VI Development of Conventional Ornament.....254
Outline Drawing, p. 254--Undesirable Realism, p. 255--Craft Restrictions, p. 256--Materialistic Influence, p. 258--Early Renderings, p. 261--The Anthemion, p. 262--Greek Sculptured Ornament, p. 263--The Acanthus Leaf, p. 264--Roman Development--The Scroll, p. 266--Græco-Roman--Byzantine, p. 267--Romanesque--Gothic--Italian Renaissance, p. 268--The Husk Leaf, p. 269--The Rosette, p. 270--Tendrils, p. 271--Nature Influence--Inconsistent employment of Symbolic Elements, p. 272--Consistency in Growth--Branching, p. 273--Treatment and Employment of Leaves, p. 275--The start in Ornament, p. 276--Italian Renaissance Influence--Jacobean, p. 280--French Renaissance--Henry II, p. 281--Louis XIII, Louis XIV, Régence--Louis XV, p. 283--Rococo--Louis XVI, p. 284--Grinling Gibbons School of Carving--Adam Style, p. 285--Empire--System of the Acanthus Leaf, p. 286.
Natural Attraction, p. 288--Decorative Materials, p. 289--Justification of Treatment, p. 290--Undesirable Imitation, p. 291--Technical Considerations--Methods of Expression, p. 292--Treatment of Leaves, p. 293--Surface Interest--Painted Decoration, p. 294--Stencilled Work, p. 295--Mechanical Production--Printed and Woven Fabrics--Needlework--Appliqué, p. 296--Lace-Wood Inlay--Intarsia, p. 297--Veneer--Marquetry--“Boule” Work, p. 298--Mosaic, p. 299--Byzantine use of Marble--Book Decoration, p. 300--Bindings--Relief Work--Economic Result of Method--Desirable Treatment in Carving, p. 301--Backgrounds, p. 303--Reproduction Processes--Metal Repoussé, p. 304--Cast Metal, p. 306--Character of Cast Work, p. 307.
Early Symbolic Ornament, p. 310--Customs, p. 311--Origin of Mythology--Nature Myths, p. 312--Light and Darkness--Melanesian Legend, p. 313--Darkness as a Devouring Monster--Season Myths, p. 314--Sun Myths--Belief in Natural Phenomena, p. 315--Greek and Roman Deities, p. 316--Scandinavian Mythology, p. 317--Rising and Setting Symbolised, p. 318--Winds Personified--Predestination, p. 319--The Fates--Propitiation and Sacrifice, p. 320--Early Burial Customs--Taboo--Roman Lares, p. 322--Mediæval Legend--Early Spiritual Belief, p. 323--Prehistoric Treatment of Epileptics--Prohibition, p. 324--Belief in Magical Qualities, p. 325--The Shirt of Nessus--Swords, p. 326--Invulnerability, p. 327--Belief in Numbers--The Muses, p. 328--Sacred Trees and Flowers, p. 329--Sacred Animals--Evangelist Symbols, p. 331--The Serpent--The Dragon, p. 332--Poetic License in Tradition, p. 333--Animals in Christian Art, p. 334--Association of Human and Animal Qualities--Totemism--Cannibalism, p. 336--The Sphinx--Assyrian Winged Monsters, p. 337--Pegasus--The Harpy--Sirens, p. 338--Pan--The Nymphs--The Centaur, p. 339--Symbolism of the Circle, p. 340--Symbols of the Trinity--The Wand, a Symbol of Authority--The Hand, p. 341--The Caduceus--The Thyrsus, p. 342--The Trident--The Cross, p. 343--The Pastoral Staff, p. 344--Symbols of Martyrdom--Symbolism of Gems and Colours, p. 345--Masks--Symbols of Time, p. 346--Secular Symbols--Trophies, p. 347--Heraldry--Interest and Meaning in Modern Art, p. 348.