev. James Davies, M.A. is. 
 
 32. u'Eschylus; Septem Contra Thebes : The Seven against Thebes. 
 From the Text of Dindorf. Edited, with English Notes, Critical and Ex¬ 
 planatory, by the Rev. James Davies, M.A. is. 
 
 Aristophanes : Acharnians. Chiefly from the Text of C. H. 
 
 Weise. With Notes, by C. S. T. Townshend, M.A. is. 6d. 
 
 Thucydides: History of the Peloponnesian War. Notes by II. 
 
 Young. Book i. is. 6d. , 
 
 Xenophon’s Panegyric on Agesilaus. Notes and Intro¬ 
 
 duction by Ll. F. W. Jevvitt. is. 6d. , ... ... 
 
 Demosthenes. The Oration on the Crown and the Philippics. 
 With English Notes. By Rev. T. H. L. Leary, D.C.L., formerly Scholar oi 
 Brasenose College, Oxfo rd, is. 6d. __ 
 
 CROSBY LOCKWOOD AND SON, 7, STATIONERS’ HALL COURT, E.C. 
 
 18. 
 
 20 . 
 
 40 . 
 
 41 . 
 
 42. 
 43 - 
 
7, Stationers' Hall Court, London, E.C. 
 
 January, 1888. 
 
 A 
 
 CATALOGUE OF BOOKS 
 
 INCLUDING MANY NEW AND STANDARD WORKS IN 
 
 ENGINEERING, MECHANICS, ARCHITECTURE, 
 
 NATURAL AND APPLIED SCIENCE, 
 
 INDUSTRIAL ARTS, TRADE AND COMMERCE, AGRICULTURE, 
 GARDENING, LAND MANAGEMENT, LAW, dc. 
 
 PUBLISHED BY 
 
 CROSBY LOCKWOOD & SON. 
 
 MECHANICS, MECHANICAL ENGINEERING, etc. 
 
 New Manual for Practical Engineers. 
 
 THE PRACTICAL ENGINEER’S HAND-BOOK. Comprising 
 a Treatise on Modern Engines and Boilers, Marine, Locomotive and Sta¬ 
 tionary. And containing a large collection of Rules and Practical Data 
 relating to recent Practice in Designing and Constructing all kinds of 
 Engines, Boilers, and other Engineering work. The whole constituting a 
 comprehensive Key to the Board of Trade and other Examinations for Certi¬ 
 ficates of Competency in Modern Mechanical Engineering. By Walter S. 
 Hutton, Civil and Mechanical Engineer, Author of “The Works’ Manager’s 
 Hand-book for Engineers,” &c. With upwards of 370 Illustrations. Second 
 Edition, Revised with Additions. Medium 8vo, nearly 500 pp., price 18s. 
 Strongly bound. [Just published. 
 
 13 ?* This work is designed as a companion to the Author's “Works* 
 Manager’s Hand-book.” It possesses many new and original features, and con¬ 
 tains, like its predecessor , a quantity of matter not originally intended for publica¬ 
 tion, but collected by the author for his own use in the construction of a great variety 
 of modern engineering work. 
 
 The information is given in a condensed and concise form , and is illustrated by 
 upwards of 370 Woodcuts; and comprises a quantity of tabulated matter of great 
 value to all engaged in designing , constructing , or estimating for Engines, Boilers 
 and other Engineering Work. 
 
 . *** Opinions of the Press. 
 
 ■ “ We have kept it at hand for several weeks, referring to it as occasion arose, and we have not 
 on a single occasion consulted its pages without finding the information of which we were in quest.’* 
 — Atheneeum . 
 
 41 A thoroughly good practical handbook, which no engineer can go through without learning 
 something that will be of service to him.”— Marine Engineer. 
 
 “ An excellent book of reference for engineers, and a valuable text-book for students of 
 engineering.”— Scotsman. 
 
 44 This valuable manual embodies the results and experience of the leading authorities on 
 mechanical engineering.”— Building News. 
 
 44 The author has collected together a surprising quantity of rules and practical data, and has 
 shown much judgment in the selections he has made. . . . There is no doubt that this book is 
 one of the most useful of its kind published, and will be a very popular compendium.”— Engineer. 
 
 “ A mass of information, set down in simple language, and in such a form that it can be easily 
 referred to at any time. The matter is uniformly good and well chosen, and is greatly elucidated 
 by the illustrations. The book will find its way on to most engineers' shelves, where it will rank as 
 one of the most useful books of reference.”— Practical Engineer. 
 
 4i Full of useful information, and should be found on the office shelf of all practical engineers." 
 — English Mechanic. 
 
 B 
 
2 
 
 CROSBY LOCKWOOD & SON’S CATALOGUE. 
 
 Handbook for Works’ Managers. 
 
 THE WORKS’ MANAGER’S HANDBOOK OF MODERN 
 RULES , TABLES , AND DATA . For Engineers, Millwrights, and Boiler 
 Makers; Tool Makers, Machinists, and Metal Workers; Iron and Brass 
 Founders, &c. By W. S. Hutton, Civil and Mechanical Engineer, Author 
 of “ The Practical Engineer’s Handbook.” Third Edition, carefully Revised, 
 witn Additions. In One handsome Vol., medium 8vo, price 15s. strongly bound, 
 fas*’ The Author having compiled Rules and Data for his own use in a great 
 variety of modern engineering work , and having found his notes extremely useful , 
 decided to publish them—revised to date—believing that a practical work , suited to 
 the daily requirements of modern engineers t would be favourably received . 
 
 In the Third Edition , the following among other additions have been made , viz .: 
 Rules for the Proportions of Riveted Joints in Soft Steel Plates , the Results of Experi ¬ 
 ments by Professor Kennedy for the Institution of Mechanical Engineers—Rules 
 for the Proportions of Turbines—Rules for the Strength of Hollow Shafts of Whit ¬ 
 worth's Compressed Steel , & c . 
 
 *** Opinions of the Press. 
 
 “The author treats every subject from the point of view of one who has collected workshop 
 notes for application in workshop practice, rather than from the theoretical or literary aspect. The 
 volume contains a great deal of that kind of information which is gained only by practical experi¬ 
 ence, and is seldom written in books.”— Engineer. 
 
 “The volume is an exceedingly useful one, brimful with engineers' notes, memoranda, and 
 rules, and well worthy of being on every mechanical engineer’s bookshelf." —Mechanical World. 
 
 “A formidable mass of facts and figures, readily accessible through an elaborate index 
 . . . . Such a volume will be found absolutely necessary as a book of reference in all sorts 
 of ‘works ’ connected with the metal trades.”— Ry land's iron Trades Circular. 
 
 “ Brimful of useful information, stated in a concise form, Mr. Hutton’s books have met a press¬ 
 ing want among engineers. The book must prove extremely useful to every practical man 
 possessing a copy.”— Practical Engineer. 
 
 The Modernised “ Templeton.” 
 
 THE PRACTICAL MECHANIC'S WORKSHOP COM- 
 PA NION . Comprising a great variety of the most useful Rules and Formulas 
 in Mechanical Science, with numerous Tables of Practical Data and Calcu¬ 
 lated Results for Facilitating Mechanical Operations. By William Temple¬ 
 ton, Author of ‘‘The Engineer’s Practical Assistant,” &c. &c. Fifteenth 
 Edition, Revised, Modernised, and considerably Enlarged by Walter S. 
 Hutton, C.E., Author of “The Works’ Manager’s Handbook,” “The 
 Practical Engineer’s Handbook,” &c. Fcap. 8vo, nearly 500 pp., with Eight 
 Plates and upwards of 250 Illustrative Diagrams, 6s., strongly bound for 
 workshop or pocket wear and tear. 
 
 5 * 5 *“ Templeton’s “ Mechanic’s Workshop Companion’’ has been for more 
 than a quarter of a century deservedly popular , and , as a recognised Text-Book and 
 well-worn and thumb-marked vade mecum of several generations of intelligent 
 and aspiring workmen , it has had the reputation of having been the means of raising 
 many of them in their position in life . 
 
 In consequence of the lapse of time since the Author's death , and the great 
 advances in Mechanical Science , the Publishers have thought it advisable to have it 
 entirely Reconstructed and Modernised ; and in its present greatly Enlarged and 
 Improved form , they are sure that it will commend itself to the English workmen of 
 the present day all the world over , and become , like its predecessors , their indispens ¬ 
 able friend and referee . 
 
 A smaller type having been adopted , and the page increased in size , while the 
 number of pages has advanced from about 330 to nearly 500, the book practically con ¬ 
 tains double the amount of matter that was comprised in the original work . 
 
 *** Opinions of the Press. 
 
 “ In its modernised form Hutton’s ‘ Templeton ' should have a wide sale, for it contains much 
 valuable information which the mechanic will often find of use, and not a few tables and notes which 
 he might look for in vain in other works. This modernised edition will be appreciated by all who 
 have learned to value the original editions of ‘ Templeton.’ "—E?iglish Mechanic. 
 
 “ It has met with great success in the engineering workshop, as we can testify; and there are 
 a great many men who, in a great measure, owe their rise in life to this little book.”— Building News. 
 
 “ This familiar text-book—well known to all mechanics and engineers—is of essential service to 
 the every-day requirements of engineers, millwrights and the various trades connected with 
 engineering and building. The new modernised edition is worth its weight in gold.”— Building 
 News. (Second Notice.) 
 
 “ The publishers wisely entrusted the task of revision of this popular, valuable and useful book 
 to Mr. Hutton, than whom a mor-e competent man they could not have found.”— Iron . 
 
MECHANICS, MECHANICAL ENGINEERING, etc. 3 
 
 Stone-working Machinery. 
 
 STONE-WORKING MACHINERY, and, the Rapid and Economi- 
 
 cal Conversion of Stone. With Hints on the Arrangement and Management 
 of Stone Works. By M. Powis Bale, A.M.I.C.E. With numerous 
 
 Illustrations. Large crown 8vo, gs. cloth. 
 
 “The book should be in the hands of every mason or student of stone-work.”— Colliery 
 Guardian. 
 
 “It is in every sense of the word a standard work upon a subject which the author is fully 
 competent to deal exhaustively with."— Builder's Weekly Reporter. 
 
 “A capital handbook for all who manipulate stone for building or ornamental purposes.”— 
 Machinery Market. 
 
 Turning. 
 
 LATHE-WORK : A Practical Treatise on the Tools, Appliances, 
 and Processes employed in the Art of Turning. By Paul N. Hasluck. 
 Third Edition, Revised and Enlarged. Crown 8vo, 5s. cloth. 
 
 “ Written by a man who knows, not only how work ought to be done, but who also knows how 
 to do it, and how to convey his knowledge to others. To all turners this book would be valuable. 
 — Engineering r . 
 
 “We can safely recommend the work to young engineers. To the amateur it will simply be 
 invaluable. To the student it will convey a great deal of useful information.”— Engineer. 
 
 “A compact, succinct, and handy guide to lathe-work did not exist in our language until Mr. 
 Hasluck, by the publication of this treatise, gave the turner a true vade-mecum."—House Decorator 
 
 Screw-Cutting. 
 
 SCREW THREADS : And Methods of Producing Them. With 
 Numerous Tables, and complete directions for using Screw-Cutting Lathes. 
 By Paul N. Hasluck, Author of “ Lathe-Work,” “ The Metal Turner’s 
 Handybook,” &c. Waistcoat-pocket size, price is. \Just published. 
 
 “ Full of useful information, hints and practical criticism. Taps, dies and sc ewing-tools gene¬ 
 rally are illustrated and their action described.”— Mechanical World. 
 
 “ It is a complete compendium of all the details of the screw-cutting lathe ; in fact, a mnltum 
 in parvo on all the subjects it treats upon.”— Carpenter and Builder. 
 
 Engineer’s and Machinist’s Assistant. 
 
 THE ENGINEER'S, MILLWRIGHT'S, and MACHINIST’S 
 PRACTICAL ASSISTANT. A collection of Useful Tables, Rules and Data. 
 By William Templeton. Seventh Edition, with Additions. i8mo, 2 s. 6 d . 
 cloth. 
 
 "Templeton’s handbook occupies a foremost place among books of this kind. A more suitable 
 present to an apprentice to any of the mechanical trades could not possibly be made.”— Building 
 News. 
 
 “A deservedly appreciated work, which should be in the ‘drawer’ of every mechanic.”— 
 English Mechanic. 
 
 Iron and Steel. 
 
 “ IRON A ND STEEL ” : A Work for the Forge, Foundry, Factory, 
 and Office. Containing ready, useful, and trustworthy Information for Iron¬ 
 masters and their Stock-takers; Managers of Bar, Rail, Plate, and Sheet 
 Rolling Mills; Iron and Metal Founders; Iron Ship and Bridge Builders ; 
 Mechanical, Mining, and Consulting Engineers ; Architects, Contractors, 
 Builders, and Professional Draughtsmen. _ By Charles Hoare, Author of 
 “ The Slide Rule,” &c. Eighth Edition, Revised throughout and considerably 
 Enlarged. With folding Scales of “Foreign Measures compared with the 
 English Foot,” and “ Fixed Scales of Squares, Cubes, and Roots, Areas 
 Decimal Equivalents,” &c. Oblong 32mo, leather, elastic band, 6s. 
 
 “ For comprehensiveness the book has not its equal.”— Iron. 
 
 “ One of the best of the pocket books, and a useful companion in other branches of work than 
 iron and steel.”— English Mechanic. 
 
 “ We cordially recommend this book to those engaged in considering the details of all kinds of 
 iron and steel works.”— Naval Science. 
 
 High-Pressure Steam Engines. 
 
 THE HIGH-PRESSURE STEAM-ENGINE : An Exposition 
 of its Comparative Merits and an Essay towards an Improved System of Construe - 
 tion. By Dr. Ernst Alban. Translated from the German, with Notes, by 
 Dr. Pole, M. Inst. C.E., &c. With 28 Plates. 8vo, 16s. 6 d . cloth. 
 
 “ Goes thoroughly into the examination of the high-pressure engine, the boiler, and its append¬ 
 ages and deserves a place in every scientific library.”— Steam Shipping Chronicle. 
 
CROSBY LOCKIVOOD &■ SON'S CATALOGUE. 
 
 Engineering Construction. 
 
 PATTERN-MAKING : A Practical Treatise, embracing the Main 
 
 Types of Engineering Construction, and including Gearing, both Hand and 
 Machine made, Engine Work, Sheaves and Pulleys, Pipes and Columns, 
 Screws, Machine Parts, Pumps and Cocks, the Moulding of Patterns in 
 Loam and Greensand, &c., together with the methods of Estimating the 
 weight of Castings; to which is added an Appendix of Tables for Workshop 
 Reference. By a Foreman Pattern Maker. With upwards of Three 
 Hundred and Seventy Illustrations. Crown 8vo, ys. 6 d. cloth. 
 
 “ A well-written technical guide, evidently written by a man who understands and has prac¬ 
 tised what he has written about. We cordially recommend it to engineering students, young 
 journeymen, and others desirous of being initiated into the mysteries of pattern-making.”— Builder. 
 
 “ Likely to prove a welcome guide to many workmen, especially to draughtsmen who have 
 lacked a training in the shops, pupils pursuing their practical studies in our factories, and to em¬ 
 ployers and managers in engineering works. 1 '— Hardware Trade Journal. 
 
 “More than 370 illustrations help to explain the text, which is, however, always clear and ex¬ 
 plicit, thus rendering the work an excellent vade mecum for the apprentice who desires to become 
 master of his trade."— English Mechanic. 
 
 Dictionary of Mechanical Engineering Terms. 
 LOCKWOOD'S DICTIONARY OF TERMS USED IN THE 
 PRACTICE OF MECHANICAL ENGINEERING, embracing those current 
 in the Drawing Office, Pattern Shop, Foundry, Fitting. Turning, Smith’s and 
 Boiler Shops, &c. &c. Comprising upwards of 6,000 Definitions. Edited by 
 A Foreman Pattern-Maker, Author of “ Pattern Making.” Crown 8 vo, 
 ys. 6d. cloth. [Just published. 
 
 “Just the sort of handy dictionary required by the various trades engaged in mechanical en¬ 
 gineering. The practical engineering pupil will find the book of great value in his studies, and 
 every foreman engineer and mechanic should have a copy.”— Building News. 
 
 “After a careful examination of the book, and trying all manner of words, we think that the 
 engineer will here find all he is likely to require. It will be largely used."— Practical Engineer. 
 
 “This admirable dictionary, although primarily intended for the use of draughtsmen and other 
 technical craftsmen, is of much larger value as a book of reference, and will find a ready welcome 
 in many libraries."— Glasgow Herald. 
 
 Smith’s Tables for Mechanics, etc. 
 
 TABLES. MEMORANDA, AND CALCULATED RESULTS, 
 FOR MECHANICS, ENGINEERS, ARCHITECTS, BUILDERS, etc. 
 Selected and Arranged by Francis Smith. Fourth Edition, Revised and En¬ 
 larged, 250 pp., waistcoat-pocket size, is. 6 d. limp leather. [Just published. 
 “ It would, perhaps, be as difficult to make a small pocket-book selection of notes and formulas 
 to suit ALL engineers as it would be to make a universal medicine ; but Mr. Smith’s waistcoat- 
 pocket collection may be looked upon as a successful attempt.”— Engineer. 
 
 “The best example we have ever seen of 250 pages of useful matter packed into the dimea- 
 sions of a card-case.”— Building News. 
 
 “A veritable pocket treasury of knowledge."— Iroti. 
 
 Steam Boilers. 
 
 A TREATISE ON STEAM BOILERS: Their Strength, Con- 
 struction, and Economical Working. By Robert Wilson, C.E. Fifth Edition. 
 i2iuo, 6s. cloth. 
 
 “ The best treatise that has ever been published on steam boilers."— Engineer. 
 
 “ The author shows himself perfect master of his subject, and we heartily recommend all em¬ 
 ploying steam power to possess themselves of the work."— Ryland's Iron Trade CircxUar. 
 
 Boiler Chimneys. 
 
 BOILER AND FACTORY CHIMNEYS; Their Draught-Power 
 and Stability. With a Chapter on Lightning Conductors. By Robert 
 Wilson, A.I.C.E., Author of “A Treatise on Steam Boilers.” &c. Second 
 Edition. Crown 8vo, 3r. 6 d. cloth. [Just published. 
 
 Boiler Making. 
 
 THE BOILER-MAKER'S READY RECKONER. With Ex¬ 
 amples of Practical Geometry and Templating, for the Use of Platers, 
 Smiths and Riveters. By John Courtney, Edited by D. K. Clark, M.I.C.E. 
 Second Edition, Revised, with Additions, i2tno, 5s. half-bound. 
 
 M A most useful work.No workman or apprentice should be without this book."— 
 
 Iron Trade Circular. 
 
 “ A reliable guide to the working boiler-maker."— Iron. 
 
 " Boiler-makers will readily recognise the value of this volume. . . . The tables are dearly 
 printed, and so arranged that they can be referred to with the greatest facility, so that it cannot be 
 doubted that they will be generally appreciated and much used."— Mining Journal. 
 
MECHANICS, MECHANICAL ENGINEERING, etc. 5 
 
 Steam Engine. 
 
 TEXT-BOOK ON THE STEAM ENGINE. With a Sup- 
 pleraent on Gas Engines. By T. M. Goodeve, M.A., Barrister-at-Law, 
 Author of “The Elements of Mechanism,” &c. Tenth Edition. With 
 numerous Illustrations. Crown 8vo, 6s. cloth. 
 
 “Professor Goodeve has given us a treatise on the steam engine which will bear comparison 
 with anything written by Huxley or Maxwell, and'we can award it no higher praise.”— Evtgineer. 
 
 “ Professor Goodeves book is ably and clearly written. It is a sound work.”— Athenceum. 
 
 ** Mr- Goodeves text-book is a work of which every young engineer should possess himselt.’ 
 —Mining Journal. 
 
 “Essentially practical in its aims. The manner of exposition leaves nothing to be desired."— 
 Scotsman. 
 
 A valuable vade mecutn for the student of engineering and should be in the possession of 
 every scientific reader.”—Colliery Guardian. 
 
 Gas Engines. 
 
 ON GAS-ENGINES. Being a Reprint, with some Additions, of 
 the Supplement to the Text-book on the Steam Engine, by T. M. Goodeve, 
 M.A. Crown 8vo, 2s. 6 d. cloth. 
 
 “ Like all Mr. Goodeve’s writings, the present is no exception in point of general excellence 
 It is a valuable little volume.”— Mechanical World. 
 
 “ This little book will be useful to those who desire to understand how the gas-engine works. 
 —English Mechanic. 
 
 Steam. 
 
 THE SAFE USE OF STEAM. Containing Rules for Un¬ 
 
 professional Steam-users. By an Engineer. Sixth Edition. Sewed, 6 d. 
 
 “ If steam-users would but learn this little book by heart boiler explosions would become 
 sensations by their rarity.”— English Mechanic. 
 
 Coal and Speed Tables. 
 
 A POCKET BOOK OF COAL AND SPEED TABLES, or 
 Engineers and Steam-users. By Nelson Foley, Author of “ Boiler Con¬ 
 struction.” Pocket-size, 3s. 6 d. cloth ; 4s. leather. 
 
 “ This is a very useful book, containing very useful tables. The results given are well chosen, 
 and the volume contains evidence that the author really understands his subject. We can recom¬ 
 mend the work with pleasure.”— Mechanical World. 
 
 “ These tables are designed to meet the requirements of every-day use ; they are of sufficient 
 scope for most practical purposes, and may be commended to engineers and users of steam.”— 
 Iron. 
 
 “ This pocket-book well merits the attention of the practical engineer. Mr. Foley has com¬ 
 piled a very useful set of tables, the information contained in which is frequently required by 
 engineers, coal consumers and users of steam.”— Iron atul Coal Trades Review. 
 
 Fire Engineering. 
 
 FIRES, FIRE-ENGINES, AND FIRE-BRIGADES. With 
 a History of Fire-Engines, their Construction, Use, and Management; Re¬ 
 marks on Fire-Proof Buildings, and the Preservation of Life from Fire ; 
 Statistics of the Fire Appliances in English Towns; Foreign Fire Systems ; 
 Hints on Fire Brigades, &c. &c. By Charles F. T. Young, C.E. With 
 numerous Illustrations, 544 pp., demy 8vo, £1 4s. cloth. 
 
 “ To such of our readers as are interested in the subject of fires and fire apparatus, we can most 
 heartily commend this book. It is really the only English work we now have upon the subject."’— 
 Engineering. 
 
 “It displays much evidence of careful research; and Mr. Young has put his facts neatly 
 together. It is evident enough that his acquaintance with the practical details of the construction of 
 steam fire engines, old and new, and the conditions with which it is necessary they should comply, 
 is accurate and full."— Engineer. 
 
 Gas Lighting. 
 
 COMMON SENSE FOR GAS-USERS: A Catechism of Gas- 
 Lighting for Householders , Gasfitters, Millowners , Architects , Engineers , etc. 
 By Robert Wilson, C.E., Author of “ A Treatise on Steam Boilers.” 
 Second Edition, with Folding Plates and Wood Engravings. Crown 8vo, 
 price is. in wrapper. 
 
