# bib

id: 22427
author: Jones, Owen
title: One Thousand and One Initial Letters
extension: .txt
mime: text/plain
words: 100
sentence: 28
flesch: 40
cache: cache/22427.txt
txt: txt/22427.txt
summary:
  ONE THOUSAND AND ONE Initial Letters Designed and Illuminated by OWEN JONES DAY & SON LITHOGRAPHERS TO THE QUEEN LONDON, 1864. [Illustration: A a]


id: 23450
author: Delamotte, F. (Freeman)
extension: .txt
mime: text/plain
words: 797
sentence: 171
flesch: 59
summary: [Illustration: 16th Century. [Illustration: 16th Century.
cache: cache/23450.txt
txt: txt/23450.txt
title:
  The Book of Ornamental Alphabets, Ancient and Medieval, from the Eighth Century With Numerals, including Gothic; Church Text, Large and Small; German Arabesque; Initials for Illumination, Monograms, Crosses, &c.


id: 19953
author: Holmes, William Henry
extension: .txt
mime: text/plain
words: 8194
sentence: 405
flesch: 59
cache: cache/19953.txt
txt: txt/19953.txt
title:
  Origin and Development of Form and Ornament in Ceramic Art. Fourth Annual Report of the Bureau of Ethnology to the Secretary of the Smithsonian Institution, 1882-1883, Government Printing Office, Washington, 1886, pages 437-466.

summary:
  _Natural originals_.--Natural originals, both animal and vegetable, necessarily differ with the country and the climate, thus giving rise to individual characters in art forms often extremely persistent and surviving decided changes of environment. Basketry and other classes of woven vessels take a great variety of forms and, being generally antecedent to the potter's art and constantly present with it, have left an indelible impression upon ceramic forms.


id: 17730
author: Holmes, William Henry
extension: .txt
mime: text/plain
words: 18270
sentence: 956
flesch: 58
summary: 195 Form in textile art. 201 Color in textile art.
cache: cache/17730.txt
txt: txt/17730.txt
title:
  A Study of the Textile Art in Its Relation to the Development of Form and Ornament Sixth Annual Report of the Bureau of Ethnology to the Secretary of the Smithsonian Institution, 1884-'85, Government Printing Office, Washington, 1888, (pages 189-252)


id: 49559
title: Modern Design in Jewellery and Fans
extension: .txt
mime: text/plain
words: 18366
sentence: 933
flesch: 69
cache: cache/49559.txt
txt: txt/49559.txt
summary:
  His works have this great charm in my eyes, that they are neither show-case jewels nor mere _bijoux de parade_, things intended solely for display. At the time of the great Congress of Vienna, when the representatives of the Powers met in that city to settle the affairs of Europe after the fall of Napoleon--that is to say, about one hundred years later than the first introduction of the _baroque_ style from Italy, French work, though it was of a crude description, exercised an influence over Austrian jewellers, and what seemed like a second renaissance of the art of ornament began in Austria.


