A considerable amount of the available space is devoted to Architectural features, with the conviction that a knowledge of these will be found helpful in the formation of methods, logical and constructive. Attention is directed to the frontispiece, a typical example of the extraordinary genius of E. A. Rickards, F.R.I.B.A., the original of which is in the possession of Philip Connard, A.R.A., to whom indebtedness for its use is acknowledged. The author’s thanks are also due to Miss Dora Bard and Mr. C. E. Bernard for the reproduction of drawings made by them during their tenure in successive years of the “Travelling Studentship” of the Society of British Decorators. For the use of the following photographs the author desires to make acknowledgment to the Authorities of the Victoria and Albert Museum, South Kensington, as holders of the Crown copyright: Nos. 257. 258. 259. 265. 271. 272. 273. 274. 275. 281A. CONTENTS CHAPTER.....PAGE I Introductory.....1 Human Limitations, p. 1--Inspiration--Process and Material, p. 2--Early Training, p. 4--Art and Existence, p. 5--Natural Taste--Commercial Production, p. 6--“Ornaments,” p. 7--Modern Development--Public Apathy, p. 8--Elementary Pattern, p. 9--Early Impressionism--Personal Production, p. 10--Early Social Conditions, p. 11--Influence--Commercial Intercourse, p. 12--Effect on Design, p. 13--Ethical side of Art, p. 14--Desire for Novelty, p. 15. II Historic Review.....16 Style, p. 16--Intercommunication--Climate and Material, p. 17--Phases in Style, p. 18--The Lintel, p. 19--The Arch, p. 20--Egyptian Art, p. 22--Chaldean Art, p. 25--Greek Art, p. 28--Roman Art, p. 35--Vaulting, p. 36--Greek Influence, p. 37--Roman Development of Ornament, p. 38--Græco-Roman Painted Decoration, p. 39--Byzantine Dome, p. 43--Early Christian Art, p. 46--Byzantine Metal Work, and Enamel, p. 47--Roman Influence Abroad--Romanesque Style, p. 49--Church Development, p. 50--Dark Ages, p. 53--Crusades, p. 56--Origin of the Pointed Arch, p. 58--Gothic Style, p. 59--Phases of Gothic--Early Pointed, p. 60--Decorated Gothic, p. 64--Perpendicular Gothic--Glass Windows, p. 67--Civic Influences, p. 70--Effect of Commerce--Classic Tradition in Italy, p. 71--Foreign Influence in England--The Dwelling House, p. 72--The Reformation, p. 74--The Renaissance, p. 75--Early Florentine Exponents, p. 76--Rome, p. 78--Venice, p. 80--Venetian Influence, p. 81--Painted Decoration, p. 82--Græco-Roman Influence, p. 83--Early French Renaissance, p. 85--Native Exploitation, p. 87--English Renaissance, p. 88--Italians in England, p. 89--Study of Classic Style--Thomas Thorpe, p. 91--Flemish Influence, p. 92--Jacobean Work, p. 93--Development in Dwellings, p. 98--Evolution of Professional Designer, p. 101--Inigo Jones, p. 102--Louis XIII, p. 103--Louis XIV, p. 106--“Boule” Work--Mirrors, p. 109--Louis XV, p. 110--Régence--Rococo, p. 111--Lacquer “Vernis Martin”--Later English Renaissance, p.