 " All gas-users will decidedly benefit, both In pocket and comfort, they will avail themselves 
 of Mr. Wilson’s counsels.”— Engineering. 
 
6 
 
 CROSBY LOCKWOOD &■ SON'S CATALOGUE. 
 
 THE POPULAR WORKS OF MICHAEL REYNOLDS 
 
 (“The Engine Driver’s Friend”). 
 
 Locomotive-Engine Driving. 
 
 LOCOMOTIVE-ENGINE DRIVING : A Practical Manual for 
 Engineers in charge of Locomotive Engines. By Michael Reynolds, Member 
 of the Society of Engineers, formerly Locomotive Inspector L. B.and S.C. R. 
 Eighth Edition. Including a Key to the Locomotive Engine. With Illus¬ 
 trations and Portrait of Author. Crown 8vo, 4s. 6 d. cloth. 
 
 “Mr. Reynolds has supplied a want, and has supplied it well. We can confidently recommend 
 the book, not only to the practical driver, but to everyone who takes an interest in the performance 
 of locomotive engines.”— The Engineer. 
 
 “ Mr. Reynolds has opened a new chapter in the literature of the day. This admirable practical 
 treatise, of the practical utility of which we have to speak in terms of warm commendation.”— 
 
 AtJienezum. 
 
 “ Evidently the work of one who knows his subject thoroughly.”— Railway Service Gazette. 
 "Were the cautions and rules given in the book to become part of the every-day working of 
 our engine-drivers, we might have fewer distressing accidents to deplore.”— Scotsman. 
 
 Stationary Engine Driving. 
 
 STATIONARY ENGINE DRIVING : A Practical Manual for 
 Engineers in charge of Stationary Engines. By Michael Reynolds. Third 
 Edition, Enlarged. With Plates and Woodcuts. Crown 8vo, 4s. 6 d. cloth. 
 “The author is thoroughly acquainted with his subjects, and his advice on the various points 
 treated is clear and practical. . . . He has produced a manual which is an exceedingly useful 
 one for the class for whom it is specially intended."— Engineering. 
 
 “Our author leaves no stone unturned. He is determined that his readers shall not only know 
 something about the stationary engine, but all about it."— Engineer. 
 
 “An engineman who has mastered the contents of Mr. Reynolds's bookwill require but little actual 
 experience with boilers and engines before he can be trusted to look after them.”— English Mechanic 
 
 The Engineer, Fireman, and Engine-Boy. 
 
 THE MODEL LOCOMOTIVE ENGINEER, FIREMAN, and 
 ENGINE-BOY. Comprising a Historical Notice of the Pioneer Locomotive 
 Engines and their Inventors. By Michael Reynolds. With numerous Illus¬ 
 trations and a fine Portrait of George Stephenson. Crown 8vo, 4s. 6 d. cloth. 
 " From the technical knowledge of the author it will appeal to the railway man of to-day more 
 forcibly than anything written by Dr. Smiles. . . . The volume contains information of a tech¬ 
 nical kind, and facts that every driver should be familiar with."— English Mechanic. 
 
 “We should be glad to see this book in the possession of everyone in the kingdom who has 
 ever laid, or is to lay, hands on a locomotive engine."— Iron. 
 
 Continuous Railway Brakes. 
 
 CONTINUOUS RAILWAY BRAKES: A Practical Treatise on 
 
 the several Systems in Use in the United Kingdom; their Construction and 
 Performance. With copious Illustrations and numerous Tables. By Michael 
 Reynolds. Large crown 8 vo, gs. cloth. 
 
 “ A popular explanation of the different brakes. It will be of great assistance in forming public 
 opinion, and will be studied with benefit by those who take an interest in the brake.”— English 
 Mechanic. 
 
 "Written with sufficient technical detail to enable the principle and relative connection of the 
 various parts of each particular brake to be readily grasped.”— Mechanical World. 
 
 Engine-Driving Life. 
 
 ENGINE-DRIVING LIFE; or, Stirring Adventures and Inci- 
 dents in the Lives of Locomotive-Engine Drivers. By Michael Reynolds. 
 Ninth Thousand. Crown 8vo. 2s. cloth. 
 
 “From first tolast is perfectly fascinating. Wilkie Collins’s most thrilling conceptions are thrown 
 Into the shade by true incidents, endless in their variety, related in every page.”— North British Mail. 
 
 “Anyone who wishes to get a real insight into railway life cannot do better than read ‘ Engine- 
 Driving Life ’ for himself; and if he once take it up he will find that the author’s enthusiasm and real 
 ove of the engine-driving professionwill carry him on till he has read every page."— Saturday Review. 
 
 Pocket Companion for Enginemen. 
 
 THE ENGINEMAN’S POCKET COMPANION AND PRAC¬ 
 TICAL EDUCATOR FOR ENGINEMEN, BOILER ATTENDANTS, 
 AND MECHANICS.. By Michael Reynolds. With Forty-five Illustra¬ 
 tions and numerous Diagrams. Second Edition, Revised. Royal i8mo, 3s. 6 d. t 
 strongly bound for pocket wear. [Just published. 
 
 “ This admirable work is well suited to accomplish its object, being the honest workmanship of 
 a competent engineer.” —Glasgoru Herald. 
 
 " A most meritorious work, giving in a succinct and practical form all the information an engine- 
 minder desirous of mastering the scientific principles of his daily calling would require."— Miller. 
 
 “ A boon to those who are striving to become efficient mechanics.”— Daily Chronicle. 
 
CIVIL ENGINEERING , SURVEYING, etc. 
 
 7 
 
 French-English Glossary for Engineers, etc. 
 
 A POCKET GLOSSARY of TECHNICAL TERMS: ENGLISH - 
 FRENCH, FRENCH-ENGLISH; with Tables suitable for the Architectural, 
 Engineering, Manufacturing and Nautical Professions. By John James 
 Fletcher, Engineer and Surveyor ; 200 pp. Waistcoat-pocket size, is. 6 d. t 
 limp leather. 
 
 “ It ought certainly to be in the waistccat-pocket of every professional man. —Iron. 
 
 "It is a very great advantage for readers and correspondents in France and England to have 
 so large a number of the words relating to engineering and manufacturers collected in a liliputian 
 volume. The little book will be useful both to students and travellers.”— Architect. 
 
 “ The glossary of terms is very complete, and many of the tables are new and well arranged. 
 We cordially commend the book .—Mechanical World . 
 
 Portable Engines. 
 
 THE PORTABLE ENGINE; ITS CONSTRUCTION AND 
 MANAGEMENT. A Practical Manual for Owners and Users of Steam 
 Engines generally. By William Dyson Wansbrough. With 90 Illustra¬ 
 tions. Crown 8vo, 3s. 6 d. cloth. \Just published. 
 
 “ This is a work of value to those who use steam machinery. . . . Should be read by every¬ 
 one who has a steam engine, on a farm or elsewhere.”— Mark Lane Express. 
 
 “ We cordially commend this work to buyers and owners of steam engines, and to those who 
 have to do with their construction or use.’’-— Timber Trades Journal. 
 
 " Such a general knowledge of the steam engine as Mr. Wansbrough furnishes to the reader 
 should be acquired by all intelligent owners and others who use the steam engine.''— Building News. 
 
 CIVIL ENGINEERING, SURVEYING, etc. 
 
 MR. HUMBER’S IMPORTANT ENGINEERING BOOKS. 
 
 The Water Supply of Cities and Towns. 
 
 A COMPREHENSIVE TREATISE on the WATER-SUPPLY 
 OF CITIES AND TOWNS. By William Humber, A-M. Inst. C.E., and 
 M. Inst. M.E., Author of “Cast and Wrought Iron Bridge Construction,” 
 &c. &c. Illustrated with 50 Double Plates, 1 Single Plate, Coloured 
 Frontispiece, and upwards of 250 Woodcuts, and containing 400 pages of 
 Text. Imp. 4to, £6 6s. elegantly and substantially half-bound in morocco. 
 List of Contents. 
 
 I. Historical Sketch of some of the means 
 that have been adopted for the Supply of Water 
 to Cities and Towns.—II. Water and the Fo¬ 
 reign Matter usually associated with it.—III. 
 Rainfall and Evaporation.—IV. Springs and 
 the water-bearing formations of various dis¬ 
 tricts.—V. Measurement and Estimation of the 
 flow of Water —VI. On the Selection of the 
 Source of Supply.—VII. Wells.—VIII. Reser¬ 
 voirs.—IX. The Purification of Water.—X. 
 Pumps. — XI. Pumping Machinery. — XII. 
 
 Conduits.—XIII. Distribution of Water.—XIV. 
 Meters, Service Pipes, and House Fittings.— 
 
 XV. The Law and Economy of Water Works. 
 
 XVI. Constant and Intermittent Supply.— 
 
 XVII. Description of Plates. — Appendices, 
 giving Tables of Rates of Supply, Velocities, 
 &c. &c., together with Specifications of several 
 Works illustrated, among which will be found: 
 Aberdeen, Bideford, Canterbury, Dundee, 
 Halifax, Lambeth, Rotherham, Dublin, and 
 others. 
 
 ‘ The most systematic and valuable work upon water supply hitherto produced in English, or 
 in any other language. ... Mr. Humber’s work is characterised almost throughout by an 
 exhaustiveness much more distinctive of French and German than of English technical treatises." 
 — Engineer. 
 
 "We can congratulate Mr. Humber on having been able to give so large an amount of infor¬ 
 mation on a subject so important as the water supply of cities and towns. The plates, fifty in 
 number, are mostly drawings of executed works, and alone would have commanded the attention 
 of every engineer whose practice may lie in this branch of the profession.”— Builder. 
 
 Cast and Wrought Iron Bridge Construction. 
 
 A COMPLETE AND PRACTICAL TREATISE ON CAST 
 AND WROUGHT IRON BRIDGE CONSTRUCTION, including Iron 
 Foundations. In Three Parts—Theoretical, Practical, and Descriptive. By 
 William Humber, A-M. Inst. C.E., and M. Inst. M.E. Third Edition, Re¬ 
 vised and much improved, with 115 Double Plates (20 of which now first 
 appear in this edition), and numerous Additions to the Text. In Two Vols., 
 imp. 4to, £6 16$. 6 d. half-bound in morocco. 
 
 ‘ 4 A very valuable contribution to the standard literature of civil engineering. In addition to 
 elevations, plans and sections, large scale details are given which very much enhance the instruc¬ 
 tive worth of these illustrations.”— Civil Engineer and Architect's Journal, 
 
 “Mr. Humber’s stately volumes, lately issued—in which the most important bridges erected 
 during the last five years, under the direction of the late Mr. Brunei, Sir W. Cubitt, Mr. Hawk- 
 shaw, Mr. Page, Mr. Fowler, Mr. Hemans, and others among our most eminent engineers, are 
 drawn and specified in great detail.”— Engineer. 
 
s 
 
 CROSBY LOCKWOOD &■ SON'S CATALOGUE. 
 
 MR. HUMBER'S GREAT WORK ON MODERN ENGINEERING. 
 
 Complete in Four Volumes, imperial 4to, price £12 12s., half-morocco. Each 
 Volume sold separately as follows:— 
 
 A RECORD OF THE PROGRESS OF MODERN ENGINEER¬ 
 ING. First Series. Comprising Civil, Mechanical, Marine, Hydraulic, 
 Railway, Bridge, and other Engineering Works, &c. By William Humber, 
 A-M. Inst. C.E., &c. Imp. 4to, with 36 Double Plates, drawn to a large scale, 
 Photographic Portrait of John Hawkshaw, C.E., F.R.S., &c., and copious 
 descriptive Letterpress, Specifications, &c., £3 3s. half-morocco. 
 
 List of the Plates and Diagrams. 
 
 Victoria Station and Roof, L. B. & S. C. R. 
 
 (8 plates); Southport Pier (2 plates); Victoria 
 Station and Roof, L. C. & D. and G. W. R. (6 
 elates); Roof of Cremome Music Hall; Bridge 
 over G. N. Railway ; Roof of Station, Dutch 
 Rhenish Rail (2 plates); Bridge over the 
 
 “ Handsomely lithographed and printed. It will find favour with many who desire to preserve 
 In a permanent form copies of the plans and specifications prepared for the guidance of the con¬ 
 tractors for many important engineering works."— Engineer. 
 
 Thames, West London Extension Railway (5 
 plates); Armour Plates: Suspension Bridge, 
 Thames (4 plates); The Allen Engine; Sus¬ 
 pension Bridge, Avon (3 plates); Underground 
 Railway (3 plates). 
 
 HUMBER'S RECORD OF MODERN ENGINEERING . Second 
 Series. Imp. 4to, with 36 Double Plates, Photographic Portrait of Robert 
 Stephenson, C.E., M.P., F.R.S., &c., and copious descriptive Letterpress, 
 Specifications, &c., £3 3s. half-morocco. 
 
 Birkenhead Docks, Low Water Basin (15 
 plates); Charing Cross Station Roof, C. C. 
 Railway (3 plates); Digswell Viaduct, Great 
 Northern Railway ; Robbery Wood Viaduct, 
 Great Northern Railway; Iron Permanent 
 WayjClydach Viaduct, Merthyr, Tredegar, 
 
 List of the Plates and Diagrams. 
 
 and Abergavenny Railway: Ebbw Viaduct, 
 Merthyr, Tredegar, and Abergavenny Rail¬ 
 way ; College Wood Viaduct, Cornwall Rail¬ 
 way ; Dublin Winter Palace Roof (3 plates); 
 Bridge over the Thames, L. C. & D. Railway 
 (6 plates); Albert Harbour, Greenock (4 plates). 
 
 “ Mr. Humber has done the profession good and true service, by the fine collection of examples 
 he has here brought before the profession and the public .”—Practical Mechanics Journal. 
 
 HUMBER'S RECORD OF MODERN ENGINEERING. Third 
 Series. Imp. 4to, with 40 Double Plates, Photographic Portrait of J. R. 
 M'Clean, late Pres. Inst. C.E., and copious descriptive Letterpress, Speci¬ 
 fications, &c., £3 3s. half-morocco. 
 
 List of the Plates and Diagrams. 
 
 Main drainage, Metropolis .—North 
 Side .—Map showing Interception of Sewers ; 
 Middle Level Sewer (2 plates); Outfall Sewer, 
 Bridge over River Lea (3 plates); Outfall Sewer, 
 Bridge over Marsh Lane, North Woolwich 
 Railway, and Bow and Barking Railway Junc¬ 
 tion; Outfall Sewer, Bridge over Bow and 
 Barking Railway (3 plates); Outfall Sewer, 
 Bridge over East London Waterworks' Feeder 
 (2 plates); Outfall Sewer, Reservoir (2 plates); 
 Outfall Sewer, Tumbling Bay and Outlet; Out- 
 fail Sewer, Penstocks. South Side .—Outfall 
 Sewer, Bermondsey Branch (2 plates); Outfall 
 “ The drawings have a constantly increasing 
 sentations of the two great works carried out by 
 volume.”— Engineer. 
 
 Sewer, Reservoir and Outlet (4 plates); Outfa’J 
 Sewer, Filth Hoist; Sections of Sewers (North 
 and South Sides). 
 
 Thames Embankment.—S ection of River 
 Wall; Steamboat Pier, Westminster (2 plates); 
 Landing Stairs between Charing Cross and 
 Waterloo Bridges; York Gate (2 plates); Over¬ 
 flow and Outlet at Savoy Street Sewer (3 plates); 
 Steamboat Pier, Waterloo Bridge (3 plates) ; 
 Junction of Sewers, Plans and Sections; 
 Gullies, Plans and Sections; Rolling Stock ; 
 Granite and Iron Forts. 
 
 value, and whoever desires to possess clear repre- 
 our Metropolitan Board will obtain Mr. Humber's 
 
 HUMBER'S RECORD OF MODERN ENGINEERING. Fourth 
 Series. Imp. 4to, with 36 Double Plates, Photographic Portrait of John 
 Fowler, late Pres. Inst. C.E., and copious descriptive Letterpress, Speci¬ 
 fications, &c., £3 3s. half-morocco. 
 
 List of the Plates and Diagrams. 
 
 Abbey Mills Pumping Station, Main Drain¬ 
 age, Metropolis (4 plates); Barrow Docks (5 
 plates); Manquis Viaduct, Santiago and Val¬ 
 paraiso Railway (2 plates); Adam's Locomo¬ 
 tive, St. Helen's Canal Railway (2 plates); 
 
 Cannon Street Station Roof, Charing Cross 
 Railway (3 plates); Road Bridge over the River 
 Moka (2 plates); Telegraphic Apparatus for 
 
 "We gladly welcome another year’s issue of this valuable publication from the able pen of 
 Mr. Humber. The accuracy and general excellence of this work are well known, while its useful¬ 
 ness in giving the measurements and details of some of the latest examples of engineering, as 
 carried out by the most eminent men in the profession, cannot be too highly prized."— Artisan. 
 
 Mesopotamia; Viaduct over the River Wye, 
 Midland Railway (3 plates); St. Germans Via¬ 
 duct, Cornwall Railway (2 plates); Wrought- 
 Iron Cylinder for Diving Bell; Millwall Docks 
 (6 plates); Milroy’s Patent Excavator; Metro¬ 
 politan District Railway (6 plates); Harbours, 
 Ports, and Breakwaters (3 plates). 
 
CIVIL ENGINEERING, SURVEYING, etc. 
 
 9 
 
 MR. HUMBER'S ENGINEERING BOOKS—continued. 
 
 Strains, Calculation of. 
 
 A HANDY BOOK FOR THE CALCULATION OF STRAINS 
 IN GIRDERS AND SIMILAR STRUCTURES, AND THEIR STRENGTH , 
 Consisting of Formulae and Corresponding Diagrams, with numerous details 
 for Practical Application, &c. By William Humber, A»M. Inst. C.E., &c. 
 Fourth Edition. Crown 8vo, nearly ioo Woodcuts and 3 Plates, 7s. 6 d. cloth. 
 “ The formulae are neatly expressed, and the diagrams good.”— Athenezum. 
 
 “ We heartily commend this really handy book to our engineer and architect readers.”— Eng¬ 
 lish Mechanic. 
 
 Barlow’s Strength of Materials, enlarged by Humber 
 
 A TREATISE ON THE STRENGTH OF MATERIALS ; 
 
 with Rules for Application in Architecture, the Construction of Suspension 
 Bridges, Railways, &c. By Peter Barlow, F.R.S. A New Edition, revised 
 by his Sons, P. W. Barlow, F.R.S., and W. H. Barlow, F.R.S.; to which 
 are added, Experiments by Hodgkinson, Fairbairn, and Kirkaldy ; and 
 Formulas for Calculating Girders, &c. Arranged and Edited by W. Humber, 
 A-M. Inst. C.E. Demy 8vo, 400 pp., with 19 large Plates and numerous 
 Woodcuts, 185. cloth. 
 
 “ Valuable alike to the student, tyro, and the experienced practitioner, it will always ra nk in 
 future, as it has hitherto done, as the standard treatise on that particular subject.”— Engineer. 
 
 " There is no greater authority than Barlow.”— Building News. 
 
 " Deserves a foremost place on the bookshelves of every civil engineer.”— English Mechanic . 
 
 Trigonometrical Surveying. 
 
 AN OUTLINE OF THE METHOD OF CONDUCTING A 
 TRIGONOMETRICAL SURVEY, for the Formation of Geographical and 
 Topographical Maps and Plans , Military Reconnaissance , Levelling, &c., with 
 Useful Problems, Formulae, and Tables. By Lieut.-General Frome, R.E. 
 Fourth Edition, Revised and partly Re-written by Major General Sir Charles 
 Warren, G.C.M.G., R.E. With 19 Plates and 115 Woodcuts, royal 8vo, 16s, 
 cloth. 
 
 ** The simple fact that a fourth edition has been called for is the best testimony to its merits. 
 No words of praise from us can strengthen the position so well and so steadily maintained by this 
 work. Sir Charles Warren has revised the entire work, and made such additions as were necessary 
 to bring every portion of the contents up to the present date.”— Broad A rroiv. 
 
 Oblique Bridges . 
 
 A PR A CTICA LAND THEORETICA L ESS A Y ON 0BL1Q UE 
 BRIDGES. With 13 large Plates. By the late George Watson Buck, 
 M.I.C.E. Third Edition, revised by his Son, J. H. Watson Buck, M.I.C.E.; 
 and with the addition of Description to Diaprams for Facilitating the Con¬ 
 struction of Oblique Bridges, by W. H. Barlow, M.I.C.E. Royal 8vo, 12s, 
 cloth. 
 
 “ The standard text-book for all engineers regarding skew arches is Mr. Buck’s treatise, and is 
 would be impossible to consult a better.”— Engineer. 
 
 “Mr. Buck’s treatise is recognised as a standard text-book, and his treatment has divested the 
 subject of many of the intricacies supposed to belong to it. As a guide to the engineer and archi¬ 
 tect, on a confessedly difficult subject, Mr. Buck's work is unsurpassed.”— Building News. 
 
 Bridge Construction . 
 
 EXAMPLES OF BRIDGE AND VIADUCT CONSTRUC¬ 
 TION OF MASONRY, TIMBER, AND IRON . Consisting of 46 Plates from 
 the Contract Drawings or Admeasurement of Select Works. By W. D. 
 Haskoll C.E. Second Edition, with the addition of 554 Estimates, and the 
 Practice of Setting out Works. Illustrated with 6 pages of Diagrams. Imp. 
 4to, £2 12s. 6 d. half-morocco. 
 
 “ A work of the present nature by a man of Mr. Haskoll’s experience must prove invaluable. 
 The tables of estimates will considerably enhance its value. ’— Engineering. 
 
 Earthwork. 
 
 EARTHWORK TABLES. Showing the Contents in Cubic 
 Yards of Embankments, Cuttings, &c., of Heights or Depths up to an average 
 of 80 feet. By Joseph Broadbent, C.E., and Francis Campin, C.E. Crown 
 8vo, 5s. cloth. 
 
 " The way in which accuracy is attained, by a simple division of each cross section into three 
 elements, two in which are constant and one variable, is ingenious.”— Athenezuj/u 
 
10 
 
 CR0S3Y LOCKWOOD <3 S0N;S CATALOGUE. 
 
 Statics, Graphic and Analytic. 
 
 GRAPHIC AND ANALYTIC STATICS,in tlieirPractical Appii- 
 
 cation to the Treatment of Stresses in Roofs , Solid Girders , Lattice , Bowstring 
 and Suspension Bridges , Braced Iron A rches and Piers , and other Frameworks. 
 By R. Hudson Graham, C.E. Containing Diagrams and Plates to Scale. 
 With numerous Examples, many taken from existing Structures. Specially 
 arranged for Class-work in Colleges and Universities. Second Edition, Re¬ 
 vised and Enlarged. 8vo, 16s. cloth. 
 
 “Mr. Graham’s book will find a place wherever graphic and analytic statics are used or studied.'' 
 —Engineer. 
 
 “ This exhaustive treatise is admirably adapted for the architect and engineer, and will tend 
 towean the profession from a tedious and laboured mode of calculation.” —Building News. 
 