id: 43805
author: Reveirs-Hopkins, A. E. (Alfred Edward)
title: Little Books About Old Furniture. Volume II. The Period of Queen Anne
extension: .txt
mime: text/plain
words: 26318
sentence: 1362
flesch: 72
cache: cache/43805.txt
txt: txt/43805.txt
summary:
  82 LACQUERED TOILET MIRROR] INDEX Architectural inspiration less marked, 39 Ashton on Queen Anne period, 13 Balusters, examples of, 31 Baths at Hampton Court, 5 in early times, 5 Bedroom, Queen Anne, 43-46 Bedsteads at Court, 7 modern Queen Anne, 43-44 Buckingham's, Duke of, glass works, 37 Bureaux, Queen Anne period, 79 William and Mary period, 78 with secret drawers, 80-81 Cabriole legs, 53 Chairs (_see_ Chapter IV.) claw-and-ball decoration, 54 double, 58 drunkards', 57 fine, 57 ladder-backed, 55 period of James II., 47 Queen Anne, 51-57 shaped, 56 William and Mary, 50-51 with cabriole legs, 53-54 with rigid lines, 8, 50 Chests of drawers (_see_ cabinets, 109 China cabinet, 108 clock, 108 dressing-glasses, 111 dressing-table, 110 French, 106-107 history of, 95-97 Japanese, 106 mirror, 110 Law, Ernest, on Queen Anne period, 2, 3, 8 Macaulay, on Verrio, 9 views on collecting porcelain, 4 Macquoid, Percy, Age of Walnut, 50 on marquetry, 67 Mahogany introduced, 8, 72 Marquetry defined, 16 Macquoid on, 67 Pollen on, 66 used on clock, 88 mirror frames, 42 tables, 61 wardrobes, 73 Marsh, Anthony (clock-maker), 86 Martin, John (clock-maker), 88 McCarthy, Justin, on Queen Anne period, 11 Mirrors (_see_ Chapter III.) by Grinling Gibbon, 38 Clouston on, 37 early examples, 35 Gesso work, 41 in Hampton Court, 36-37 in Holyrood Palace, 36 Mirrors, in marquetry, 42 in Van Eyck's picture in National Gallery, 35 influence of Wren, 40 mentioned in Evelyn's Diary, 36 mentioned in Paradise Lost, 34 notes on purchasing, 40 simple, 38-39 toilet, 42 Needlework, petit point, 57 popular with women, 59 Queen Mary's, 3 Pollen, J. H., on marquetry, 66 on Queen Anne period, 10 Quare, Daniel (clock-maker), 88 Queen Anne period, a gambling age, 62 Anne's influence, 10 Ashton quoted, 12 bedroom, 43-46 chairs and tables, &c. (_see_ Chapter IV.) definition, 8-9 houses of middle class, 60 Justin McCarthy on, 11 old city houses, 31 ordinary types of mirrors, 38, 39 simple furniture, 9, 10 Thackeray on, 12 writing-table, 79 Queen Mary, her needlework, 3 Settee, 58 Stalker, John, on japanning and varnishing, 99-105 Stools, William and Mary, 42 Queen Anne, 43 Tables (_see_ Chapter IV.)


id: 12625
author: Bragdon, Claude Fayette
title: Architecture and Democracy
extension: .txt
mime: text/plain
words: 36825
sentence: 1299
flesch: 57
cache: cache/12625.txt
txt: txt/12625.txt
summary:
  If that soul be petty and sordid--stirred like a child by little things--no great architecture is possible because great architecture can image only greatness. For brevity let us name that manner of building in which the architecture is the construction, _Inherent_ architecture, and that manner in which the two are separable _


id: 42317
author: Varnum, William H. (William Harrison)
title: Industrial Arts Design A Textbook of Practical Methods for Students, Teachers, and Craftsmen
extension: .txt
mime: text/plain
words: 53208
sentence: 3483
flesch: 66
cache: cache/42317.txt
txt: txt/42317.txt
summary:
  The process should be used with caution, for over-modeling, Figure 325, will obstruct the structural outlines and, because of its over prominence as decoration, will cease to be _surface enrichment_. The surface enrichment of small, flat primary masses treated in Chapter XIII emphasized the designer's tendency for _full_ surface enrichment of small areas.


id: 7291
author: Ruskin, John
title: The Two Paths
extension: .txt
mime: text/plain
words: 56004
sentence: 1580
flesch: 59
cache: cache/7291.txt
txt: txt/7291.txt
summary:
  And thus great art is nothing else than the type of strong and noble life; for, as the ignoble person, in his dealings with all that occurs in the world about him, first sees nothing clearly,--looks nothing fairly in the face, and then allows himself to be swept away by the trampling torrent, and unescapable force, of the things that he would not foresee, and could not understand: so the noble person, looking the facts of the world full in the face, and fathoming them with deep faculty, then deals with them in unalarmed intelligence and unhurried strength, and becomes, with his human intellect and will, no unconscious nor insignificant agent, in consummating their good, and restraining their evil. All their conventional architecture--their graceful shaping and painting of pottery--whatsoever other art they practised--was dependent for its greatness on this sheet-anchor of central aim: true shape of living man.


id: 39749
author: Dresser, Christopher
title: Principles of Decorative Design Fourth Edition
extension: .txt
mime: text/plain
words: 68032
sentence: 3505
flesch: 70
cache: cache/39749.txt
txt: txt/39749.txt
summary:
  The construction of furniture will form the chief theme of this chapter, for unless such works are properly constructed they cannot possibly be useful, and if not useful they would fail to answer the end for which they were contrived. But before commencing a consideration of the principles involved in the construction of works of furniture, let me summarise what is required in such works if they are to assume the character of art-objects.