 “ The work is excellent from a practical point of view, and has evidently been prepared with 
 much care. The directions for working are ample, and are illustrated by an abundance of well- 
 selected examples. It is an excellent text-book for the practical draughtsman.”— Athenceum. 
 
 Survey Practice. 
 
 AID TO SURVEY PRACTICE, for Reference in Surveying, Level- 
 
 ling. Setting-out and in Route Surveys of Travellers by Land and Sea. With 
 Tables, Illustrations, and Records. By Lowis D’A. Jackson, A.M.I.C.E., 
 Author of “ Hydraulic Manual,” “ Modern Metrology,” &c. Large crown 8vo, 
 12s. 6 d. cloth. 
 
 “Mr. Jackson has produced a valuable •vade-mecum for the surveyor. We can recommend 
 this book as containing an admirable supplement to the teaching of the accomplished surveyor.”— 
 Athenceum. 
 
 “ As a text-book we should advise all surveyors to place it in their libraries, and study well the 
 matured instructions afforded in its pages.”— Colliery Guardian. 
 
 “ The author brings to his work a fortunate union of theory and practical experience which, 
 aided by a clear and lucid style of writing, renders the book a very useful one.”— Builder. 
 
 Surveying, Land and Marine. 
 
 LAND AND MARINE SURVEYING, in Reference to the Pre- 
 
 paration of Plans for Roads and Railways; Canals, Rivers, Towns’ Water 
 Supplies; Docks and Harbours. With Description and Use of Surveying 
 Instruments. By W. Davis Haskoll, C.E., Author of “ Bridge and Viaduct 
 Construction,’’ &c. Second Edition, Revised, with Additions. Large crown 
 8vo, gs. cloth. 
 
 “ A most useful and -well arranged book for the aid of a student. We can strongly recommend 
 it as a carefully written and valuable text-book. It enjoys a well-deserved repute among surveyors.” 
 — Builder. 
 
 “ This volume cannot fail to prove of the utmost practical utility. It may be safely recommended 
 to all students who aspire to become clean and expert surveyors.”— Minins Journal. 
 
 Levelling. 
 
 A TREATISE ON THE PRINCIPLES AND PRACTICE OF 
 LEVELLING. Showing its Application to purposes of Railway and Civil 
 Engineering, in the Construction of Roads; with Mr. Telford’s Rules for the 
 same. By Frederick W. Simms, F.G.S., M. Inst. C.E. Seventh Edition, with 
 the addition of Law’s Practical Examples for Setting-out Railway Curves, and 
 Trautwine’s Field Practice of Laying-out Circular Curves. With ^ Plates 
 and numerous Woodcuts, 8vo, 8s. 6 d. cloth. *** Trautwine on Curves 
 may be had separate, 5s. 
 
 “ The text-book on levelling in most of our engineering schools and colleges.”— Engineer. 
 
 “ The publishers have rendered a substantial service to the profession, especially to the younger 
 members, by bringing out the present edition of Mr. Simms’s useful work.”— Engineering-. 
 
 Tunnelling. 
 
 PRACTICAL TUNNELLING. Explaining in detail the Setting- 
 out of the works, Shaft-sinking and Heading-driving, Ranging the Lines and 
 Levelling underground, Sub-Excavating, Timbering, and the Construction 
 of the Brickwork of Tunnels, with the amount of Labour required for, and the 
 Cost of, the various portions of the work. By Frederick W. Simms, F.G.S., 
 M. Inst. C.E. Third Edition, Revised and Extended by D. Kinnear Clark, 
 M. Inst. C.E. Imperial 8vo, with 21 Folding Plates and numerous Wood 
 Engravings, 30s. cloth. 
 
 “The estimation in which Mr. Simms’s book has been held for over thirty years cannot be more 
 truly expressed than in the words of the late Prof. Rankine:—‘The best source of information 
 on the subject of tunnels is Mr. F. W. Simms’s work on Practical Tunnelling.' "—Architect. 
 
 “ Mr. Clark has added immensely to the value of the book.”— Engineer. 
 
 “The additional chapters by Mr. Clark, containing as they do numerous examples of modern 
 practice, bring the book well up to date.”— Engineering. 
 
CIVIL ENGINEERING, SURVEYING, etc. 
 
 11 
 
 Heat, Expansion by. 
 
 EXPANSION OF STRUCTURES BY HEAT. By John 
 Keily, C.E., late of the Indian Public Works and Victorian Railway Depart¬ 
 ments. Crown 8vo, 3s. 6 d. cloth. [Just published. 
 
 Summary of Contents. 
 
 Section I. Formulas and Data. 
 Section II. Metal Bars. 
 
 Section III. Simple Frames. 
 
 Section IV. Complex Frames] and 
 Plates. 
 
 Section V. Thermal Conductivity. 
 
 “ The aim the author has set before him, 
 
 Section VI. Mechanical Force of 
 Heat. 
 
 Section VII. Work of Expansion 
 and Contraction. 
 Section VIII. Suspension Bridges. 
 Section IX. Masonry Structures. 
 to show the effects of heat upon metallic and 
 
 other structures, is a laudable one, for this is a branch of physics upon which the engineer or archi¬ 
 tect can find but little reliable and comprehensive data in books.”— Builder. 
 
 “ Whoever is concerned to know the effect of changes of temperature on such structures as 
 suspension bridges and the like, could not do better than consult Mr. Keily’s valuable and handy 
 exposition of the geometrical principles involved in these changes.”— Scotsman. 
 
 Practical Mathematics. 
 
 MATHEMATICS FOR PRACTICAL MEN: Being a Common- 
 place Book of Pure and Mixed Mathematics. Designed chiefly for the use 
 of Civil Engineers, Architects and Surveyors. By Olinthus Gregory, 
 LL.D., F.R.A.S., Enlarged by Henry Law, C.E. 4th Edition, carefully 
 Revised by J. R. Young, formerly Professor of Mathematics, Belfast College. 
 With 13 Plates, 8vo, £1 is., cloth. 
 
 “ The engineer or architect will here find ready to his hand rules for solving nearly every mathe* 
 matical difficulty that may arise in his practice. The rules are in all cases explained by means of 
 examples, in which every step of the process is clearly worked out ."—Builder. 
 
 “ One of the most serviceable books for practical mechanics. . . „ It is an instructive book 
 for the student, and a text-book for him who, having once mastered the subjects it treats of, needs 
 occasionally to refresh his memory upon them .”—Building News. 
 
 Hydraulic Tables. 
 
 HYDRAULIC TABLES, CO-EFFICIENTS, and, FORMULAE 
 for finding the Discharge of Water from Orifices, Notches, Weirs, Pipes, and 
 Rivers. With New Formulae, Tables, and General Information on Rainfall, 
 Catchment-Basins, Drainage, Sewerage, Water Supply for Towns and Mill 
 Power. By John Neville, Civil Engineer, M.R.I.A. Third Edition, care¬ 
 fully revised, with considerable Additions. Numerous Illustrations. Crown 
 8vo, 14s. cloth. 
 
 “ it is, of all English books on the subject, the one nearest to completeness. . . . From the 
 good arrangement of the matter, the clear explanations, and abundance of formulae, the carefully 
 calculated tables, and, above all, the thorough acquaintance with both theory and construction, 
 which is displayed from first to last, the book'wiii be found to be an acquisition.’’— Architect. 
 
 River Engineering. 
 
 RIVER BARS : The Causes of their Formation, and their Treatment 
 
 by “Induced Tidal Scour." With a Description of the Successful Reduction 
 
 by this Method of the Bar at Dublin. By I. J. Mann, Assist. Eng. to the 
 
 Dublin Port and Docks Board. Royal 8vo, 7s. 6 d. cloth. 
 
 “We recommend all interested in harbour works—and, indeed, those concerned in the improve¬ 
 ments of rivers generally—to read Mr. Mann's interesting work.’’— Engineer. 
 
 “ A most valuable contribution to the history of this branch of engineering.”— Engineering 
 and Mining Journal. 
 
 Hydraulics. 
 
 HYDRAULIC MANUAL. Consisting of Working Tables and 
 
 Explanatory Text. Intended as a Guide in Hydraulic Calculations and Field 
 
 Operations. By Lowis D’A. Jackson, Author of “ Aid to Survey Practice,” 
 
 “ Modern Metrology,’’ &c. Fourth Edition. Rewritten and Enlarged. 
 
 Large crown 8vo, 16s. cloth. 
 
 “ The author has been a careful observer of the facts which have come under his notice, as 
 well as a painstaking collector and critic of the results of the experiments of others, and from the 
 great mass of material at his command he has constructed a manual which may be accepted as a 
 trustworthy guide to this branch of the engineer’s profession.”— Engineering. 
 
 “ The standard work in this department of mechanics. The present edition has been brought 
 abreast of the most recent practice.”— Scotsman. 
 
 “ The most useful feature of this work is its freedom from what is superannuated, and its 
 thorough adoption of recent experiments; the text is, in fact, in great part a short account of the 
 great modern experiments.”— 
 
12 
 
 CROSBY LOCKWOOD &■ SON’S CATALOGUE. 
 
 Drainage. 
 
 ON THE DRAINAGE OF LANDS. TOWNS AND BUILD¬ 
 INGS. By G. D. Dempsey, C.E., Author of “ The Practical Railway En- 
 gineer,” &c. Revised, with large Additions on Recent Practice in 
 Drainage Engineering, by D. Kinnear Clark, M.Inst. C.E. Author of 
 “Tramways : their Construction and Working,” “ A Manual of Rules, Tables, 
 and Data for Mechanical Engineers,” &c. &c. Crown 8vo, ys. 6 d. cloth. 
 
 [Just Published. 
 
 " The new matter added to Mr. Dempsey's exceHent work is characterised by the comprehen¬ 
 sive grasp and accuracy of detail for which the name of Mr. D. K. Clark is a sufficient voucher.”— 
 Atheneeum. 
 
 "Asa work on recent practice in drainage engineering, the book is to be commended to all 
 who are making that branch of engineering science their special study.”— Iron. 
 
 “ A comprehensive manual on drainage engineering, and a useful introduction to the student.” 
 Building News. 
 
 Tramways and their Working. 
 
 TRAMWAYS : THEIR CONSTRUCTION AND WORKING. 
 
 Embracing a Comprehensive History of the System ; with an exhaustive 
 Analysis of the various Modes of Traction, including Horse-Power, Steam, 
 Heated Water, and Compressed Air ; a Description of the Varieties of Rolling 
 Stock; and ample Details of Cost and Working Expenses: the Progress 
 recently made in Tramway Construction, &c. &c. By D. Kinnear Clark, 
 M. Inst. C.E. With over 200 Wood Engravings, and 13 Folding Plates. Two 
 Vols., large crown 8vo, 30s. cloth. 
 
 " All interested in tramways must refer to it, as all railway engineers have turned to the author's 
 work ‘ Railway Machinery."’— Engineer. 
 
 “ An exhaustive and practical work on tramways, in which the history of this kind of locomo* 
 tion, and a description and cost of the various modes of laying tramways, are to be found.”— 
 
 Building News. 
 
 “ The best form of rails, the best mode of construction, and the best mechanical appliances 
 are so fairly indicated in the work under review, that any engineer about to construct a tramway 
 will be enabled at once to obtain the practical information which will be of most service to him.”— 
 
 Atheneeum. 
 
 Oblique Arches. 
 
 A PRACTICAL TREATISE ON THE CONSTRUCTION OF 
 OBLIQUE ARCHES. By John Hart. Third Edition, with Plates. Im¬ 
 perial ovo, 8s. cloth. 
 
 Curves, Tables for Setting-out. 
 
 TABLES OF TANGENTIAL ANGLES AND MULTIPLES 
 
 for Setting-out Curves from 5 to 200 Radius. By Alexander Beazeley, 
 M. Inst. C.E. Third Edition. Printed on 48 Cards, and sold in a cloth box, 
 waistcoat-pocket size, 3s. 6 d. 
 
 “ Each table is printed on a small card, which, being placed on the theodolite, leaves the hands 
 free to manipulate the instrument—no small advantage as regards the rapidity of work."— Engineer. 
 
 “ Very handy ; a man may know that all his day’s work must fall on two of these cards, which 
 he puts into his own card-case, and leaves the rest behind.”— Atheneeum. 
 
 Engineering Fieldwork. 
 
 THE PRACTICE OF ENGINEERING FIELDWORK, applied 
 
 to Land and Hydraulic , Hydrographic , and Submarine Surveying and Levelling. 
 Second Edition, Revised, with considerable Additions, and a Supplement on 
 Waterworks, Sewers, Sewage, and Irrigation. By W. Davis Kaskoll, C.E. 
 Numerous Folding Plates. In One Volume, demy 8vo, £1 5s. cloth. 
 
 Tunnel Shafts. 
 
 THE CONSTRUCTION OF LARGE TUNNEL SHAFTS : A 
 
 Practical and Theoretical Essay. By J. H. Watson Buck, M. Inst. C.E., 
 Resident Engineer, London and North-Western Railway. Illustrated with 
 Folding Plates, royal 8vo, 12s. cloth. 
 
 " Many of the methods given are of extreme practical value to the mason ; and the observations 
 on the form of arch, the rules for ordering the stone, and the construction of the templates will be 
 found of considerable use. We commend the book to the engineering profession.”— Building News. 
 
 "Will be regarded by civil engineers as of the utmost value, and calculated to save much time 
 and obviate many mistakes."— Colliery Guardian. 
 
 Girders, Strength of. 
 
 GRAPHIC TABLE FOR FACILITATING THE COMPUTA - 
 TION OF THE WEIGHTS OF WROUGHT IRON AND STEEL 
 GIRDERS, etc., for Parliamentary and other Estimates. By J. H. Watson 
 Buck, M. Inst. C.E, On a Sheet, zs.6 d. 
 
CIVIL ENGINEERING, SURVEYING, etc. 
 
 13 
 
 Trusses. 
 
 TRUSSES OF WOOD AND IRON. Practical Applications of 
 
 Science in Determining the Stresses, Breaking Weights , Safe Loads , Scantlings , 
 and Details of Construction, with Complete Working Drawings. By William 
 Griffiths, Surveyor, Assistant Master, Tranmere School of Science and 
 Art. Oblong 8vo, 4s. 6 d. cloth. 
 
 “ This handy little book enters so minutely into every detail connected with the construction of 
 roof trusses, that no student need be ignorant of these matters for want of an easy source to come 
 at the knowledge.”— Practical Engineer. 
 
 “ From the manner of treating the subject, Mr. Griffiths' book is clear enough to enable a 
 student to be his own teacher. It will be useful in the science school and in workshops.”— Architect . 
 
 Railway Working. 
 
 SAFE RAILWAY WORKING. A Treatise on Railway Acci- 
 
 dents: Their Cause and Prevention; with a Description of Modern Appliances 
 and Systems. By Clement E. Stretton, C.E., Vice-President and Con¬ 
 sulting Engineer, Amalgamated Society of Railway Servants. With Illus¬ 
 trations and Coloured Plates, crown 8vo, 4s. 6 d. strongly bound. 
 
 Outline of Contents. 
 
 Chapter I. Summary of Accidents, 1885.—II Permanent Way. —III. Sig¬ 
 nalling; Block System. —IV. Continuous Brakes. —V. Breaking of Rail¬ 
 way Axles. —VI. Railway Couplings. —VII. Railway Servants and the Law 
 of Manslaughter. —Appendix I. Railway Traffic Returns. —II. Railway 
 Signal Returns. —III. Continuous Brakes Returns. —IV. Mixed Trains. 
 
 *** Opinions oe the Press. 
 
 “ A book for the engineer, the directors the managers ; and, in short, all who wish for informa¬ 
 tion on railway matters will find a perfect encyclopaedia in ‘Safe Railway Working.' ”— Railway 
 Review. 
 
 “ Mr. Clement E. Stretton, the energetic Vice-President of the Amalgamated Society of Rail¬ 
 way Servants, may be congratulated on having collected, in a very convenient form, much valuable 
 information on the principal questions affecting the safe working of railways.”— Railway EngfinecT. 
 
 “We commend the remarks on railway signalling to all railway managers, especially where a 
 uniform code and practice is advocated.”— Herefath's Railway Journal. 
 
 Field-Book for Engineers. 
 
 THE ENGINEER’S, MINING SURVEYOR'S, AND CON¬ 
 TRACTOR’S FIELD-BOOK. Consisting of a Series of Tables, with Rules, 
 Explanations of Systems, and use of Theodolite for Traverse Surveying and 
 Plotting the Work with minute accuracy by means of Straight Edge and Set 
 Square only ; Levelling with the Theodolite, Casting-out and Reducing 
 Levels to Datum, and Plotting Sections in the ordinary manner; setting-out 
 Curves with the Theodolite by Tangential Angles and Multiples, with Right 
 and Left-hand Readings of the Instrument: Setting-out Curves without 
 Theodolite, on the System of Tangential Angles by sets of Tangents and Off¬ 
 sets : and Earthwork Tables to 80 feet deep, calculated for every 6 inches in 
 depth. By W. Davis Haskoll, C.E. With numerous Woodcuts. Fourth 
 Edition, Enlarged. Crown Svo, 12s. cloth. 
 
 “The book is very handy, and the author might have added that the separate tables of sines 
 and tangents to every minute will make it useful for many other purposes, the genuine traverse 
 tables existing all the same."—Athen<zum. 
 
 “Every person engaged in engineering field operations will estimate the importance of such a 
 work and the amount of valuable time which will be saved by reference to a set of reliable tables 
 prepared with the accuracy and fulness of those given in this volume.”— Railway News. 
 
 Earthwork, Measurement of. 
 
 A MANUAL ON EARTHWORK. By Alex. J. S. Graham, 
 
 C.E. With numerous Diagrams. i8mo, 2s. 6 i. cloth. 
 
 “ A great amount of practical information, very admirably arranged, and available for rough 
 estimates, as well as for the more exact calculations required in the engineer’s and contractor’s 
 offices. ''—A rtizan. 
 
 Strains in Ironwork. 
 
 THE STRAINS ON STRUCTURES OF IRONWORK; with 
 Practical Remarks on Iron Construction. By F. W. Sheilds, M. Inst. C.E. 
 Second Edition, with 5 Plates. Royal 8vo, 5s. cloth. 
 
 “The student cannot find a better little book on this subject.”— Engineer. 
 
 Cast Iron and other Metals, Strength of. 
 
 A PRACTICAL ESSAY ON THE STRENGTH OF CAST 
 IRON AND OTHER METALS. By Thomas Tredgold, C.E. Fifth 
 Edition, including Hodgkinson’s Experimental Researches. 8vo, i«. cloth. 
 
i 4 
 
 CROSBY LOCKW OOD &■ SON’S CATALOGUE. 
 
 ARCHITECTURE, BUILDING, etc. 
 
 Construction. 
 
 THE SCIENCE OF BUILDING : An Elementary Treatise on 
 
 the Principles of Construction. By E. Wyndmam Tarn, M.A., Architect. 
 Second Edition, Revised, with 58 Engravings. Crown 8vo, 7s. 6 d. cloth. 
 
 " A very valuable book, which we strongly recommend to all students.”— Builder. 
 
 “ No architectural student should be without this handbook of constructional knowledge.”— 
 Architect. 
 
 Villa Architecture. 
 
 A HANDY BOOK OF VILLA ARCHITECTURE: Being a 
 Series of Designs for Villa Residences in various Styles. With Outline 
 Specifications and Estimates. By C. Wickes, Architect, Author of “The 
 Spires and Towers of England,” &c. 61 Plates, 4to, £1 11s. 6 d. half-morocco, 
 gilt edges. 
 
 “ The whole of the designs bear evidence of their being the work of an artistic architect, and 
 they will prove very valuable and suggestive.”— Building News. 
 
 Text-Book for Architects. 
 
 THE ARCHITECT'S GUIDE: Being a Text-Book of Useful 
 Information for Architects, Engineers, Surveyors, Contractors, Clerks of 
 Works, &c. &c. By Frederick Rogers, Architect, Author of “ Specifica¬ 
 tions for Practical Architecture,” &c. Second Edition, Revised and Enlarged. 
 With numerous Illustrations. Crown 8vo, 6s. cloth. 
 
 " As a text-book of useful information for architects, engineers, surveyors, &c., it would be 
 hard to find a handier or more complete little volume.”— Standard. 
 
 “A young architect could hardly have a better guide-book.”— Timber Trades Journal, 
 
 Taylor and Cresy’s Borne. 
 
 THE ARCHITECTURAL ANTIQUITIES OF ROME. By 
 the late G. L. Taylor, Esq., F.R.I.B.A., and Edward Cresy, Esq. New 
 Edition, thoroughly revised by the Rev. Alexander Taylor, M.A. (son of 
 the late G. L. Taylor, Esq.), Fellow of Queen’s College, Oxford, and Chap¬ 
 lain of Gray’s Inn. Large folio, with 130 Plates, half-bound, £3 3s. 
 
 N.B.—This is the only book which gives on a large scale, and with the precision 
 of architectural measurement , the principal Monuments of Ancient Rome in plan, 
 elevation , and detail. 
 
 “Taylor and Cresy’s work has from its first publication been ranked among those professional 
 books which cannot be bettered. ... It would be difficult to find examples of drawings, even 
 among those of the most painstaking students of Gothic, more thoroughly worked out than are the 
 one hundred and thirty plates in this volume.”— Architect. 
 
 Architectural Drawing. 
 
 PRACTICAL RULES ON DRAWING, for the Operative Builder 
 and Young Student in Architecture, By George Pyne. With 14 Plates, 4to, 
 ys. 6 d. boards. 
 
 Civil Architecture. 
 
 THE DECORATIVE PART OF CIVIL ARCHITECTURE. 
 By Sir William Chambers, F.R.S. With Illustrations, Notes, and an 
 Examination of Grecian Architecture, by Joseph Gwilt, F.S.A. Edited by 
 W. H. Leeds. 66 Plates, 4to, 21s. cloth. 
 
 Mouse Building and Bepairing. 
 
 THE HOUSE-OWNER'S ESTIMATOR ; or, What will it Cost 
 to Build, Alter, or Repair? A Price Book adapted to the Use of Unpro¬ 
 fessional People, as well as for the Architectural Surveyor and Builder. By 
 the late James D. Simon, A.R.I.B.A. Edited and Revised by Francis T. W. 
 Miller, A.R.I.B.A. With numerous Illustrations. Third Edition, Revised. 
 Crown 8vo, 3s. 6 d. cloth. 
 
 “ In two years it will repay its cost a hundred times over”— Field, 
 
 “ A very handy book."— English Mechanic, 
 
ARCHITECTURE, BUILDING, etc. 
 
 15 
 
 Designing, Measuring, and Valuing. 
 
 THE STUDENT'S GUIDE to the PRACTICE of MEASUR¬ 
 ING AND VALUING ARTIFICERS' WORKS. Containing Directions for 
 taking Dimensions, Abstracting the same, and bringing the Quantities into 
 Bill, with Tables of Constants, and copious Memoranda for the Valuation of 
 Labour and Materials in the respective Trades of Bricklayer and Slater, 
 Carpenter and Joiner, Painter and Glazier, Paperhanger, &c. With 8 Plates 
 and 63 Woodcuts. Originally edited by Edward Dobson, Architect. Fifth 
 Edition, Revised, with considerable Additions on Mensuration and Construc¬ 
 tion, and a New Chapter on Dilapidations, Repairs, and Contracts, by E. 
 Wyndham Tarn, M.A. Crown 8vo, 9s. cloth. 
 
 M Well fulfils the promise of its title-page, and we can thoroughly recommend It to the class 
 for whose use it has been compiled. Mr. Tarn’s additions and revisions have much increased the 
 usefulness of the work, and have especially augmented its value to students.”— Engineering. 
 
 “The work has been carefully revised and edited by Mr. E. Wyndham Tarn, M.A., and com- 
 prises several valuable additions on construction, mensuration, dilapidations and repairs, and other 
 matters. . . . This edition will be found the most complete treatise on the principles of measur¬ 
 ing and valuing artificers’ work that has yet been published.’’— Builditig News. 
 
 Pocket Estimator and Technical Guide. 
 
 THE POCKET TECHNICAL GUIDE, MEASURER AND 
 ESTIMATOR FOR BUILDERS AND SURVEYORS. Containing Tech- 
 nical Directions for Measuring Work in all the Building Trades, with a 
 Treatise on the Measurement of Timber and Complete Specifications for 
 Houses, Roads, and Drains, and an easy Method of Estimating the various 
 parts of a Building collectively. By A. C. Beaton, Author of “ Quantities 
 and Measurements,” &c. Fourth Edition, carefully Revised and Priced 
 according to the Present Value of Materials and Labour, with 53 Woodcuts, 
 leather, waistcoat-pocket size, is. 6d. gilt edges. 
 
 “No builder, architect, surveyor, or valuer should be without his* Beaton’s Guide.”'— 
 Building News. 
 
 “ Contains an extraordinary amount of information in daily requisition in measuring and 
 estimating. Its presence in the pocket will save valuable time and trouble.”— Building World. 
 
 “ An exceedingly handy pocket companion, thoroughly reliable.”— Builder’s Weekly Reporter. 
 “ This neat little compendium contains all that is requisite in carrying out contracts for 
 excavating, tiling, bricklaying, paving, &c."—. British Trade Journal. 
 
 Donaldson on Specifications. 
 
 THE HANDBOOK OF SPECIFICATIONS; or, Practical 
 Guide to the Architect, Engineer, Surveyor, and Builder, in drawing up 
 Specifications and Contracts for Works and Constructions. Illustrated by 
 Precedents of Buildings actually executed by eminent Architects and En¬ 
 gineers. By Professor T. L. Donaldson, P.R.I.B.A., &c. New Edition, in 
 One large Vol., 8vo, with upwards of 1,000 pages of Text, and 33 Plates, 
 £1 us. 5 d. cloth. 
 
 “ In this work forty-four specifications of executed works are given, including the specifica¬ 
 tions for parts of the new Houses of Parliament, by Sir Charles Barry, and for the new Royal 
 Exchange, by Mr. Tite, M.P. The latter, in particular, is a very complete and remarkable 
 document. It embodies, to a great exbent, as Mr. Donaldson mentions, ‘the bill of quantities 
 with the description of the works.’ . . . It is valuable as a record, and more valuable still as a 
 book of precedents. . . . Suffice it to say that Donaldson’s ‘ Handbook of Specifications * 
 must be bought by all architects.”— Builder. 
 
 Bartholomew and Bogers’ Specifications. 
 
 SPECIFICATIONS FOR PRACTICAL ARCHITECTURE. 
 
 A Guide to the Architect, Engineer, Surveyor, and Builder. With an Essay 
 on the Structure and Science of Modern Buildings. Upon the Basis of the 
 Work by Alfred Bartholomew, thoroughly Revised, Corrected, and greatly 
 added to by Frederick Rogers, Architect. Second Edition, Revised, with 
 Additions. With numerous Illusts., medium 8vo, 15s. cloth. 
 
 “ The collection of specifications prepared by Mr. Rogers on the basis of Bartholomew’s work 
 is too well known to need any recommendation from us. It is one of the books with which every 
 young architect must be equipped ; for time has shown that the specifications cannot be set aside 
 through any defect in them.”— Architect. 
 
 “ Good forms for specifications are of considerable value, and it was an excellent idea to com¬ 
 pile a work orv the subject upon the basis of the late Alfred Bartholomew's valuable work. The 
 second edition of Mr. Rogers’s book is evidence of the want of a book dealing with modern re¬ 
 quirements and materials.”— Building News . 
 
CROSBY LOCKWOOD &- SON’S CATALOGUE. 
 
 16 
 
 Geometry for the Architect, Engineer, etc. 
 
 PRACTICAL GEOMETRY, for the Architect, Engineer and 
 
 Mechanic. Giving Rules for the Delineation and Application ot various 
 Geometrical Lines, Figures and Curves. By E. W. Tarn, M.A., Architect, 
 Author of “The Science of Building,” &c. Second Edition. With Appen¬ 
 dices on Diagrams of Strains and Isometrical Projection. With 172 Illus¬ 
 trations, demy 8vo, gs. cloth. 
 
 “No book with the same objects in view has ever been published in which the clearness of the 
 <mles laid down and the illustrative diagrams have been so satisfactory.”— Scotsman. 
 
 “This is a manual for the practical man, whether architect, engineer, or mechanic. . . . The 
 object of the author being to avoid all abstruse formulas or complicated methods, and to enable 
 persons with but a moderate knowledge of geometry to workout the problems required."— English 
 Mechanic. 
 
 The Science of Geometry. 
 
 THE GEOMETRY OF COMPASSES; or, Problems Resolved 
 
 by the mere Description of Circles , and the use of Coloured Diagrams and 
 Symbols . By Oliver Byrne. Coloured Plates. Crown 8vo, 3s. 6 d. cloth. 
 
 “ The treatise is a good one, and remarkable—like all Mr. Byrne’s contributions to the science 
 ©f geometry—for the lucid character of its teaching.” —Building News. 
 
 DECORATIVE ARTS, etc. 
 
 Woods and Marbles (Imitation of). 
 
 SCHOOL OF PAINTING FOR THE IMITATION OF WOODS 
 
 AND MARBLES , as Taught and Practised by A. R. Van der Burg and P. 
 Van der Burg, Directors of the Rotterdam Painting Institution. Royal folio, 
 iS| by 12^ in., Illustrated with 24 full-size Coloured Plates; also 12 plain 
 Plates, comprising 154 Figures. Second and Cheaper Edition. Price £1 ns. 64 . 
 
 List of Plates. 
 
 1. Various Tools required for Wood Painting 
 - -2, 3. Walnut: Preliminary Stages of Graining 
 and Finished Specimen — 4- Tools used for 
 Marble Painting and Method of Manipulation— 
 6. St. Remi Marble: Earlier Operations and 
 inished Specimen—7. Methods of Sketching 
 different Grains, Knots, &c.—8, 9. Ash: Pre¬ 
 liminary Stages and Finished Specimen—10. 
 Methods of Sketching Marble Grains—n, 12. 
 Breche Marble: Preliminary Stages of Working 
 and Finished Specimen—13. Maple: Methods 
 of Producing the different Grains—14,15. Bird’s- 
 eye Maple: Preliminary Stages and Finished 
 Specimen—16. Methods of Sketching the dif¬ 
 ferent Species of White Marble—17, 18. White 
 Marble: Preliminary Stages of Process and 
 
 Finished Specimen—19. Mahogany: Specimens 
 of various Grains and Methods of Manipulation 
 —20, 21. Mahogany: Earlier Stages and Finished 
 Specimen—22,23, 24. Sienna Marble: Varieties 
 01 Grain, Preliminary Stages and Finished 
 Specimen—25, 26, 27. Juniper Wood: Methods 
 of producing Grain, &c.: Preliminary Stages 
 and Finished Specimen—28, 29, 30. Vert de 
 Mer Marble: Varieties of Grain and Methods 
 of Working Unfinished and Finished Speci¬ 
 mens—31. 32. 33. Oak: Varieties of Grain, Tools 
 Employed, and Methods of Manipulation, Pre¬ 
 liminary Stages and Finished Specimen—34, 35, 
 36. Waulsort Marble: Varieties of Grain, Un¬ 
 finished and Finished Specimens. 
 
 *** Opinions of the Press. 
 
 “Those who desire to attain skill in the art of painting woods and marbles will find advantage 
 fin consulting this book. . . . Some of the Working Men’s Clubs should give their young men 
 the opportunity to study it ."—Builder. . , . 
 
 “ A comprehensive guide to the art. The explanations of the processes, the manipulation and 
 management of the colours, and the beautifully executed plates will not be the least valuable to the 
 student who aims at making his work a faithful transcript of nature .”—Building News. 
 
 “ Students and novices are fortunate who are able to become the possessors of so noble a 
 work. "—A rchitect. 
 
 House Decoration. 
 
 ELEMENTARY DECORATION. A Guide to the Simpler 
 
 Forms of Everyday Art, as applied to the Interior and Exterior Decoration of 
 Dwelling Houses, &c. By James W. Facey, Jun. With 68 Cuts. i2mo, 2s. 
 cloth limp. 
 
 "‘Asa technical guide-book to the decorative painter it will be found reliable ."—Building News. 
 
 PRACTICAL HOUSE DECORATION : A Guide to the Art ef 
 
 Ornamental Painting, the Arrangement of Colours in Apartments, and the 
 principles of Decorative Design. With some Remarks upon the Nature and 
 Properties of Pigments. By James William Facey, Author of “ Elementary 
 Decoration," &c. With numerous Illustrations. i2mo, 2S. 6 d. cloth limp. 
 jy.B .—The above Two Works together in One Vol., strongly half-bound, 55. 
 
DECORATIVE ARTS, etc. 
 
 17 
 
 Colour. 
 
 A GRAMMAR OF COLOURING. Applied to Decorative 
 Painting and the Arts. By Georoe Field. New Edition, Revised, Enlarged, 
 and adapted to the use of the Ornamental Painter and Designer. By Ellis 
 A. Davidson. With New Coloured Diagrams and Engravings, ismo, 3s. 64 . 
 
 cloth boards. 
 
 "The book is a most useful resume of the properties of pigments.”— Builder. 
 
 House Painting, Graining, etc. 
 
 HOUSE PAINTING , GRAINING , MARBLING, AND SIGN 
 WRITING, A Practical Manual of. By Ellis A, Davidson, Fifth Edition, 
 With Coloured Plates and Wood Engravings, lamo, 6s. doth boards. 
 
 “ A mass of information, of use to the amateur and of value to the practical ma n. ,% —English 
 Mechanic ; 
 
 “ Simply invaluable to the youngster entering upon this particular calling, and highly service* 
 able to the man who Is practising it.”— Furniture Gazette. 
 
 Decorators, Receipts for. 
 
 THE DECORATOR'S ASSISTANT: A Modern Guide to De¬ 
 corative Artists and Amateurs, Painters, Writers, Gilders, &e. Containing 
 upwards of 600 Receipts, Rules and Instructions ; with a variety of Informs- 
 tion for General Work connected with every Class of Interior and Exterior 
 Decorations, &c. Third Edition, Revised. 15a pp., crown 8vo, is. in wrapper. 
 “Full of receipts of value to decorators, painters, gilders, &c . The book contains the gist of 
 larger treatises on colour and technical processes. It would be difficult to meet with a work s© fuiS 
 ©f varied information on the painter’s art "-^Building News. 
 
 “We recommend the work to all who, whether for pleasure or profit, require a guide to decora* 
 tion."™ Plumber and Decorator . 
 
 Moyr Smith on Interior Decoration. 
 
 ORNAMENTAL INTERIORS, ANCIENT AND MODERN. 
 By J. Moyr Smith. Super-royal 8vo, with 32 full-page Plates and numerous 
 smaller Illustrations, handsomely bound in cloth, gilt top, price 18s. 
 
 In “ Ornamental Interiors ” the designs of more than thirty artist- 
 decorators and architects of high standing have been illustrated. The booh may 
 therefore fairly claim to give a good general view of the works of the modem school 
 of decoration, besides giving characteristic examples of earlier decorative arrange¬ 
 ments. 
 
 “Ornamental Interiors” gives a short account of the styles of Interior 
 Decoration as practised by the Ancients in Egypt, Greece, Assyria, Rome and Byzan¬ 
 tium. This part is illustrated by characteristic designs. 
 
 *** Opinions of the Press. 
 
 11 The book is well illustrated ar.d handsomely got up, and contains some true criticism and a 
 good many good examples of decorative treatment. — The Builder. 
 
 " Well fitted for the dilettante, amateur, and professional designer.'*— Decoration. 
 
 ■' This is the most elaborate, and beautiful work on the artistic decoration of interiors that we 
 have seen. . . . The scrolls, panels and other designs from the author’s own pen are very 
 beautiful ar.d chaste : but he takes care that the designs of other men shall figure even more than 
 his own. L v 9 erpool A Ibion . 
 
 *' To all who take an interest In elaborate domestic ornament this handsome volume will be 
 welcome.””—G raph ic. 
 
 “ Mr. Moyr Smith deserves the thanks ©f art workers for having placed within their reach a 
 book that seems eminently adapted to afford, by example and precept, that guidance of which 
 most craftsmen stand In need ."—Furniture Gazette. 
 
 British and Foreign Marbles. 
 
 MARBLE DECORATION and the Terminology of British and 
 Foreign Marbles . A Handbook for Students* By George H. Blagrove* 
 Author of H Shoring and Its Application/* &c. With 28 Illustrations. Crown 
 8vo s 3 s« 6 d. cloth. 
 
 “ Tiffs most useful and much wanted handbook should be In the hands of every architect and 
 builder.” —Bu tiding World 
 
 “ It Is an excellent manual for students, and interesting to artistic readers generally.”— Saturday 
 Review. 
 
 “ A carefully and usefully written eatlse ; the work is essentially practical."—- Scotsman. 
 
 Marble Working, etc. 
 
 MARBLE AND MARBLE WORKERS: A Handbook foi 
 Architects, Artists, Masons and Students. By Arthur Lee, Author of “ A 
 Visit to Carrara,’’ “The Working of Marble,’’ &c. Small crown 8vo, as. cloth, 
 " A really valuable addition to the technical literature of architects and masons .”—Buildini 
 News. 
 
 c 
 
CROSBY LOCKWOOD <S- SON’S CATALOGUE. 
 
 18 
 
 DELAMOTTE'S WORKS ON ILLUMINATION AND ALPHABETS. 
 
 A PRIMER OF THE ART OF ILLUMINATION, for the Use of 
 Beginners : with a Rudimentary Treatise on the Art, Practical Directions for 
 its exercise, and Examples taken from Illuminated MSS., printed in Gold and 
 Colours. By F. Delamoxxe. New and Cheaper Edition. Small 4to, 6s. orna¬ 
 mental hoards. 
 
 “The examples of ancient MSS. recommended to the student, which, with much good sense, 
 the author chooses from collections accessible to all, are selected with judgment and knowledge, 
 as well as taste."— Alhenceum. 
 
 ORNAMENTAL ALPHABETS, Ancient and Mediceval, from the 
 Eighth Century, with Numerals; including Gothic, Church-Text, large and 
 small, German, Italian, Arabesque, Initials for Illumination, Monograms, 
 Crosses, &c. &c., for the use of Architectural and Engineering Draughtsmen, 
 Missal Painters, Masons, Decorative Painters, Lithographers, Engravers, 
 Carvers, See. &c. Collected and Engraved by F. Delamoxxe, and printed in 
 Colours. New and Cheaper Edition. Royal 8vo, oblong, 2 s. 6 d. ornamental 
 boards. 
 
 “ l : or those who Insert enamelled sentences round gilded chalices, who blazon shop legends over 
 shop-doors, who letter church walls with pithy sentences from the Decalogue, this book will be use¬ 
 ful.' — Aihatcettm. 
 
 EXAMPLES OF MODERN ALPHABETS , Plain and Ornamental ; 
 including German, Old English, Saxon, Italic, Perspective, Greek, Hebrew, 
 Court Hand, Engrossing, Tuscan, Riband, Gothic, Rustic, and Arabesque; 
 with several Original Designs, and an Analysis of the Roman and Old English 
 Alphabets, large and small, and Numerals, for the use of Draughtsmen, Sur¬ 
 veyors. Masons, Decorative Painters, Lithographers, Engravers, Carvers, &c. 
 Collected and Engraved by F. Delamotte, and printed in Colours. New 
 and Cheaper Edition. Royal 8vo, oblong, 2s. 6 d. ornamental boards. 
 
 “There Is comprised in it every possible shape into which the letters of the alphabet and 
 numerals can be formed, and the talent which has been expended in the conception of the various 
 plain and ornamental letters is wonderful."— Standard. 
 
 MEDIAEVAL ALPHABETS AND INITIALS FOR ILLUMI¬ 
 NATORS. By G. Delamotte. Containing 21 Plates and Illuminated 
 Title, printed in Gold and Colours. With an Introduction by ]. Willis 
 Brooks. Fourth and Cheaper Edition. Small 4to, 4s. ornamental boards. 
 
 " A volume in which the letters of the alphabet come forth glorified in gilding and all the colours 
 of the prism interwoven and intertwined ana intermingled."— Sun. 
 
 THE EMBROIDERER'S BOOK OF DESIGN. Containing 
 Initials, Emblems, Cyphers, Monograms, Ornamental Borders, Ecclesiastical 
 Devices, Mediaeval and Modern Alphabets, and National Emblems. Col¬ 
 lected by F. Delamoxxe, and printed in Colours. Oblong royal 8vo, is. 6d. 
 ornamental wrapper. 
 
 *' The book will be of great assistance to ladies and young children who are endowed with the 
 art of plying the needle in this most ornamental and useful pretty work."— East Anglian Times. 
 
 Wood Carving. 
 
 INSTRUCTIONS IN WOOD-CARVING, for Amateurs; with 
 Hints on Design. By A Lady. With Ten large Plates, 2s. 6 d . in emblematic 
 wrapper. 
 
 •• The handicraft of the wood-carver, so well as a book can Impart it, may be learnt from ' A 
 Lady's' publication."— Athcnaum. 
 
 “ The directions given are plain and easily understood."— English Mechanic. 
 
 Class Painting. 
 
 GLASS STAINING AND THE ART OF PAINTING ON 
 GLASS. From the German of Dr. Gesserx and Emanuel Oxxo Fromberg. 
 With an Appendix on The Arx of Enamelling. i2mo, 2S. 6 d . cloth limp. 
 
 Letter Painting. 
 
 THE ART OF LETTER PAINTING MADE EASY. By 
 James Greig Badenoch. With 12 full-page Engravings of Examples, is. 6 d . 
 cloth lirrp. 
 
 “The system is a simple one, but quite original, and well worth the careful attention of Iett r 
 painters. It can be easily mastered and remembered."— Building News. 
 
CARPENTRY, TIMBER, etc. 
 
 19 
 
 CARPENTRY, TIMBER, etc. 
 
 Tredgold’s Carpentry, Enlarged by Tarn. 
 
 THE ELEMENTARY PRINCIPLES OF CARPENTRY. 
 A Treatise on the Pressure and Equilibrium of Timber Framing, the Resist¬ 
 ance of Timber, and the Construction of Floors, Arches, Bridges, Roofs, 
 Uniting Iron and Stone with Timber, &c. To which is added an Essay 
 on the Nature and Properties of Timber, &c., with Descriptions of the kinds 
 of Wood used in Building; also numerous Tables of the Scantlings of Tim¬ 
 ber fordifferent purposes, the Specific Gravities of Materials, &c. By Thomas 
 Tredgold, C.E. With an Appendix of Specimens of Various Roofs of Iron 
 and Stone, Illustrated. Seventh Edition, thoroughly revised and considerably 
 enlarged by E. Wyndham Tarn, M.A., Author of “The Science of Build¬ 
 ing," &c. With 61 Plates, Portrait of the Author, and several Woodcuts. In 
 one large vol., 4to, price £1 5s. cloth. 
 
 “Ought to be in every architect’s and every builder’s library.”— Builder. 
 
 “ A work whose monumental excellence must commend it wherever skilful carpentry Is con* 
 cerncd. The author's principles are rather confirmed than impaired by time. The additional 
 plates are of great intrinsic value.”— Building News. 
 
 WoodworJcing Machinery. 
 
 WOODWORKING MACHINERY : Its Rise, Progress, and Con¬ 
 struction. With Hints on the Management of Saw Mills and the Economical 
 Conversion of Timber. Illustrated with Examples of Recent Designs by 
 leading English, French, and American Engineers. By M. Powis Bale, 
 A.M.Inst.C.E.,M.I.M.E. Large crown 8vo, 12s. 6 d. cloth. 
 
 "Mr. Bale is evidently an expert on the subject and he has collected so much Information that 
 his book is all-sufficient for builders and others engaged in the conversion of timber ."-—Architect. 
 
 “The most comprehensive compendium of wood-working machinery we have seen. The 
 author is a thorough master of his subject.”— Building News. 
 
 “The appearance of this book at the present time will, we should think, give a considerable 
 Impetus to the onward march of the machinist engaged in the designing and manufacture of 
 wood-working machines. It should be in the office of every wood-working factory.”— English 
 Mechanic. 
 
 Satv 3Iills. 
 
 SAW MILLS: Their Arrangement and Management, and the 
 Economical Conversion of Timber . (A Companion Volume to “ Woodworking 
 Machinery.*’) By M. Powis Bale. With numerous Illustrations. Crown 
 8vo, 10$. 6 d. cloth. 
 
 “ The administration of a large sawing establishment is discussed, and the subject examined 
 from a financial standpoint. Hence the size, shape, order, and disposition of saw mills and the 
 like are gone into in detail, and the course of tne timber is traced from its reception to its 
 delivery in its converted state. We could not desire a more complete or practical treatise.”— 
 Builder. 
 
 “We highly recommend Mr. Bale’s work to the attention and perusal of all those who are en¬ 
 gaged in the art of wood conversion, or who are about building or remodelling saw-mills on im¬ 
 proved principles.”— Building News. 
 
 Carpentering. 
 
 THE CARPENTER'S NEW GUIDE ; or, Book of Lines for Car¬ 
 penters ; comprising all the Elementary Principles essential for acquiring a 
 knowledge of Carpentry. Founded on the late Peter Nicholson’s Standard 
 Work. A New Edition, Revised by Arthur Ashpitel, F.S.A. Together 
 with Practical Rules on Drawing, by George Pyne. With 74 Plates, 
 4to, £1 is. cloth. 
 
 Handrailing. 
 
 A PRACTICAL TREATISE ON HANDRAILING : Showing 
 New and Simple Methods for Finding the Pitch of the Plank, Drawing the 
 Moulds, Bevelling, Jointing-up, and Squaring the Wreath. By George 
 Collings. Illustrated with Plates and Diagrams. i2mo, is. 6 d. cloth limp. 
 “ Will be found of practical utility in the execution of this difficult branch of joinery.”— Builder. 
 “ Almost every difficult phase of this somewhat intricate branch of joinery is elucidated by the 
 aid of plates and explanatory letterpress.”— Furniture Gazette. 
 
 Circular Work. 
 
 CIRCULAR WORK IN CARPENTRY AND JOINERY: A 
 
 Practical Treatise on Circular Work of Single and Double Curvature. By 
 George Collings, Author of “ A Practical Treatise on Handrailing.” Illus¬ 
 trated with numerous Diagrams. i2mo, 2S. 6 d. cloth limp. 
 
 " An excellent example of what a book of this kind should be. Cheap in price, dear In defini¬ 
 tion and practical in the examples selected.”— Builder. 
 
20 
 
 CROSBY LOCKWOOD &■ SON'S CATALOGUE. 
 
 Timber Merchant’s Companion. 
 
 THE TIMBER MERCHANT'S AND BUILDER'S COM¬ 
 PANION. Containing New and Copious Tables of the Reduced Weight and 
 Measurement of Deals and Battens, of all sizes, from One to a Thousand 
 Pieces, and the relative Price that each size bears per Lineal Foot to any 
 given Price per Petersburg Standard Hundred; the Price per Cube Foot cf 
 Square Timber to any given Price per Load of 50 Feet; the proportionate 
 Value of Deals and Battens by the Standard, to Square Timber by the Load 
 of 50 Feet; the readiest mode of ascertaining the Price of Scantling per 
 Lineal Foot of any size, to any given Figure per Cube Foot, &c. &c.° By 
 William Dowsing. Fourth Edition, Revised and Corrected. Cr. 8vo, 3s. cl. 
 
 “ Everything is as concise and clear as it can possibly be made. There can be no doubt "that 
 every timber merchant and builder ought to possess it ."—Hull Advertiser. 
 
 " We are glad to see a fourtn edition of these admirable tables, which for correctness and 
 simplicity of arrangement leave nothing to be desired."— Timber Trades journal. 
 
 “ An exceedingly well-arranged, clear, and concise manual of tables for the use of all who buy 
 or sell timber.'’— Journal of Forestry. 
 
 Practical Timber Merchant. 
 
 THE PRACTICAL TIMBER MERCHANT. Being a Guide 
 for the use of Building Contractors, Surveyors, Builders, &c., comprising 
 useful Tables for all purposes connected with the Timber Trade, Marks of 
 Wood, Essay on the Strength of Timber, Remarks on the Growth of Timber, 
 &c. By W. Richardson. Fcap. 8vo, 3s. 6 d. cloth. 
 
 “Contains much valuable information for the use of timber merchants,builders, foresters, and 
 all others connected with the growth, sale, and manufacture of timber.’ — Journal0/ Forestry. 
 
 Timber Freight Booh. 
 
 THE TIMBER MERCHANTS. SAW MILLER'S, AND 
 IMPORTER'S FREIGHT BOOK AND ASSISTANT. Comprising Rules, 
 Tables, and Memoranda relating to the Timber Trade. By William 
 Richardson, Timber Broker; together with a Chapter on “Speeds of Saw 
 Mill Machinery,” by M. Pov/is Bale, M.I.M.E., &c. i2mo, 3s. 6 d. cl. boards. 
 “ A very useful manual of rules, tables, and memoranda relating to the timber trade. We re¬ 
 commend it as a compendium of calculation to all timber measurers and merchants, and as supply¬ 
 ing a real want in the trade.”— Building News. 
 
 Packing-Case Mahers, Tables for. 
 
 PACKING-CASE TABLES; showing the number of Super- 
 ficial Feet in Boxes or Packing-Cases, from six inches square and upwards. 
 By W. Richardson, Timber Broker. Second Edition. Oblong 4to, 3s. 6 d. cl 
 “ Invaluable labour-saving tables."— Ironmonger, 
 
 “Will save much labour and calculation."— Grocer » 
 
 Superficial Measurement. 
 
 THE TRADESMAN’S GUIDE TO SUPERFICIAL MEA¬ 
 SUREMENT. Tables calculated from i to 200 inches in length, by 1 to 108 
 inches in breadth. For the use of Architects, Surveyors, Engineers, Timber 
 Merchants, Builders, &c. By James Hawkings. Third Edition. Fcap., 
 3s. 6d. cloth. 
 
 “ A useful collection of tables to facilitate rapid calculation of surfaces. The exact area of any 
 surface of which the limits have been ascertained can be instantly determined. The book will be 
 found of the greatest utility to all engaged in building operations."— Scotsman. 
 
 “ These tables will be found of great assistance to all who require to make calculations in super¬ 
 ficial measurement."— English Mechanic. 
 
 Forestry. 
 
 THE ELEMENTS OF FORESTRY. Designed to afford In- 
 
 formation concerning the Planting and Care of Forest Trees for Ornament or 
 Profit, with Suggestions upon the Creation and Care of Woodlands. By F. B. 
 Hough. Large crown 8vo, 10s. cloth. 
 
 Timber Importer’s Guide. 
 
 THE TIMBER IMPORTER 'S. TIMBER MERCHANT’S AND 
 BUILDER'S STANDARD GUIDE. By Richard E. Grandy. Compris¬ 
 ing an Analysis of Deal Standards, Home and Foreign, with Comparative 
 Values and Tabular Arrangements for fixing Nett Landed Cost on Baltic 
 and North American Deals, including all intermediate Expenses, Freight, 
 Insurance, &c. &c. Together with copious Information for the Retailer aDd 
 Builder. Third Edition, Revised. i2mo, 2s. cloth limp. 
 
 •• Everything it pretends to be: built up gradually, it leads one from a forest to a treenail, and 
 throws in. as a makeweight, a host of material concerning bricks, columns, cisterns, &c.”— English 
 Mechanic. 
 
NAVAL ARCHITECTURE, NAVIGATION, etc. 
 
 21 
 
 MARINE ENGINEERING, NAVIGATION, etc. 
 
 Chain Cables. - 
 
 CHAIN CABLES AND CHAINS. Comprising Sizes and 
 Curves of Links, Studs, &c., Iron for Cables and Chains, Chain Cable and 
 Chain Making, Forming and Welding Links, Strength of Cables and Chains, 
 Certificates for Cables, Marking Cables, Prices of Chain Cables and Chains, 
 Historical Notes, Acts of Parliament, Statutory Tests, Charges for Testing, 
 List of Manufacturers of Cables, &c. &c. By Thomas W. Traill, F.E.R. N., 
 M. Inst. C.E., Engineer Surveyor in Chief, Board of Trade, Inspector ot 
 Chain Cable and Anchor Proving Establishments, and General Superin¬ 
 tendent, Lloyd’s Committee on Proving Establishments. With numerous 
 Tables, Illustrations and Lithographic Drawings. Folio, £2 2s. cloth. 
 “It contains a vast amount of valuable information. Nothing seems to be wanting to make it 
 & complete and standard work of reference on the subject ."—Nautical Magazine. 
 
 Marine Engineering. 
 
 MARINE ENGINES AND STEAM VESSELS (A Treatise 
 on). By Robert Murray, C.E. Eighth Edition, thoroughly Revised, with 
 considerable Additions by the Author and by George Carlisle, C.E., 
 Senior Surveyor to the Board of Trade at Liverpool. i2mo, 5s. cloth boards. 
 “ Well adapted to give th^ young steamship engineer or marine engine and boiler maker a 
 general Introduction into his practical work ."—Mechanical World. 
 
 “ We feel sure that this thoroughly revised edition will continue to be as popular in the future 
 fts it has been in the past, as for its sue, it contains more useful information than any similar 
 treatise. "—Industries. 
 
 “ The information given is both sound and sensible, and well qualified to direct young sea¬ 
 going hands on the straight road to the extra chief’s certificate .’’—Glasgow Herald. 
 
 “An indispensable manual for the student of marine engineering .’’—Liverpool Mercury. 
 
 Pocket-Book for Naval Architects and Shipbuilders. 
 THE NAVAL ARCHITECT'S AND SHIPBUILDER’S 
 POCKET-BOOK of Formula .Rules, and Tables, and MARINE ENGINEER’S 
 AND SURVEYOR'S Handy Book of Reference. By Clement Magkrow, 
 Member of the Institution of Naval Architects, Naval Draughtsman. Third 
 Edition, Revised. With numerous Diagrams, &c. Fcap., 12s. 6 d. leather. 
 "Should be used by all who are engaged in the construction or design of vessels. . . . Will 
 be found to contain the most useful tables and formulas required by shipbuilders, carefully collected 
 from the best authorities, and put together in a popular and simple form."— Engineer. 
 
 “ The professional shipbuilder has now, in a convenient and accessible form, reliable data for 
 •olving many of the numerous problems that present themselves in the course of his work.”— 7 r<m. 
 
 “There is scarcely a subject on which a naval architect or shipbuilder can require to refresh 
 his memory which wil Inot be found within the covers of Mr. Mackrow’s book ."—English Mechanic. 
 
 PocJcet-BooJc for Marine Engineers. 
 
 A POCKET-BOOK OF USEFUL TABLES AND FOR - 
 MULjE FOR MARINE ENGINEERS. By Frank Proctor, A.I.N.A. 
 Third Edition. Royal 32mo, leather, gilt edges, with strap, 4s. 
 
 “We recommend it to our readers as going far to supply a long-felt want.”— Naval Science. 
 
 “A most useful companion to all marine engineers .”—United Service Gazette. 
 
 Introduction to Marine Engineering. 
 
 ELEMENTARY ENGINEERING : A Manual for Young Marine 
 Engineers and Apprentices. In the Form of Questions and Answers on 
 Metals, Alloys, Strength of Materials, Construction and Management of 
 Marine Engines, &c. &c. With an Appendix of Useful Tables. By J. S. 
 Brewer, Government Marine Surveyor, Hongkong. Small crown 8vo, 
 2s. 6 d. cloth. [jfttst published. 
 
 " Contains much valuable information for the class for whom it is intended, especially in the 
 chapters on the management of boilers and engines.”— Nautical Magazine. 
 
 • A useful introduction to the more elaborate text books.’’— Scotsman. 
 
 " To a student who has the requisite desire and resolve to attain a thorough knowledge, Mr 
 Brewer offers decidedly useful help .”—Athenceum. 
 
 Navigation. 
 
 PRACTICAL NAVIGATION. Consisting of The Sailor’s 
 Sea-Book, by James Greenwood and W. H. Rosser ; together with the 
 requisite Mathematical and Nautical Tables for the Working of the Problems. 
 By Henry Law, C.E., and Professor J. R. Young. Illustrated, izmo, 7s. 
 s'rongly half-bound. 
 
22 
 
 CROSBY LOCKWOOD &■ SON’S CATALOGUE. 
 
 MINING AND MINING INDUSTRIES. 
 
 Metalliferous Mining. 
 
 BRITISH MINING : A Treatise on the History, Discovery, Practical 
 Development, and Future Prospects of Metalliferous Mines in the United King¬ 
 dom. By Robert Hunt, F.R.S., Keeper of Mining Records; Editor of 
 11 Ure’s Dictionary of Arts, Manufactures, and Mines,” &c. Upwards of 950 
 pp„ with 230 Illustrations. Second Edition, Revised. Super-royal 8vo, 
 £2 2s. cloth. 
 
 ‘‘One of the most valuable works of reference of modern times. Mr. Hunt, as keeper of mining 
 records of the United Kingdom, has had opportunities for such a task not enjoyed by anyone else, 
 and has evidently made the most of them. . . . The language and style adopted are good, and 
 the treatment of the various subjects laborious, conscientious, and scientific."— Engineering. 
 
 “The book is, in fact, a treasure-house of statistical information on mining subjects, and we 
 know of no other work embodying so great a mass of matter of this kind. Were this the only 
 merit of Mr. Hunts volume, it would be sufficient to render it indispensable in the library of 
 everyone interested in the development of the mining and metallurgical industries of the country." 
 —A thenceum. 
 
 ‘‘A mass of information not elsewhere available, and of the greatest value to those who may 
 be interested in our great mineral industries."— Engineer. 
 
 “ A sound, business-like collection of interesting facts. . . . The amount of information 
 Mr. Hunt has brought together is enormous. . . . The volume appears likely to convey more 
 Instruction upon the subject than any work hitherto published."— -Mining Journal. 
 
 “The work wiU be for the mining industry what Dr. Percy’s celebrated treatise has been for the 
 metallurgical—a book that cannot with advantage be omitted from the library ."—Iron and Coal 
 Trades Review. 
 
 “ The volume is massive and exhaustive, and the high intellectual powers and patient, persist¬ 
 ent application which characterise the author have evidently been brought into play in its produc¬ 
 tion. Its contents axe invaluable.”— Colliery Guardian. 
 
 Coal and Iron. 
 
 THE COAL AND IRON INDUSTRIES OF THE UNITED 
 KINGDOM. Comprising a Description of the Coal Fields, with Returns ol 
 their Produce and its Distribution, and Analyses of Special Varieties. Also 
 an Account of the occurrence of Iron Ores in Veins or Seams; Analyses ol 
 each Variety; and a History of the Rise and Progress of Pig Iron Manufacture 
 since the year 1740. By Richard Meade, Assistant Keeper of Mining Records. 
 With Maps of the Coal Fields and Ironstone Deposits of the United Kingdom. 
 8vo, £1 8s. cloth. 
 
 “The book is one which must find a place on the shelves of all Interested In coal and Iron 
 production, and in the iron, steel, and other metallurgical Industries.”— Engineer. 
 
 “ Of this book we may unreservedly say that it is the best of its class which we have ever met. 
 
 . . . A book of reference which no one engaged in the iron or coal trades should omit from his 
 library."— Iron and Coal Trades Review. 
 
 “An exhaustive treatise and a valuable work of reference.”— Mining Journal. 
 
 Prospecting for Gold and other Metals. 
 
 THE PROSPECTOR’S HANDBOOK: A Guide for the Pro- 
 
 spector and Traveller in Search of Metal-Bearing or other Valuable Minerals. 
 By J. W. Anderson, M.A. (Camb.), F.R.G.S., Author of “Fiji and New 
 Caledonia.” Fourth Edition, thoroughly Revised and Enlarged. Small 
 crown 8vo, 3s. 6 d. cloth. [Just published. 
 
 “ Will supply a much felt want, especially among Colonists, In whose way are so often thrown 
 many mineralogical specimens the value of which it is difficult for anyone, not a specialist, to 
 determine. The author has placed his instructions before his readers in the plainest possible 
 terms, and his book is the best of its kind.”— Engineer. 
 
 “Howto find commercial minerals, and how to identify them when they are found, are the 
 eading points to which attention is directed. The author has managed to pack as much practical 
 detail into his pages as would supply material for a book three times its size.”— Mining Journal. 
 
 “ Those toilers who explore the trodden or untrodden tracks on the face of the globe will find 
 much that is useful to them in this book ."—A thenceum. 
 
 Mining Notes and Formula;. 
 
 NOTES AND FORMULAE FOR MINING STUDENTS. By 
 
 John Herman Merivale, M.A., Certificated Colliery Manager, Professor of 
 Mining in the Durham College of Science, Newcastle-upon-Tyne. Second 
 Edition, carefully Revised. Small crown 8vo, cloth, price 2S. 6 d. 
 
 “ Invaluable to anyone who is working up for an examination on mining subjects.”— Coal and 
 Iron Trades Review. 
 
 “ The author has done his work in an exceedingly creditable manner, and has produced a book 
 that will be of service to students, and those who are practically engaged in mining operations.’ — 
 Engineer. . , 
 
 “ A vast amount of technical matter of the utmost value to mining engineers, and of consider 
 able interest to students." Schoolmaster, 
 
MINING AND MINING INDUSTRIES. 
 
 23 
 
 Gold, Metallurgy of. 
 
 THE METALLURGY OF GOLD: A Practical Treatise on the 
 Metallurgical Treatment of Gold-bearing Ores. Including the Processes of 
 Concentration and Chlorination, and the Assaying, Melting and Refining of 
 Gold. By M. Eissler, Mining Engineer and Metallurgical Chemist, formerly 
 Assistant Assayer of the U. S. Mint, San Francisco. Second Edition, Revised 
 and much Enlarged. With 132 Illustrations. Crown 8vo, 9s. cloth. 
 
 [Just published . 
 
 “ This book thoroughly deserves its title of a ' Practical Treatise.’ The whole process of gold 
 milling, from the breaking of the quartz to the assay of the bullion, is described in clear and 
 orderly narrative and with much, but not too much, fulness of detail.”— Saturday Review. 
 
 “ The work is a storehouse of information and valuable data, and we strongly recommend it to 
 all professional men engaged in the gold-mining industry.”— Mining Journal. 
 
 “Anyone who wishes to have an intelligent acquaintance with the characteristics of gold and 
 gold ores, the methods of extracting the metal, concentrating and chlorinating it, and further on 
 of refining and assaying it, will find all he wants in Mr. Eissler’s book.”— Financial News. 
 
 Silver, Metallurgy of. 
 
 THE METALLURGY OF SILVER : A Practical Treatise on the 
 Amalgamation , Roasting and Lixiviation of Silver Ores. Including the 
 Assaying, Melting and Refining of Silver Bullion. By M. Eissler, Author 
 of “The Metallurgy of Gold.'* With 124 Illustrations. Crown 8vo, 10s. 6 d. 
 cloth. \ Just published. 
 
 “ A practical treatise, and a technical work which we are convinced will supply a long-felt want 
 amongst practical men, and at the same time be of value to students and others indirectly connected 
 with tne industries.”— Mining- Journal. 
 
 “ From first to last the book is thoroughly sound and reliable.”— Colliery Guardian. 
 
 “For chemists, practical miners, assayers and investors alike, we do not know of any work 
 on the subject so handy and yet so comprehensive.”— Glasgow Herald. 
 
 Mineral Surveying and Valuing. 
 
 THE MINERAL SURVEYOR AND VALUER'S COMPLETE 
 GUIDE , comprising a Treatise on Improved Mining Surveying and the Valua¬ 
 tion of Mining Properties, with . New Traverse Tables. By Wm. Lintern, 
 Mining and Civil Engineer. Third Edition, with an Appendix on “ Magnetic 
 and Angular Surveying,” With Four Plates. i2mo, 4s. cloth. 
 
 “ An enormous fund of information of great value.”—Mining- Journal. 
 
 “ Mr. Lintern’s book forms a valuable and thoroughly trustworthy guide.”— Iron and Coai 
 Trades Review. 
 
 “ This new edition must be of the highest value to colliery surveyors, proprietors and mana¬ 
 gers."— Colliery Guardian. 
 
 Metalliferous Minerals and Mining. 
 
 TREATISE ON METALLIFEROUS MINERALS AND 
 MINING. By D. C. Davies, F.G.S., Mining Engineer, &c., Author of “A 
 Treatise on Slate and Slate Quarrying.” Illustrated with numerous Wood 
 Engravings. Fourth Edition, carefully Revised. Crown 8vo, 12s. 6 d. cloth. 
 “Neither the practical miner nor the general reader interested in mines can have a better book 
 or his companion and his guide.”—Mining- Journal. 
 
 “The volume is one which no student of mineralogy should be without.”-— Colliery Guardian , 
 “ A book that will not only be useful to the geologist, the practical miner, and the metallurgist, 
 but also very interesting to the general public.”— Iron. 
 
 “Asa history of the present state of mining throughout the world this book has a real value, 
 and it supplies an actual want, for no such information has hitherto been brought together within 
 such limited space.”— Athenceum. 
 
 Earthy Minerals and Mining. 
 
 TREATISE ON EARTHY AND OTHER MINERALS AND 
 MINING. By D. C. Davies, F.G.S. Uniform with, and forming a Com¬ 
 panion Volume to, the same Author’s “ Metalliferous Minerals and Mining." 
 With 76 Wood Engravings. Second Edition. Crown 8vo, 12s. 6 d. cloth. 
 
 “ It is essentially a practical work, intended primarily for the use of practical men. . . . We 
 do not remember to have met with any English work on mining matters that contains die same 
 amount of information packed in equally convenient form.”— Academy. 
 
 “ The book is clearly the result of many years’ careful work and thought, and we should be 
 inclined to rank it as among the very best of the handy technical and trades manuals which have 
 recently appeared.”— British Quarterly Review. 
 
 “The volume contains a great mass of practical information carefully methodised and pre¬ 
 sented in a very intelligible shape.”— Scotsman. 
 
 “The subject matter of the volume will be found of high value by all—and they are a numer¬ 
 ous class—who trade in earthy minerals.”— Athenaeum . 
 
24 
 
 CROSBY LOCKWOOD &- SONS CATALOGUE. 
 
 Underground Pumping Machinery. 
 
 MINE DRAINAGE. Being a Complete and Practical Treatise 
 
 on Direct-Acting Underground Steam Pumping Machinery, with a Descrip¬ 
 tion of a large number of the best known Engines, their General Utility and 
 the Special Sphere of their Action, the Mode of their Application, and 
 their merits compared with other forms of Pumping Machinery. By Stephen 
 Michell. 8vo, 15s. cloth. 
 
 "Will be highly esteemed by colliery owners and lessees, mining engineers, and students 
 generally who require to be acquainted with the best means of securing the drainage of mines. It 
 fe a most valuable work, and stands almost alone in the literature of steam pumping machinery.”— 
 Colliery Guardian. 
 
 " Much valuable information is given, so that the book is thoroughly worthy of an extensive 
 circulation amongst practical men and purchasers of machinery.”— Mining Journal. 
 
 Mining Tools. 
 
 A MANUAL OF MINING TOOLS. For the Use of Mine 
 Managers, Agents, Students, &c. By William Morgans, Lecturer on Prac¬ 
 tical Mining at the Bristol School of Mines. i2mo, 2 s. 6 d. cloth limp. 
 
 ATLAS OF ENGRAVINGS to Illustrate the above, contain¬ 
 
 ing 235 Illustrations of Mining Tools, drawn to scale. 4to, 4s. 6 d. cloth. 
 
 " Students in the science of mining, and overmen, captains, managers, and viewers may gain 
 practical knowledge and useful hints by the study'of Mr. Morgans’ manual.'’— Colliery Guardian. 
 
 “A valuable work, which will tend materially to improve our mining literature.”— Mining 
 Journal. 
 
 Coal Mining. 
 
 COAL AND COAL MINING: A Rudimentary Treatise on. By 
 
 Sir Warington W. Smyth, M.A., F.R.S., &c., Chief Inspector of the Mines of 
 the Crown. New Edition, Revised and Corrected. With numerous Illus¬ 
 trations. i2mo, 4s. cloth boards. 
 
 “ As an outline is given of every known coal-field in this and other countries, as well as of the 
 principal methods of working, the book will doubtless interest a very large number of readers."— 
 Mining Journal. 
 
 Granite Quarrying. 
 
 GRANITES AND OUR GRANITE INDUSTRIES. By 
 
 George F. Harris, F.G.S., Membre de la Societe Beige de Gdologie, Lec¬ 
 turer on Economic Geology at the Birkbeck Institution, &c. With Illustra¬ 
 tions. Crown 8vo, 2s. 6 d. cloth. 
 
 " A clearly and well-written manual for persons engaged or interested in the granite industry.'' 
 
 — Scotsman. 
 
 • An interesting work, which will be deservedly esteemed. We advise the author to write 
 again."— Colliery Guardian. 
 
 • An exceedingly interesting and valuable monograph, on a subject which has hitherto received 
 unaccountably little attention in the shape of systematic literary treatment."— Sc ottish Leader 
 
 NATURAL AND APPLIED SCIENCE. 
 
 Text Book of Electricity . 
 
 THE STUDENTS TEXT-BOOK OF ELECTRICITY . By 
 Henry M. Noad, Ph.D., F.R.S., F.C.S. New Edition, carefully Revised. 
 With an Introduction and Additional Chapters, by W. H. Preece, M.I.C.E., 
 Vice-President of the Society of Telegraph Engineers, &c. With 470 Illustra¬ 
 tions. Crown 8vo, 12 s. 6 d. cloth. 
 
 “ The original plan of this book has been carefully adhered to so as to make it a reflex of the 
 existing state of electrical science, adapted for students. . . . Discovery seems to have pro¬ 
 
 gressed with marvellous strides ; nevertheless it has now apparently ceased, and practical applica¬ 
 tions have commenced their career; and it is to give a faithful account of these that this fresh 
 edition of Dr. Noad’s valuable text-book is launched forth .”—Extract from Introduction by JV. H. 
 Precce, Esq. . 
 
 “ We can recommend Dr. Noad’s book for clear style, great range of subject, a good Index 
 and a plethora of woodcuts. Such collections as the present are indispensable.”— Atheheeum. 
 
 “ An admirable text book for every student — beginner or advanced — of electricity.”— 
 Engineering. 
 
 Electricity . 
 
 A MANUAL OF ELECTRICITY: Including Galvanism, Mag¬ 
 netism, Dia-Magnetism, Electro-Dynamics, Magno-Electricity, and the Electric 
 Telegraph. By Henry M. Noad, Ph.D., F.R.S., F.C.S. Fourth Edition 
 With 500 Woodcuts. 8vo, £1 4s. cloth. 
 
 "It is worthy of a place in the library of every public institution. ”— Mining Journal. 
 
NATURAL AND APPLIED SCIENCE, 
 
 25 
 
 Electric Light. 
 
 ELECTRIC LIGHT : Its Production and Use. Embodying Plain 
 Directions for the Treatment of Voltaic Batteries, Electric Lamps, and 
 Dynamo-Electric Machines. By J. W. Urquhart, C.E., Author of 11 Electro¬ 
 plating: A Practical Handbook." Edited by F. C. Webb, M.I.C.E., M.S.T.E. 
 Second Edition, Revised, with large Additions and 128 Iliusts. 7 s. 6 d. cloth. 
 
 " The book is by far the best that we have yet met with on the subject.”— Athcnaum. 
 
 “It is the only work at present available which gives, in language intelligible for the most part 
 to the ordinary reader, a general but concise history of the means which have been adopted up to 
 the present time in producing the electric light.”— Metropolitan. 
 
 “ The book contains a general account of the means adopted in producing the electric light, 
 not only as obtained from voltaic or galvanic batteries, but treats at length of the dynamo-electric 
 machine in several of its forms. "—Colliery Guardian. 
 
 Electric Lighting. 
 
 THE ELEMENTARY PRINCIPLES OF ELECTRIC LIGHT - 
 ING. By Alan A. Campbell Swinton, Associate I.E.E. Second Edition, 
 Enlarged and Revised. With 16 Illustrations. Crown 8vo, is. 6 d. cloth. 
 “Anyone who desires a short and thoroughly clear exposition of the elementary principles of 
 electric-lighting cannot do better than read this little work .”—Bradford Observer. 
 
 Dr. Lardner’s School JTandboohs. 
 
 NATURAL PHILOSOPHY FOR SCHOOLS. By Dr. Lardner. 
 328 Illustrations. Sixth Edition. One Vol., 3s. 6 d. cloth. 
 
 “ A very convenient class-book for junior students in private schools. It is Intended to convey, 
 In clear and precise terms, general notions of all the principal divisions of Physical Science.”— 
 British Quarterly Review . 
 
 ANIMAL PHYSIOLOGY FOR SCHOOLS. By Dr. Lardner. 
 With 190 Illustrations. Second Edition. One Vol., 3s. 6 d. cloth. 
 
 “ Clearly written, well arranged, and excellently illustrated. "—.Gardiner's Chronicle. 
 
 Dr. Lardner’s Electric Telegraph. 
 
 THE ELECTRIC TELEGRAFH. By Dr. Lardner. Re- 
 vised and Re-written by E. B. Bright, F.R.A.S. 140 Illustrations. Small 
 8vo, 2s. 6 d. cloth. 
 
 “ One of the most readable books extant on the Electric Telegraph ."—English Mechanic. 
 
 Astronomy. 
 
 ASTRONOMY. By the late Rev. Robert Main, M.A., F.R.S., 
 
 formerly Radcliffe Observer at Oxford. Third Edition, Revised and Cor¬ 
 rected to the present time, by William Thynne Lynn, B.A., F.R.A.S., 
 formerly of the Royal Observatory, Greenwich. i2mo, 2s. cloth limp. 
 
 “A sound and simple treatise, very carefully edited, and a capital book for beginners.”— 
 Knowledge. [tional Times. 
 
 “ Accurately brought down to the requirements of the present time by Mr. Ly mi."-Educa- 
 
 The Bloivpipe. 
 
 THE BLOWPIPE IN CHEMISTRY, MINERALOGY, AND 
 GEOLOGY. Containing all known Methods of Anhydrous Analysis, many 
 Working Examples, and Instructions for Making Apparatus. By Lieut.- 
 Colonel W. A. Ross, R.A., F.G.S. With 120 Illustrations. Second Edition, 
 Revised and Enlarged. Crown 8vo, 5s. cloth. [Just published. 
 
 “The student who goes conscientiously thro" jh the course of experimentation here laid down 
 will gain a better insight into inorganic chemistry and mineralogy than if he had ‘got up’any of 
 the best text-books oi the day, and passed any number of examinations in their contents.”— Chemi¬ 
 cal News. 
 
 The Military Sciences. 
 
 AIDE-MEMOIRE TQ THE MILITARY SCIENCES. Framed 
 from Contributions of Officers and others connected with the different Ser¬ 
 vices. Originally edited by a Committee of the Corps of Royal Engineers. 
 Second Edition,|most carefully Revised by an Officer ofjthe Corps, with many 
 Additions; containing nearly 350 Engravings and many hundred Woodcuts. 
 Three Vols., royal 8vo, extra cloth boards, and lettered, £4 10s. 
 
 “A compendious encyclopaedia of military knowledge, to which we are greatly indebted.”— 
 Edinburgh Review. 
 
 “The most comprehensive book of reference to the military and collateral sciences.”— 
 Volunteer Service Gazette. 
 
 Field Fortification. 
 
 A TREATISE ON FIELD FORTIFICATION, THE ATTACK 
 OF FORTRESSES, MILITARY MINING, AND RECONNOITRING. By 
 Colonel I. S. Macaulay, late Professor of Fortification in the R.M.A., Wool¬ 
 wich. Sixth Edition, crown 8vo, cloth, with separate Atlas of 12 Plates, 12s, 
 
CROSBY LOCKWOOD & SON’S CATALOGUE. 
 
 26 
 
 Temperaments. 
 
 OUR TEMPERAMENTS, THEIR STUDY AND THEIR 
 TEACHING. A Popular Outline. By Alexander Stewart, F.R.C.S. 
 Edin. In one large 8vo volume, with 30 Illustrations, including A Selection 
 from Lodge’s “ Historical Portraits,” showing the Chief Forms of Faces. 
 Price 15s. cloth, gilt top. 
 
 ‘‘The book is exceedingly interesting, even for those who are not systematic students of an¬ 
 thropology. ... To those who think the proper study of mankind is man, it will be full of attrac* 
 tion.”— Daily Telegraph. 
 
 “The author's object is to enable a student to read a man's temperament in his aspect. The 
 work is well adapted to its end. It is worthy of the attention of students of human nature."— 
 
 Scotsman. 
 
 “ The volume is heavy to hold, but light to read. Though the author has treated his subject 
 exhaustively, he writes in a popular and pleasant manner that renders it attractive to the general 
 reader.”— Punch. 
 
 Antiseptic Nursing. 
 
 ANTISEPTICS: A Handbook for Nurses. Being an Epitome oi 
 Antiseptic Treatment. With Notes on Antiseptic Substances, Disinfection, 
 Monthly Nursing, &c. By Mrs. Annie Hewer, late Hospital Sister, Diplomee 
 Obs. Soc. Lond. Crown 8vo, is. 6 d. cloth. [Just published. 
 
 “ This excellent little work . . . is very readable and contains much information. We can 
 strongly recorpmend it to those who are undergoing training at the various hospitals, and also to 
 those who are engaged in the practice of nursing, as they cannot fail to obtain practical hints from 
 its perusal.”— Lancet. 
 
 “ The student or the busy practitioner would do well to look through its pages, offering as they 
 do a suggestive and faithful picture of antiseptic methods.”— Hospital Gazette. 
 
 “A clear, concise, and excellent little handbook.”— The Hospital. 
 
 Pneumatics and Acoustics. 
 
 PNEUMATICS : including Acoustics and the Phenomena of Wind 
 Currents, for the Use of Beginners. By Charles Tomlinson, F.R.S., 
 F.C.S., &c. Fourth Edition, Enlarged. With numerous Illustrations. 
 i2mo, is. 6 d. cloth. 
 
 ‘ Beginners in the study of this important application of science could not have a better manual. ’' 
 
 —1 Scotsman. 
 
 "A valuable and suitable text-book for students of Acoustics and the Phenomena of Wind 
 Currents.”— Schoolmaster. 
 
 Conchology. 
 
 A MANUAL OF THE MOLLUSCA : Being a Treatise on Recent 
 and Fossil Shells. By S. P. Woodward, A.L.S., F.G.S., late Assistant 
 Palaeontologist in the British Museum. Fifth Edition. With an Appendix 
 on Recent and Fossil Conchological Discoveries , by Ralph Tate, A.L.S., 
 F.G.S. Illustrated by A. N. Waterhouse and Joseph Wilson Lowry. 
 With 23 Plates and upwards of 300 Woodcuts. Crown 8vo, ys. 6 d. cloth 
 boards. 
 
 “ A most valuable storehouse of conchological and geological information.”— Science Gossip. 
 
 Geology. 
 
 RUDIMENTARY TREATISE ON GEOLOGY , PHYSICAL 
 AND HISTORICAL. Consisting of “Physical Geology," which sets forth 
 the leading Principles of the Science; and “Historical Geology,” which 
 treats of the Mineral and Organic Conditions of the Earth at each successive 
 ■epoch, especial reference being made to the British Series of Rocks. By 
 Ralph Tate, A.L.S., F.G.S., &c., &c. With 250 Illustrations. i2mo, 5s. 
 cloth boards. 
 
 “ The fulness of the matter has elevated the book Into a manual. Its information Is exhaustive 
 and well arranged."— School Board Chronicle. 
 
 Geology and Genesis. 
 
 THE TWIN RECORDS OF CREATION; or, Geology and 
 Genesis: their Perfect Harmony and Wonderful Concord. By George W. 
 Victor le Vaux. Numerous Illustrations. Fcap. 8vo, 5s. cloth. 
 
 “ A valuable contribution to the evidences of Revelation, and disposes very conclusively pf the 
 arguments of those who would set God’s Works against God’s Word. No real difficulty is shirked, 
 and no sophistry is left unexposed."— The Rock . 
 
 “ The remarkable peculiai ity of this author is that he combines an unbounded admiration of 
 science with an unbounded admiration of the Written record. The two impulses are balanced to 
 a nicety ; and the consequence is that difficulties, which to minds less evenly poised would be seri¬ 
 ous, find immediate solutions oi the happiest kinds.”— London Review. 
 
NATURAL AND APPLIED SCIENCE. 
 
 27 
 
 DR. LARDNER’8 HANDBOOKS OF NATURAL PHILOSOPHY . 
 
 THE HANDBOOK OF MECHANICS. Enlarged and almost re- 
 written by Benjamin Loewy, F.R.A.S, With 378 Illustrations. Post 8vo, 
 6s. cloth. 
 
 "The perspicuity of the original has been retained, and chapters which had become obsolete 
 have been replaced by others of more modern character. The explanations throughout are 
 studiously popular, and care has been taken to show the application of the various branches of 
 physics to tne industrial arts, and to the practical business of hie"—Mining Journal. 
 
 "Mr. Loewy has carefully revised the book, and brought it up to modern requirements."™ 
 Nature. 
 
 " Natural philosophy has had few exponents more able or better skilled In the art of popu¬ 
 larising the suoject than Dr. Lardner; and Mr. Loewy is doing good service in fitting this treatise, 
 and the others of the series, for use at the present time.’’— Scotsman. 
 
 THE HANDBOOK OF HYDROSTATICS AND PNEUMATICS. 
 New Edition, Revised and Enlarged, by Benjamin Loewy, F.R.A.S. With 
 236 Illustrations. Post Svo, 5s. cloth. 
 
 "For those ‘who desire to attain an accurate knowledge of physical science without the pro¬ 
 found methods of mathematical investigation,’ this work is not merely intended, but well adapted.’* 
 —Chemical News. 
 
 " The volume before us has been carefully edited, augmented to nearly twice the bulk of the 
 former edition, and ail the most recent matter has been added. . . . It is a valuable text-book." 
 —. Nature. 
 
 " Candidates for pass examinations will find it, we think, specially suited to their requirements. 
 English Mechanic. 
 
 THE HANDBOOK OF HEAT. Edited and almost entirely re¬ 
 written by Benjamin Loewy, F.R.A.S., &c. 117 Illustrations. Post 8vo, 6s. 
 cloth. 
 
 " The style is always clear and precise, and conveys instruction without leaving any cloudiness 
 or lurking doubts behind.”— Engineering. 
 
 “A most exhaustive book on the subject on which it treats, and Is so arranged that it can be 
 
 understood by all who desire to attain an accurate knowledge of physical science.Mr. 
 
 Loewy has included all the latest discoveries in the varied laws and effects of heat Standard. 
 
 "A complete and handy text-book for the use of students and general readers."— English 
 Mechanic. 
 
 THE HANDBOOK OF OPTICS. By Dionysius Lardner,D.C.L., 
 formerly Professor of Natural Philosophy and Astronomy in University 
 College, London. New Edition. Edited by T. Olver Harding, B.A. Lond., 
 of University College, London. With 298 Illustrations. Small 8vo, 448 
 pages, 5s. cloth. 
 
 "Written by one of the ablest English scientific writers, beautifully and elaborately illustrated.” 
 Mechanic’s Magazine . 
 
 THE HANDBOOK OF ELECTRICITY, MAGNETISM, AND 
 ACOUSTICS. By Dr. Lardner. Ninth Thousand. Edit, by George Carey 
 Foster, B.A., F.C.S. With 400 Illustrations. Small 8vo, 5s. cloth. 
 
 " The book could not have been entrusted to anyone better calculated to preserve the terse and 
 lucid style of Lardner, while correcting his errors and bringing up his work to the present state of 
 scientific knowledge."— Popular Science Review. 
 
 *** The above Five Volumes , though each is Complete in itself, form A Com¬ 
 plete Course of Natural Philosophy. 
 
 Dr. Lardner’s Handbook of Astronomy. 
 
 THE HANDBOOK OF ASTRONOMY. Forming a Companion 
 to the “ Handbook of Natural Philosophy.’’ By Dionysius Lardner, D.C.L., 
 formerly Professor of Natural Philosophy and Astronomy in University 
 College, London. Fourth Edition. Revised and Edited by Edwin Dunkin, 
 F.R.A.S., Royal Observatory, Greenwich. With 38 Plates and upwards of 
 100 Woodcuts. In One Vol., small Svo, 530 pages, gs. 6 d. cloth. 
 
 " Probably no other book contains the same amount of information in so compendious and well- 
 arranged a form—certainly none at the price at which this is offered to the public.”—^ thenceum. 
 
 "We can do no other than pronounce this work a most valuable manual of astronomy, and we 
 strongly recommend it to all who wish to acquire a general—but at the same time correct—acquaint¬ 
 ance with this sublime science. "—Quarterly Journal of Science. 
 
 “One of the most deservedly popular books on the subject . . . We would recommend not 
 only the student of the elementary principles of the science, but he who aims at mastering the 
 higher and mathematical branches of astronomy, not to be without this work beside him.”— Pracii 
 cal Magazine. 
 
CROSBY LOCKWOOD & SON'S CATALOGUE . 
 
 23 
 
 DR. LARDNER’S MUSEUM OF SCIENCE AND ART. 
 
 THE MUSEUM OF SCIENCE AND ART . Edited by 
 Dionysius Lardner, D.C.L., formerly Professor ot Natural Philosophy and 
 Astronomy in University College, London. With upwards of 1,200 Engrav¬ 
 ings on Wood. In 6 Double Volumes, £1 is., in a new and elegant cloth bind¬ 
 ing ; or handsomely bound in half-morocco, 31s. 6 d. 
 
 Contents: 
 
 The Planets: Are they Inhabited Worlds?— 
 Weather Prognostics — Popular Fallacies in 
 uestions of Physical Science—Latitudes and 
 ongitudes — Lunar Influences — Meteoric 
 Stones and Shooting Stars—Railway Accidents 
 —Light—Common Things : Air—Locomotion 
 In the United States—Cometary Influences— 
 Common Things: Water—The Potter's Art— 
 Common Things: Fire — Locomotion and 
 Transport, their Influence and Progress—The 
 Moon — Common Things: The Earth — The 
 Electric Telegraph — Terrestrial Heat —The 
 Sun—Earthquakes and Volcanoes—Barometer, 
 Safety Lamp, and Whitworth's Micrometric 
 Apparatus—Steam—The Steam Engine—The 
 Eye — The Atmosphere — Time — Common 
 Things: Pumps—Common Things : Spectacles, 
 the Kaleidoscope — Clocks and Watches — 
 Microscopic Drawing and Engraving—Loco¬ 
 
 motive— Thermometer — New Planets: Le- 
 verrier and Adams's Planet—Magnitude and 
 Minuteness—Common Things: The Almanack 
 —Optical Images—How to observe the Heavens 
 — Common Things : The Looking-glass — 
 Stellar Universe—The Tides—Colour—Com 
 mon Things: Man—Magnifying Glasses—In¬ 
 stinct and Intelligence—The Solar Microscope 
 —The Camera Lucida—The Magic Lantern— 
 The Camera Obscura—The Microscope—The 
 White Ants: Their Manners and Habits—The 
 Surface of the Earth, or First Notions of 
 Geography—Science and Poetry—The Bee- 
 Steam Navigation — Electro-Motive Power — 
 Thunder, Lightning, and the Aurora Borealis 
 —The Printing Press—The Crust of the Earth 
 —Comets—The Stereoscope—The Pre-Adam¬ 
 ite Earth—Eclipses—Sound. 
 
 *** Opinions of the Press. 
 
 “This series, besides affording popular but sound instruction on scientific subjects, with which 
 the humblest man in the country ought to be acquainted, also undertakes that teaching of ‘Com¬ 
 mon Things ’ which every well-wisher of his kind is anxious to promote. Many thousand copies of 
 this sex-viceable publication have been printed, in the belief and hope that the desire for instruction 
 and improvement widely prevails ; ana we have no fear that such enlightened faith will meet with 
 disappointment.”— Times. 
 
 “ A cheap and interesting publication, alike informing and attractive. The papers combine 
 subjects of importance and great scientific knowledge, considerable inductive powers, and a 
 popular style of treatment."— Spectator. 
 
 “The ‘ Museum of Science and Art' Is the most valuable contribution that has ever been 
 made to the Scientific Instruction of every class of society.”—Sir David BREWSTER, in the 
 North British Review. 
 
 " Whether we consider the liberality and beauty of the Illustrations, the charm of the writing, 
 or the durable interest of the matter, we must express our belief that there is hardly to be found 
 among the new books one that would be welcomed by people of so many ages and classes as a 
 valuable present.”— Examiner. 
 
 *** Separate books formed from the above, suitable for Workmen's Libraries, 
 Science Classes, etc. 
 
 Common Tilings Explained. Containing Air, Earth, Fire, Water,Time, 
 Man, the Eye, Locomotion, Colour, Clocks and Watches, &c. 233 Illus¬ 
 trations, cloth gilt, 5s. 
 
 The Microscope. Containing Optical Images, Magnifying Glasses, Origin 
 and Description of the Microscope, Microscopic Objects, the Solar Micro¬ 
 scope, Microscopic Drawing and Engraving, &c. 147 Illustrations, cloth 
 gilt, as. 
 
 Popular Geology. Containing Earthquakes and Volcanoes, the Crust of 
 the Earth, &c. 201 Illustrations, cloth gilt, 2s. 6 d. 
 
 Popular Physics. Containing Magnitude and Minuteness, the Atmo¬ 
 sphere, Meteoric Stones, Popular Fallacies, Weather Prognostics, the 
 Thermometer, the Barometer, Sound, &c. 85 Illustrations, cloth gilt, 2s. 64 . 
 
 Steam and its Uses. Including the Steam Engine, the Locomotive, and 
 Steam Navigation. 89 Illustrations, cloth gilt, 23. 
 
 Popular Astronomy. Containing Howto observe the Heavens—The 
 Earth, Sun, Moon, Planets, Light, Comets, Eclipses, Astronomical Influ¬ 
 ences, &c. 182 Illustrations, 4s. 6 d. 
 
 The Bee and White Ants : Their Manners and Habits. With Illustra¬ 
 tions of Animal Instinct and Intelligence. 133 Illustrations, cloth gilt, as. 
 
 The Electric Telegraph Popularized. To render intelligible to all who 
 can Read, irrespective of any previous Scientific Acquirements, the various 
 forms of Telegraphy in Actual Operation. 100 Illustrations, cloth gilt, 
 is. 64 . 
 
COUNTING-HOUSE WORK,TABLES,CALCULATORS,etc. 29 
 
 COUNTING-H OUSE WOR K, TABLES, etc. 
 
 Accounts for Manufacturers. 
 
 FACTORY ACCOUNTS: Their Principles and Practice. A 
 Handbook for Accountants and Manufacturers, with Appendices on the No- 
 menclature of Machine Details; the Income Tax Acts; the Rating of Fac¬ 
 tories; Fire and Boiler Insurance; the Factory and Workshop Acts, &c., 
 including also a Glossary of Terms and a large number of Specimen Rulings. 
 By Emile Garcke and J. M. Fells. Third Edition. Demy 8vo, 250 pages, 
 price 6s. strongly bound. {Just published. 
 
 “ A very interesting 1 description of the requirements of Factory Accounts. . . . the principle 
 of assimilating the Factory Accounts to the general commercial books is one which we thoroughly 
 agree with.”— Accountants' journal. _ 
 
 "Characterised by extreme thoroughness. There are few owners of Factories who would 
 not derive great benefit from the perusal of this most admirable work.”— Local Government 
 Chronicle . 
 
 Foreign Commercial Correspondence. 
 
 THE FOREIGN COMMERCIAL CORRESPONDENT: Being 
 Aids to Commercial Correspondence in Five Languages—English, French, 
 German, Italian and Spanish. By Conrad E. Baker. Second Edition, 
 Revised. Crown 8vo, 3s. 6d. cloth. [Just published. 
 
 “ Whoever wishes to correspond in all the languages mentioned by Mr. Baker cannot do better 
 than study this work, the materials of which are excellent and conveniently arranged. They con¬ 
 sist not of entire specimen letters, but what are far more useful—short passages, sentences, or 
 phrases expressing the same general idea in various forms."— Athenceum. 
 
 "A careful examination has convinced us that it Is unusually complete, well arranged and 
 reliable. The book is a thoroughly good one.”— Schoolmaster. 
 
 Intuitive Calculations. 
 
 THE COMPENDIOUS CALCULATOR; or, Easy and Con- 
 cise Methods of Performing the various Arithmetical Operations required in 
 Commercial and Business Transactions, together with Useful Tables. By 
 Daniel 0 4 Gorman. Corrected and Extended by J. R. Young, formerly 
 Professor of Mathematics at Belfast College. Twenty-seventh Edition, care¬ 
 fully Revised by C, Norris. Fcap, 8vo, 3s. 6 d. strongly half-bound in leather. 
 “ It would be difficult to exaggerate the usefulness of a book like this to everyone engaged in 
 commerce or manufacturing industry. It is crammed full of rules and formulae for shortening and 
 employing calculations.”— Knowledge. 
 
 “ Supplies special and rapid methods for all kinds of calculations. Of great utility to persons 
 en £ a £T e d in any kind of commercial transactions.”— Scotsman. 
 
 Modern Metrical Units and Systems. 
 
 MODERN METROLOGY: A Manual of the Metrical Units 
 and. Systems of the Present Century. With an Appendix containing a proposed 
 English System. By Lowis D'A. Jackson, A.M.Inst.C.E., Author of “ Aid 
 to Survey Practice," &c. Large crown 8vo, 12s. 6 d. cloth. 
 
 ‘‘The author has brought together much valuable and interesting information. . . . We 
 cannot but recommend the work to the consideration of all interested in the practical reform of our 
 weights and measures."— Nature. 
 
 “ For exhaustive tables of equivalent weights and measures of all sorts, and for clear demonstra¬ 
 tions of the effects of the various systems that have been proposed or adopted, Mr. Jackson’s 
 treatise is without a rival."— Academy. 
 
 The Metric System and the British Standards. 
 
 A SERIES OF METRIC TABLES, in which the British Stand- 
 ard Measures and Weights are compared with those of the Metric System at present 
 in Use on the Continent . By C. H. Dowling, C.E. 8 vo, ios. 6 d. strongly bound. 
 “Their accuracy has been certified by Professor Airy, the Astronomer-Royal.”— Builder. 
 
 “Mr. Dowling’s Tables are well put together as a ready-reckoner for the conversion of one 
 system into the other."’— Athenceum. 
 
 Iron and Metal Trades’ Calculator. 
 
 THE IRON AND METAL TRADES' COMPANION. For 
 expeditiously ascertaining the Value of any Goods bought or sold by Weight, 
 from is. per cwt. to 112s. per cwt., and from one farthing per pound to one 
 shilling per pound. Each Table extends from one pound to too tons. To 
 which are appended Rules on Decimals, Square and Cube Root, Mensuration 
 of Superficies and Solids, &c.; Tables of Weights of Materials, and other 
 Useful Memoranda. By Thos. Downie. 396 pp., 9s. Strongly bound in leather. 
 “ A most useful set of tables, and will supply a want, for nothing like them before existed."— 
 Building News. 
 
 ' 4 Although specially adapted to the Iron and metal trades, the tables will be found useful in 
 every other business in which merchandise is bought and sold by weight.' "—Railway News. 
 
30 
 
 CROSBY LOCKWOOD &• SON’S CATALOGUE. 
 
 Calculator for Numbers and Weights Combined. 
 THE NUMBER AND WEIGHT CALCULATOR. Contain¬ 
 ing upwards of 250,000 Separate Calculations, showing at a glance the value 
 at 421 different rates, ranging from Wth of a Penny to 20s. each, or per cwt., 
 and £20 per ton, of any number of articles consecutively, from x to 470.— 
 Any number of cwts., qrs., and lbs., from 1 cwt. to 470 cwts.—Any number ot 
 tons, cwts., qrs., and lbs., from 1 to 23} tons. By William Chadwick, Public 
 Accountant. Second Edition, Revised and Improved, and specially adapted 
 for the Apportionment of Mileage Charges for Railway Traffic. 8vo, price 
 18s., strongly bound for Office wear and tear. [Just published. 
 
 E 3 " This comprehensive and entirely unique and original Calculator is adapted 
 for the use of Accountants and Auditors, Railway Companies, Canal Companies, 
 Shippers, Shipping Agents, General Carriers, etc. Ironfounders, Brassfounders, 
 Metal Merchants , Iron Manufacturers, Ironmongers, Engineers, Machinists, Boiler 
 Makers, Millwrights, Roofing, Bridge and Girder Makers, Colliery Proprietors, etc. 
 Timber Merchants, Builders, Contractors, Architects, Surveyors, Auctioneers, 
 Valuers, Brokers, Mill Owners and Manufacturers, Mill Furnishers, Merchants and 
 General Wholesale Tradesmen. 
 
 *** Opinions of the Press. 
 
 The book contains the answers to questions, and not simply a set of Ingenious puzzle 
 methods of arriving at results. It is as easy of reference for any answer or any number of answers 
 as a dictionary, and the references are even more quickly made. For making up accounts or esti* 
 mates, the book must prove invaluable to all who have any considerable quantity of calculations 
 involving price and measure in any combination to do.”— Engineer. 
 
 “ The most complete and practical ready reckoner which it has been our fortune yet to see. 
 It is difficult to imagine a trade or occupation in which it could not be of the greatest use, either 
 In saving human labour or in checking work. The Publishers have placed within the reach ot 
 every commercial man an invaluable and unfailing assistant." —The Miller. 
 
 “ The most perfect work of the kind yet prepared."— Glasgow Herald. 
 
 Comprehensive Weight Calculator. 
 
 THE WEIGHT CALCULATOR. Being a Series of Tables 
 upon a New and Comprehensive Plan, exhibiting at One Reference the exact 
 Value of any Weight from 1 lb. to 15 tons, at 300 Progressive Rates, from id. 
 to 168s. per cwt., and containing 186,000 Direct Answers, which, with their 
 Combinations, consisting of a single addition (mostly to be performed at 
 sight), will aftord an aggregate of 10,266,000 Answers; the whole being calcu¬ 
 lated and designed to ensure correctness and promote despatch. By Henry 
 Harben, Accountant. Fourth Edition, carefully Corrected. Rojal 8vo, 
 strongly half-bound, £1 5s. 
 
 “ A practical and useful work of reference for men of business generally ; it is the best of the 
 kind we have seen."— Ironmotiger. 
 
 "Of priceless value to business men. It is a necessary book in all mercantile offices.”— Shef¬ 
 field Independent. 
 
 Comprehensive Discount Guide. 
 
 THE DISCOUNT GUIDE. Comprising several Series of 
 Tables for the use of Merchants, Manufacturers, Ironmongers, and others, 
 by which may be ascertained the exact Profit arising from any mode of using 
 Discounts, either in the Purchase or Sale of Goods, and the method of either 
 Altering a Rate of Discount or Advancing a Price, so as to produce, by one 
 operation, a sum that will realise any required profit after allowing one or 
 more Discounts: to which are added Tables of Profit or Advance from to 
 90 per cent., Tables of Discount from i-J to g8f per cent., and Tables of Com¬ 
 mission, &c., from £ to 10 per cent. By Henry Harben, Accountant, Author 
 of “ The Weight Calculator.” New Edition, carefully Revised and Corrected. 
 Demy 8vo, 544 pp. half-bound, £1 5s. 
 
 "A book such as this can only be appreciated by business men, to whom the saving of time 
 means saving of money. We have the high authority of Professor J. R. Young that the tables 
 throughout the work are constructed upon strictly accurate principles. The work is a model 
 of typographical clearness, and must prove of great value to merchants, manufacturers, and 
 general traders." —British Trade Journal. 
 
 Iron Shipbuilders’ and Merchants’ Weight Tables. 
 
 I RON-PLATE WEIGHT TABLES: For Iron Shipbuilders, 
 Engineers and Iron Merchants. Containing the Calculated Weights of up¬ 
 wards of 150,000 different sizes of Iron Plates, from i foot by 6 in. by } in. to 
 xo feet by 5 feet by 1 in. Worked out on the basis of 40 lbs. to the square 
 foot of Iron of 1 inch in thickness. Carefully compiled and thoroughly Re¬ 
 vised by H. Burlinson and W. H. Simpson. Oblong 4to, 25s. halt-bound. 
 "This work will be found of great utility. The authors have had much practical experience 
 of what is wanting in making estimates; and the use of the book will save much time in malcine 
 elaborate calculations. — Ettglisk Mechanic . 
 
INDUSTRIAL AND USEFUL ARTS. 
 
 3i 
 
 INDUSTRIAL AND USEFUL ARTS. 
 
 Soap-making. 
 
 THE ART OF SOAP-MAKING: A Practical Handbook of the 
 Manufacture of Hard and Soft Soaps, Toilet Soaps, etc. Including many New 
 Processes, and a Chapter on the Recovery of Glycerine from Waste Leys. 
 By Alexander Watt, Author of “ Electro-Metallurgy Practically Treated,” 
 &c. With numerous Illustrations. Third Edition, Revised. Crown 8vo, 
 7s. 6 d. cloth. 
 
 “The work will prove very useful, not merely to the technological student, but to the practical 
 soap-boiler who wishes to understand the theory of his art."— Chemical News. 
 
 “Really an excellent example of a technical manual, entering, as it does, thoroughly and 
 exhaustively both into the theory and practice of soap manufacture. The book is well and honestly 
 done, and deserves the considerable circulation with which it will doubtless meet ."—Knowledge. 
 
 “Mr. Watt’s book is a thoroughly practical treatise on an art which has almost no literature in 
 our language. We congratulate tne author on the success of his endeavour to fill a void in English 
 technical literature."— Nature. 
 
 Taper Making. 
 
 THE ART OF PAPER MANUFACTURE: A Practical Hand¬ 
 book of the Manufacture of Paper from Rags, Esparto, Wood and other Fibres. 
 By Alexander Watt, Author of “The Art of Soap-Making,” “The Art of 
 Leather Manufacture," &c. With numerous Illustrations. Cr. 8vo. [Inthepress. 
 
 Leather Manufacture. 
 
 THE ART OF LEATHER MANUFACTURE. Being a 
 Practical Handbook, in which the Operations ot Tanning, Currying, and 
 Leather Dressing are fully Described, and the Principles of Tanning Ex¬ 
 plained, and many Recent Processes introduced; as also Methods for the 
 Estimation of Tannin, and a Description of the Arts of Glue Boiling, Gut 
 Dressing, &c. By Alexander Watt, Author of “ Soap-Making,” “ Electro- 
 Metallurgy,” &c. With numerous Illustrations. Second Edition. Crown 
 8vo, 9s. cloth. 
 
 “A sound, comprehensive treatise on tanning and Its accessories. . . An eminently valuable 
 production, which redounds to the credit of both author and publishers." —Chemical Review. 
 
 “This volume is technical without being tedious, comprehensive and complete without being 
 prosy, and it bears on every page the impress of a master hand. We have never come across a 
 better trade treatise, nor one that so thoroughly supplied an absolute want.”— Shoe and Leather 
 'Trades' Chronicle. 
 
 Boot and Shoe Making. 
 
 THE ART OF BOOT AND SHOE-MAKING. A Practical 
 Handbook, including Measurement, Last-Fitting, Cutting-Out, Closing and 
 Making, with a Description of the most approved Machinery employed. 
 By John B. Leno, late Editor of St. Crispin , and The Boot and Shoe-Maker. 
 With numerous Illustrations. Third Edition. i2mo, 2 s. cloth limp. 
 
 “ This excellent treatise is by far the best work ever written on the subject A new work, 
 embracing all modem improvements, was much wanted. This want is now satisfied. The chapter 
 on clicking, which shows how waste may be prevented, will save fifty times the price of the book." 
 —Scottish Leather Trader. 
 
 “ This volume is replete with matter well worthy the perusal of boot and shoe manufacturers 
 and experienced craftsmen, and instructive and valuable in the highest degree to all young 
 beginners and craftsmen in the trade of which it treats. "-^-Leather Trades' Circular. 
 
 Dentistry. 
 
 MECHANICAL DENTISTRY: A Practical Treatise on the 
 Construction of the various kinds of Artificial Dentures. Comprising also Use¬ 
 ful Formulae, Tables and Receipts for Gold Plate, Clasps, Solders, &c. &c. 
 By Charles Hunter. Third Edition, Revised, With upwards of ioo 
 Wood Engravings. Crown 8vo, 3s. 6 d. cloth. 
 
 “ The work is very practical.’’— Monthly Review of Dental Surgery. 
 
 “ Wc can strongly recommend Mr. Hunter’s treatise to all students preparing for the profession 
 of dentistry, as well as to every mechanical dentist.”— Dublin Journal of Medical Science. 
 
 “ A work in a concise form that few could read without gaining information from.”— British 
 Journal of Dental Science. 
 
 Wood Engraving. 
 
 A PRACTICAL MANUAL OF WOOD ENGRAVING. With 
 a Brief Account of the History of the Art. By William Norman Brown. 
 With numerous Illustrations. Crown 8vo, 2s. cloth. 
 
 “ The author deals with the subject in a thoroughly practical and easy series of representative 
 lessons.”— Paper and Printing Trades Journal. 
 
 “The book is clear and complete, and will be useful to anyone wanting to understand the first 
 elements of the beautiful art of wood engraving.”— Graphic. 
 
32 
 
 CROSBY LOCKWOOD &• SON’S CATALOGUE. 
 
 HANDYBOOKS FOR HANDICRAFTS. By PAUL N. HASLUCK. 
 
 13 s" These Handybooks are written to supply Handicraftsmen with informa¬ 
 tion on workshop practice , and are intended to convey , in plain language, technical 
 knowledge of the several crafts. Workshop terms are used, and workshop practice 
 described, the text being freely illustrated with drawings of modern tools, appliances 
 and processes. 
 
 N.B. The following Volumes are already published, and others are in preparation 
 
 Metal Turning. 
 
 THE METAL TURNER’S HA NDYBOOK. A Practical Manual 
 
 for Workers at the Fcot-Lathe: Embracing Information on the Tools, 
 Appliances and Processes employed in Metal Turning. By Paul N. Has- 
 luck, Author of “ Lathe-Work.” With upwards of One Hundred Illustra¬ 
 tions. Second Edition, Revised. Crown 8vo, 2s. cloth. 
 
 “ Altogether admirably adapted to initiate students into the art of turning."— Leicester Post. 
 
 “ Clearly and concisely written, excellent in every way, we heartily commend it to all interested 
 in metal turning.’’— Meehanical IVorld. 
 
 Wood Turning. 
 
 THE WOOD TURNER’S HANDYBOOK. A Practical Manual 
 
 for Workers at the Lathe: Embracing Information on the Tools, Appliances 
 and Processes Employed in Wood Turning. By Paul N. Hasluck. With 
 upwards of One Hundred Illustrations. Crown 8vo, 2s. cloth. 
 
 “We recommend the book to young turners and amateurs. A multitude of workmen have 
 hitherto sought in vain for a manual of this special industry.”— Mechanical IVorld. 
 
 Watch liepairing. 
 
 THE WATCH JOBBER'S HANDYBOOK. A Practical Manual 
 
 on Cleaning , Repairing and Adjusting. Embracing Information on the Tools, 
 Materials, Appliances and Processes Employed in Watchwork. By Paul N. 
 Hasluck. With upwards of One Hundred Illustrations. Cr. 8vo, 2s. cloth, 
 
 “ All young persons connected with the trade should acquire and study this excellent, and at 
 the same time, inexpensive work.”— CUrkenwcll Chronicle. 
 
 Pattern Making. 
 
 THE PATTERN MAKER'S HANDYBOOK. A Practical 
 Manual, embracing Information on the Tools, Materials and Appliances em¬ 
 ployed in Constructing Patterns for Founders. By Paul N. Hasluck. 
 With One Hundred Illustrations. Crown 8vo, 25. cloth. 
 
 •• We commend it to all who arc interested in the counsels it so ably gives."— Colliery Guardian. 
 “This handy volume contains sound information of considerable value to students and 
 artificers."— Hardware 1 rades Journal. 
 
 Mechanical Manipulation. 
 
 THE ME CHA NIC'S WORKSHOP HA ND YBOOK. A Practical 
 
 Manual on Mechanical Manipulation. Embracing Information on various 
 Handicraft Processes, with Useful Notes and Miscellaneous Memoranda. 
 By Paul N. Hasluck. Crown 8vo, 2s. cloth. 
 
 " It is a book which should be found in every workshop, as it is one which will be cominnally 
 referred to for a very great amount of standard information.”— Saturday Review. 
 
 Model Engineering. 
 
 THE MODEL ENGINEER'S HANDYBOOK: A Practical 
 
 Manual on Model Steam Engines. Embracing Information on the Tools. 
 Materials and Processes Employed in their Construction. By Paul N. 
 Hasluck. With upwards of 100 Illustrations. Crown 8vo, 2s. cloth. 
 
 " Mr. Hasluck's latest volume is of greater importance than would at first appear ; and indeed 
 he has produced a very good little book.”— Builder. 
 
 " By carefully going through the work, amateurs may pick up an excellent notion of the con- 
 tructioii of full-sized steam engines.”— Telegraphic Journal. 
 
 Clock Repairing. 
 
 THE CLOCK JOBBER'S HANDYBOOK: A Practical Manual 
 on Cleaning, Repairing and Adjusting. Embracing Information on the Tods, 
 Materials, Appliances and Processes Employed in Clockwork. By Paul N. 
 Hasluck. With upwards of too Illustrations. Cr. 8vo.2s. cloth. ffust ready. 
 
INDUSTRIAL AND USEFUL ARTS. 
 
 33 
 
 Electrolysis of Gold, Silver, Copper, etc. 
 
 ELECTRO-DEPOSITION : A Practical Treatise on the Electrolysis 
 of Gold , Silver , Copper , Nickel, and other Metals and Alloys. With descrip¬ 
 tions of Voltaic Batteries, Magneto and Dynamo-Electric Machines, Ther¬ 
 mopiles, and ot the Materials and Processes used in every Department of 
 the Art, and several Chapters on Electro-Metallurgy. By Alexander 
 Watt, Author of ^Electro-Metallurgy,” &c. With numerous Illustrations. 
 Third Edition, Revised and Enlarged. Crown 8vo, 9s. cloth. 
 
 ‘ Eminently a book for the practical worker in electro-deposition. It contains minute and 
 practical descriptions of methods, processes and materials as actually pursued and used in the 
 workshop. Mr. Watt's book recommends itself to all interested in its subjects."— Engineer. 
 
 Electro-Metallurgy. 
 
 ELECTRO-METALLURGY; Practically Treated. By Alexander 
 
 Watt, Author of “ Electro Deposition,’’&c. Ninth Edition, including the 
 most recent Processes. i2mo, 4s. cloth boards. 
 
 “From this book both amateur and artisan may learn everything necessary for the successful 
 prosecution of electroplating.”— Iron. 
 
 Electroplating. 
 
 ELECTROPLATING : A Practical Handbook on the Deposi- 
 
 tion of Copper, Silver, Nickel, Gold, Aluminium, Brass, Platinum, &c. &c. 
 With Descriptions of the Chemicals, Materials, Batteries and Dynamo 
 Machines used in the Art. By J. W. Urquhart, C.E., Author of “ Electric 
 Light,” &c. Second Edition, Revised, with Additions. Numerous Illustra¬ 
 tions. Crown 8vo, 5s. cloth. 
 
 “ An excellent practical manual."— Engineering, 
 
 “ This book will show any person how to become an expert in electro-deposition."— Builder. 
 
 “ An excellent work, giving the newest information.”— Horological Journal. 
 
 Electrotyping. 
 
 ELECTROTYPING : The Reproduction and Multiplication of Print- 
 
 ing Surf aces and Works of Art by the Electro-deposition of Metals. ByJ. W. 
 Urquhart, C.E. Crown 8vo, 5s. cloth. 
 
 “The book is thoroughly practical. The reader is, therefore, conducted through the leading 
 laws of electricity, then through the metals used by electrotypers, the apparatus, and the depositing 
 processes, up to the final preparation of the work.” —Art Journal. 
 
 Goldsmiths’ Work. 
 
 THE GOLDSMITH’S HANDBOOK. By George E. Gee, 
 Jeweller, &c. Third Edition, considerably Enlarged. i2mo, 3s. 6 d. cloth, 
 
 “A good, sound, technical educator, and will be generally accepted as an authority.."— Horo- 
 logical Journal. 
 
 “A standard book which few will care to be without/’— Jeweller and Metalworker. 
 
 Silversmiths’ Work. 
 
 THE SILVERSMITH’S HANDBOOK. By George E. Gee, 
 Jeweller, &c. Second Edition, Revised, with Illustrations, izmo, 3s. 6 d. cloth. 
 
 “ The chief merit of the work is its practical character. . . . The workers in the trade will 
 speedily discover its merits when they sit down to study it ."-—English Mechanic. 
 
 *** The above two works together , strongly half-bound , price ys. 
 
 Bread and Biscuit Baking . 
 
 THE BREAD AND BISCUIT BAKER’S AND SUGAR- 
 BOILER’S ASSISTANT. Including a large variety of Modern Recipes. 
 With Remarks on the Art of Bread-making. By Robert Wells, Practical 
 Baker. Crown 8vo, 2s. cloth. [ Just published. 
 
 “ A large number of wrinkles for the ordinary cook, as well as the baker.”— Saturday Review. 
 
 “ A book of instruction for learners and for daily reference in the bakehouse."— Baker's Times. 
 
 Confectionery. 
 
 THE PASTRYCOOK AND CONFECTIONER'S GUIDE. 
 
 For Hotels, Restaurants and the Trade in general, adapted also for Family 
 Use. By Robert Wells, Author of “The Bread and Biscuit Baker’s and 
 Sugar Boiler’s Assistant.” Crown 8vo, 2s. cloth. [ Just published. 
 
 “ We cannot speak too highly of this really excellent work. In these days of keen competiticn 
 our readers cannot do better than purchase this book.”— Baker's Times. 
 
 “ Will be found as serviceable by private families as by restaurant chefs and victuallers in 
 general.”— Miller. 
 
 Laundry Work. 
 
 A HANDBOOK OF LAUNDRY MANAGEMENT. For Use 
 in Steam and Hand-Power Laundries and Private Houses. By the Editor 
 of The Laundry Journal. Crown 8vo, 2s. 6 d. cloth. [Justpublished 
 
 D 
 
34 
 
 CROSBY LOCKWOOD 6- SON'S CATALOGUE. 
 
 Horology. 
 
 A TREATISE ON MODERN HOROLOGY , in Theory and Prac• 
 tice. Translated from the French of Claudius Saunier, ex-Director of the 
 School ot Horology at Macon, by Julien Tripplin, F.R.A.S., Besancon, 
 Watch Manufacturer, and Edward Rigg, M.A., Assayer in the Royal Mint. 
 With Seventy-eight Woodcuts and Twenty-two Coloured Copper Plates. 
 Second Edition. Super-royal 8vo, £2 2 s. cloth ; £2 10s. half-calf. 
 
 “ There is no horological -work in the English language at all to be compared to this produc¬ 
 tion of M. Saunier's for clearness and completeness. It is alike good as a guide for the student and 
 as a reference for the experienced horologist and skilled workman.” —Horological Journal. 
 
 “ The latest, the most complete, and the most reliable of those literary productions to which 
 continental watchmakers are indebted for the mechanical superiority over their English brethren 
 —in fact, the Book of Books, is M. Saunier’s 'Treatise.'”— Watchmaker, Jeweller and Silver smith. 
 
 Watchmaking . 
 
 THE WATCHMAKER'S HANDBOOK. Translated from the 
 French of Claudius Saunier, and considerably Enlarged by Julien Tripp¬ 
 lin, F.R.A.S., Vice-President of the Horological Institute, and Edward Rigg 9 
 M.A., Assayer in the Royal Mint. With Numerous Woodcuts and Fourteen 
 Copper Plates. Second Edition, Revised.With Appendix. Cr. 8vo, gs. cloth. 
 “ Each part is truly a treatise in itself. The arrangement is good and the language is clear and 
 concise. It is an admirable guide for the young watchmaker."— Engineering. 
 
 “ It is impossible to speak too highly of its excellence. It fulfils every requirement in a hand¬ 
 book intended for the use of a workman. Should be found in every workshop."— IVatch and 
 Clockmaker. _ 
 
 CHEMICAL MA NUFACT URES & COMMERCE. 
 
 Alkali Trade, Manufacture of Sulphuric Acid, etc. 
 A MANUAL OF THE ALKALI TRADE , including the 
 Manufacture of Sulphuric Acid, Sulphate of Soda, and Bleaching Powder, 
 By John Lomas, Alkali Manufacturer, Newcastle-upon-Tyne and London. 
 With 232 Illustrations and Working Drawings, and containing 390 pages of 
 Text. Second Edition, with Additions. Super-royal 8vo, £1 10s. cloth. 
 
 “This book is written by a manufacturer for manufacturers. The working details of the most 
 approved forms of apparatus are given, and these are accompanied by no less than 232 wood en¬ 
 gravings, all of which may be used for the purposes of construction. Every step in the manufac¬ 
 ture is very fully described in this manual, and each improvement explained."— Athenczum. 
 
 “ We find here not merely a sound and luminous explanation of the chemical principles of the 
 trade, but a notice of numerous matters which have a most important bearing on the successful 
 conduct of alkali works, but which are generally overlooked by even experienced technological 
 authors.”— Chemical Review. 
 
 Brewing. 
 
 A HANDBOOK FOR YOUNG BREWERS. By Herbert 
 
 Edwards Wright, B.A. Crown 8vo, 3s. 6 d. cloth. 
 
 “ This little volume, containing such a large amount of good sense in so small a compass, ought 
 to recommend itself to every brewery pupil, and many who have passed that .stage.”— Brewers 
 Guardian. 
 
 “ The book is very clearly written, and the author has successfully brought his.scientific know¬ 
 ledge to bear upon the various processes and details of brewing."— Brewer. 
 
 Commercial Chemical Analysis. 
 
 THE COMMERCIAL HANDBOOK OF CHEMICAL ANA- 
 LYSIS; or, Practical Instructions tor the determination of the Intrinsic or 
 Commercial Value of Substances used in Manufactures, in Trades, and in the 
 Arts. By A. Normandy, Editor of Rose’s “Treatise on Chemical Analysis.” 
 New Edition, to a great extent Re-written by Henry M. Noad, Ph.D., 
 F.R.S. With numerous Illustrations. Crown 8vo, 12s. 6 d. cloth. 
 
 “We strongly recommend this book to our readers as a guide, alike indispensable to the house¬ 
 wife as to the pharmaceutical practitioner.”— Medical Times. 
 
 “ Essential to the analysts appointed under the new Act. The most recent results are given, 
 and the work is well edited and carefully written."— Nature. 
 
 Explosives. 
 
 A HANDBOOK OF MODERN EXPLOSIVES. Being a 
 Practical Treatise on the Manufacture and Application of Dynamite, Gun- 
 Cotton, Nitro-G'.ycerine, and other Explosive Compounds. By M. Eissler, 
 Mining Engineer , Author of “ The Metallurgy of Gold,” “ The Metallurgy 
 of Silver,” &c. With about ioo Illustrations. Crown 8vo. [In the press- 
 
AGRICULTURE, FARMING, GARDENING, etc. 
 
 35 
 
 Dye-Wares and Colours. 
 
 THE MANUAL OF COLOURS AND DYE-WARES : Their 
 Properties, Applications , Valuation , Impurities , Sophistications. For the 
 
 use of Dyers, Printers, Drysalters, Brokers, &c. By J. W. Slater. Second 
 Edition, Revised and greatly Enlarged. Crown 8vo, ys . 6^. cloth. 
 
 “A complete encyclopaedia of the materia tinctoria. The information given respecting each 
 article is full and precise, and the methods of determining the value of articles such as these, so 
 liable to sophistication, are given with clearness, and are practiced as well as valuable.”— Chemist 
 and Druggist. 
 
 “There is no other work which covers precisely the same ground. To students preparing 
 for examinations in dyeing and printing it will prove exceedingly useful."—Chemical News. 
 
 THE ARTIST'S MANUAL OF PIGMENTS. Showing 
 
 their Composition, Conditions of Permanency, Non-Permanency, and Adul¬ 
 terations; Effects in Combination with Each Other and with Vehicles ; and 
 the most Reliable Tests of Purity. Together with the Science and Arts 
 Department’s Examination Questions on Painting. By H. C. Standage. 
 Second Edition, Revised. Small crown 8vo, 2s. 6 d. cloth. 
 
 “This work is indeed multum-in-parvo, and we can, with good conscience, recommend it to 
 all who come in contact with pigments, whether as makers, dealers or users.”— Chemical Review. 
 
 “This manual cannot fail to be a very valuable aid to all painters who wish their work to 
 endure and be of a sound character ; it is complete and comprehensive."— Spectator. 
 
 “The author supplies a great deal of very valuable information and memoranda as to the 
 chemical qualities and artistic effect of the principal pigments used by painters.”— Builder. 
 
 Gauging. Tables and Rides for Revenue Officers, 
 
 Brewers etc 
 
 A POCKET BOOR OF MENSURATION AND GAUGING: 
 Containing Tables, Rules and Memoranda for Revenue Officers, Brewers, 
 Spirit Merchants, &c. By J. B. Mant (Inland Revenue). Oblong i8mo, 4s, 
 leather, with elastic band. 
 
 “ This handy and useful book is adapted to the requirements of the Inland Revenue Depart¬ 
 ment, and will be a favourite book of reference. The range of subjects is comprehensive, and the 
 arrangement simple and clear.”— Civilian. 
 
 “ A most useful book. It should be in the hands of every practical brewer Brewers' 
 Journal. 
 
 AGRICULTURE, FA RMING, G ARDENING, etc. 
 
 Agricultural Facts and Figures. 
 
 NOTE-BOOK OF AGRICULTURAL FACTS AND FIGURES 
 FOR FARMERS AND FARM STUDENTS. By Primrose McConnell, 
 Fellow of the Highland and Agricultural Society ; late Professor of Agricul¬ 
 ture, Glasgow Veterinary College. Third Edition. Royal 32mo, full roan, 
 gilt edges, with elastic band, 4s. 
 
 “ The most complete and comprehensive Note-book for Farmers and Farm Students that we 
 have seen. It literally teems with information, and we can cordially recommend it to all connected 
 with agrcuilture ."—North British Agriculturist. 
 
 Youatt and Burn’s Complete Grazier. 
 
 THE COMPLETE GRAZIER, and FARMER’S and CATTLE- 
 BREEDER’S ASSISTANT. A Compendium of Husbandry; especially in 
 the departments connected with the Breeding, Rearing, Feeding, and General 
 Management of Stock; the Management of the Dairy, &c. With Directions 
 for the Culture and Management of Grass Land, of Grain and Root Crops, 
 the Arrangement of Farm Offices, the use of Implements and Machines, and 
 on Draining, Irrigation, Warping, &c.; and the Application and Relative 
 Value of Manures. By William Youatt, Esq., V.S. Twelfth Edition, En¬ 
 larged by Robert Scott Burn, Author of “Outlines of Modern Farming,” 
 “ Systematic Small Farming,” &c. One large 8vo volume, 860 pp , with 244 
 Illustrations, £1 is. half-bound. 
 
 11 The standard and text-book with the farmer and grazier.”— Farmer's Magazine. 
 
 “A treatise which will remain a standard work on the subject as long as British agriculture 
 endures .”—Mark Lane Express (First Notice). 
 
 “ The book deals with all departments of agriculture, and contains an immense amount of 
 valuable information. It is, in fact, an encyclopaedia of agriculture put into readable form, and it 
 is the only work equally comprehensive brought down to present date. It is excellently printed on 
 thick paper, and strongly bound, and deserves a place in the library of every agriculturist .”—Mark 
 Lane Exdress (Second Notice). 
 
 “This esteemed work is well worthy of a place in the libraries of agriculturists .’’—North 
 British Agriculturist. 
 
36 CROSBY LOCKWOOD < 5 * SON'S CATALOGUE. 
 
 Flour Manufacture, Milling, etc . 
 
 FLOUR MANUFACTURE: A Treatise on Milling Science 
 
 and Practice. By Friedrich Kick, Imperial Regierungsrath, Professor of 
 Mechanical Technology in the Imperial German Polytechnic Institute, 
 Prague. Translated from the Second Enlarged and Revised Edition with 
 Supplement. By H. PI. P. Fovvles, A.M.I.C.E. Nearly 400 pp. Illustrated 
 with 28 Folding Plates, and 167 Woodcuts. Royal 8vo, 25s. cloth. 
 
 “ This valuable work, is, and will remain, the standard authority on the science of milling. . . 
 The miller who has read and digested this work will have laid the foundation, so to speak, of a suc¬ 
 cessful career ; he will have acquired a number of general principles which he can proceed to 
 apply. In this handsome volume we at last have the accepted text-book of modern milling in good 
 sound English, which has little, if any, trace of the German idiom ."—The Milter. 
 
 “ The appearance of this celebrated work in English is very opportune, and British millers 
 will, we are sure, not be slow in availing themselves of its pages.”— Millers' Gazette. 
 
 Small Farming. 
 
 SYSTEMATIC SMALL FARMING; or , The Lessons of my 
 
 Farm. Being an Introduction to Modern Farm Practice for Small Farmers. 
 By Robert Scott Burn, Author of “ Outlines of Modern Farming.” With 
 numerous Illustrations, crown 8vo, 6s. cloth. 
 
 “This is the completest book of its class we have seen, and one which every amateur farmer 
 will read with pleasure and accept as a guide."— Field. 
 
 “The volume contains a vast amount of useful information. No branch of farming is left 
 untouched, from the labriur to be done to the results achieved. It may be safely recommended to 
 ■who think they will be in paradise when they buy or rent a three-acre farm.”— Glasgow Herald. 
 
 Modern Farming. 
 
 OUTLINES OF MODERN FARMING. By R. Scott Burn. 
 Soils, Manures, and Crops—Farming and Farming Economy—Cattle, Sheep, 
 and Horses — Management of Dairy, Pigs and Poultry — Utilisation of 
 Town-Sewage, Irrigation, &c. Sixth Edition. In One Vol., 1,250 pp., half¬ 
 bound, profusely Illustrated, 12s. 
 
 “ The aim of the author has been to make his work at once comprehensive and trustworthy, 
 and in this aim he has succeeded to a degree which entitles him to much credit .”—Morning 
 Advertiser. “ No farmer slu uld be without this book .”—Banbury Guardian. 
 
 Agricultural En gineering. 
 
 FARM ENGINEERING, THE COMPLETE TEXT-BOOK OF. 
 
 Comprising Draining and Embanking; Irrigation and Water Supply; Farm 
 I<oais, Fences, and Gates; Farm Buildings, their Arrangemeut and Con¬ 
 struction, with Plans and Estimates; Barn Implements and Machines; Field 
 Implements and Machines; Agricultural Surveying, Levelling, &c. By Prof. 
 John Scott, Professor of Agriculture at the Royal Agricultural College, 
 Cirencester, &c. In One Vol., 1,150 pages, half-bound, 600 Illustrations, 12s, 
 “Written with great care, as well as with knowledge and ability. The author has done his 
 work well; we have found him a very trustworthy guide wherever we have tested his statements. 
 The volume will be of great value to agricultural students,”— Mark Lane Express. 
 
 “For a young agriculturist we know of no handy volume so likely to be more usefully studied." 
 — Bell's Weekly Messenger. 
 
 English Agriculture. 
 
 THE FIELDS OF GREAT BRITAIN: A Text-Book of 
 
 Agriculture, adapted to the Syllabus of the Science and Art Department. 
 V,-,r Elementary and Advanced Students. By Hugh Clements (Board of 
 Trade). Second Edition, Revised and Enlarged. i8mo, 2s. 6 d. cloth. 
 
 “A most comprehensive volume, giving a mass of information .”—Agricultural Economist. 
 
 “ It is a long time since we have seen a book which has pleased us more, or which contains 
 such a vast and useful fund of knowledge .”—Educational 'Junes. 
 
 Neiv Pocket Book for Farmers. 
 
 TABLES, MEMORANDA, AND CALCULATED RESULTS 
 
 for Farmers , Graziers , Agricultural Students, Surveyors , Land Agents Auc¬ 
 tioneers , etc. With a New System of Farm Book-keeping. Selected and 
 Arranged by Sidney Francis. Second Edition, Revised. 272 pp., waist¬ 
 coat-pocket size, is. 6 d limp leather. [Just published . 
 
 “ Weighing less than x oz , and occupying no more space than a match box, it contains a mass 
 of facts and calculations which has never before, in such handy form, been obtainable. Every 
 operation on the farm is dealt with. The work may be taken as thoroughly accurate, having been 
 revised by Dr. Fream. We cordially recommend it."— Bell's Weekly Messenger. 
 
 “ A marvellous little book. . . . The agriculturist who possesses himself of it will net be 
 d sappointed with his investment .”—TJie Farm. 
 
AGRICULTURE, FARMING, GARDENING, etc. 
 
 37 
 
 Farm and Estate Book-keeping. 
 
 BOOK-KEEPING FOR FARMERS &■ ESTATE OWNERS. 
 A Practical Treatise, presenting, in Three Plans, a System adapted to all 
 Classes of Farms. By Johnson M. Woodman, Chartered Accountant. Second 
 Edition, Revised. Crown 8vo, 3s. 6 d. cloth boards; or 2s. 6 d. cloth limp. 
 
 " The volume is a capital study of a most important subject.”— Agricultural Gazette. 
 
 “ Will be found of great assistance by those who intend to commence a system of book-keep¬ 
 ing, the author’s examples being clear and explicit, and his explanations, while full and accurate, 
 being to a large extent free from technicalities.”— Live Stock Journal . 
 
 Farm Account Book. 
 
 WOODMAN'S YEARLY FARM ACCOUNT BOOK. Giving 
 a Weekly Labour Account and Diary, and showing the Income and Expen¬ 
 diture under each Department of Crops, Live Stock, Dairy, &c. &c. With 
 Valuation, Profit and Loss Account, and Balance Sheet at the end of the 
 Year, and an Appendix of Forms. Ruled and Headed for Entering a Com¬ 
 plete Record of the Farming Operations. By Johnson M. Woodman, 
 Chartered Accountant, Author of “ Book-keeping for Farmers.” Folio, 
 7s. 6d. half bound. {.culture. 
 
 “Contains every requisite orm for keeping farm accounts readily and accurately."— Agri * 
 
 Early Fruits, Floivers ami Vegetables. 
 
 THE FORCING GARDEN; or, How to Grow Early Fruits, 
 Flowers, and Vegetables. With Plans and Estimates for Building Glass¬ 
 houses, Pits and Frames. Containing also Original Plans for Double Glazing, 
 a New Method of Growing the Gooseberry under Glass, &c. &c., and on Venti¬ 
 lation, &c. With Illustrations. By Samuel Wood. Crown 8vo, 3s. 6d. cloth. 
 “ A good book, and fairly fills a place that was in some degree vacant. The book is written with 
 great care, and contains a great deal of valuable teaching.”— Gardeners' Magazine. 
 
 “Mr. Wood's book is an original and exhaustive answer to the question ‘How to Grow Early 
 Fruits, Flowers and Vegetables?' ”— Land and Water. 
 
 Good Gardening. 
 
 A PLAIN GUIDE TO GOOD GARDENING ; or, Howto Grow 
 Vegetables, Fruits, and Flowers. With Practical Notes on Soils, Manures, 
 Seeds, Planting, Laying-out of Gardens and Grounds, &c. By S. Wood. 
 Third Edition, with considerable Additions, &c., and numerous Illustrations. 
 Crown 8vo, 5s. cloth. 
 
 “A very good book, and one to be highly recommended as a practical guide. The practical 
 directions are excellent."— Athenaurn. 
 
 “ May be recommended to young gardeners, cottagers and amateurs, for the plain and trust¬ 
 worthy information it gives on common matters too often neglected.”— Gardeners' Chronicle. 
 
 Gainful Gardening. 
 
 MULTUM-IN-PARVO GARDENING ; or, How to make One 
 Acre of Land produce £620 a-year by the Cultivation of Fruits and Vegetables; 
 also, How to Grow Flowers in Three Glass Houses, so as to realise £176 per 
 annum clear Profit. By Samuel Wood, Author of “ Good Gardening,” &c. 
 Fourth and cheaper Edition, Revised, with Additions. Crown 8vo, is. sewed. 
 “We are bound to recommend it as not only suited to the case of the amateur and gentleman’s 
 gardener, but to the market grower."— Gardeners' Magazine. 
 
 Gardening for Ladies. 
 
 THE LADIES' MULTUM-IN-PARVO FLOWER GARDEN , 
 
 2nd Amateurs' Complete Guide. By S. Wood Crown 8vo, 3s. 6d. cloth. 
 
 “ This volume contains a good deal of sound, common sense instruction.”— Florist. 
 
 “ Full of shrewd hints and useful instructions, based on a lifetime of experience.”— Scotsman « 
 
 Receipts for Gardeners. 
 
 GARDEN RECEIPTS. Edited by Charles W. Quin, i2mo, 
 
 is. 6 d. cloth limp. 
 
 “A useful and handy book, containing a good deal of valuable information .’’—Athenaurn. 
 
 Market Gardening. 
 
 MARKET AND KITCHEN GARDENING. By Contributors 
 to “The Garden.” Compiled by C. W. Shaw, late Editor of “Gardening 
 Illustrated.” i2mo, 3s. 6 d. cloth boards. [Just published. 
 
 "The most valuable compendium of kitchen and market-garden work published."— Farmer. 
 
 Cottage Gardening. 
 
 COTTAGE GARDENING; or, Flowers, Fruits, and. Vegetables for 
 
 Small Gardens. By E. Hobday. i2mo, is. 6d. cloth limp. 
 
 •'Contains much useful information at a small charge. "—Glasgow Herald. 
 
38 
 
 CROSBY LOCKWOOD & SON'S CATALOGUE. 
 
 ESTATE MANAGEMENT, AUCTIONEERING, LAW, etc. 
 
 Hudson’s Land Valuer’s Pocket-Book. 
 
 THE LAND VALUER'S BEST ASSISTANT: Being Tables 
 
 on a very much Improved Plan, for Calculating the Value of Estates. With 
 Tables for reducing Scotch, Irish, and Provincial Customary Acres to Statute 
 Measure, &c. By R. Hudson, C.E. New Edition. Royal 32mo, leather, 
 elastic band, 4s. 
 
 “This new edition includes tables or ascertaining the value of leases for any term of years; 
 and for showing how to lay out plots of ground of certain acres in forms, square, round, &c., with 
 valuable rules for ascertaining the probable worth of standing timber to any amount; and is of 
 incalculable value to the country gentleman and professional man.” — Farmers' Journal . 
 
 Ewart’s Land Improver’s Pocket-Book. 
 
 THE LAND IMPROVER’S POCKET-BOOK OF FORMULAE, 
 TABLES and MEMORANDA required in any Computation relating to the 
 Permanent Improvement of Landed Property . By John Ewart, Land Surveyor 
 and Agricultural Engineer. Second Edition, Revised. Royal 32010, oblong, 
 leather, gilt edges, with elastic band, 4s. 
 
 “A compendious and handy little volume."— Spectator. 
 
 Complete Agricultural Surveyor’s Pocket-Book. 
 
 THE LAND VALUER’S AND LAND IMPROVER’S COM- 
 PLETE POCKET-BOOK. Consisting of the above Two Works bound to¬ 
 gether. Leather, gilt edges, with strap, 7s. 6 d. 
 
 “ Hudson’s book is the best ready-reckoner on matters relating to the valuation of land and 
 crops, and its combination with Mr. Ewart’s work greatly enhances the value and usefulness of the 
 Hatter-mentioned. ... It is most useful as a manual for reference.”— North of England Farmer . 
 
 Auctioneer’s Assistant. 
 
 THE APPRAISER , A UCTIONEER , BROKER , HOUSE AND 
 ESTATE A GENT AND VAL UER’S POCKET A SSISTA NT, for the Valua¬ 
 tion for Purchase, Sale, or Renewal of Leases, Annuities and Reversions, and 
 of property generally; with Prices for Inventories, See. By John Wheeler, 
 Valuer, &c. Fifth Edition, re-written and greatly extended by C. Norris, 
 Surveyor, Valuer, &c. Royal 32mo, 5s. cloth. 
 
 “ A neat and concise book of reference, containing an admirable and clearly-arranged list of 
 (prices for inventories, and a very practical guide to determine the value of furniture,&c."— Standard. 
 
 “ Contains a large quantity of varied and useful information as to the valuation for purchase, 
 sale, or renewal of leases, annuities and reversions, and of property generally, with prices for 
 inventories, and a guide to determine the value of interior fittings and other effects.”— Builder . 
 
 Auctioneering. 
 
 AUCTIONEERS: Their Duties and Liabilities, By Robert 
 Squibbs, Auctioneer. Demy 8vo, ios. 6 d. cloth. 
 
 “The position and duties of auctioneers treated compendiously and clearly.”— Builder. 
 
 “Every auctioneer ought to possess a copy of this excellent work."— Ironmonger. 
 
 “ Of great value to the profession. . . . We readily welcome this book from the fact that it 
 ■treats the subject in a manner somewhat new to the profession.”— Estates Gazette. 
 
 Legal Guide for Pawnbrokers. 
 
 THE PAWNBROKERS', FACTORS' AND MERCHANTS' 
 GUIDE TO THE LAW OF LOANS AND PLEDGES. With _ the 
 Statutes and a Digest of Cases on Rights and Liabilities, Civil and Criminal, 
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