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marking the lobes of the foliage, and which are a particular characteristic of the acanthus leaf. Another line, drawn parallel with the pistule line, will, by its intersections with the horizontal lines, furnish the points through which the exterior line of the leaf, or rather, its general contour (as c A c), must be drawn. This contour will, subsequently, be broken up by the indentations of the raffled leaves, as they are sometimes called. Supposing the given size to execute an acanthus foliage be two feet in height, with a base of one foot; by dividing, as before, the base into six parts, we shall have twenty-four inches to compose! six raffled or dentated leaves, on each side of the perpendicular line. The bottom or base of the leaf is always the largest; consequently, the greatest height and width is given to that, and the remaining lobes must gradually diminished as they approach towards the top; so that, as will be seen from the accompanying scale, the bottom raffle will be 6 inches, then 5 inches, 4 inches, 34 inches, 3 inches, and 24 inches for the top, the proper curve of which will be seen in Fig. 5; then on each intersecting line form a dot; and from this dot carry your starting line for each sub-division of the leaf; so that, by gradual curves, rising successively from these points, and meeting the next one as if it were passed through the leaf, the true outline and proportions of the entire leaf will be produced. Each of the lobes or secondary leaves, it will be seen, is subdivided into three parts or indentations; and it is, principally, to the freedom and expression of these curved lines, that the class of ornament at present under consideration will be indebted for gracefulness of contour, boldness of design, and richness of relief. At the same time, it should be borne in mind, that redundancy of enrichment in this respect, and superfluity of detail, the most common faults in young aspirants to ornamental composition, can only tend to mar the general effect of the ornament, when completed; and to interfere with that graceful simplicity of form, flowing, purity of outline, and consequent chasteness and breadth of effect, which should ever characterise this favourite species of ornament, of which such exquisite examples have survived, in various fragments of antiquity, to our own period.

Figures 4 and 5 show respectively the completed outline of the leaf with its subdivisions, and the same outline shaded. These represent the simplest form of the acanthus. The bendings, reduplicate foldings, and various convolutions usually imparted to its leaf, we shall consider in our next.

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FRANKLIN'S GRAVE.-The place where the mortal remains of this great man rest now, is merely designated by a simple rough stone in the cemetery of Arch-street, Philadelphia. The compositors of Rochester, U.S., have lately decided on erecting a monument to their great prototype. As, however, the cemetery of Archstreet belongs to the Society of Friends, it is apprehended that they will not agree to the erection of anything showy or ornamental within its precincts.

become in the reign of Aurelianus, the palaces

Linckleman on the Ornamental in and temples of Palmyra shew; because all

Architecture.

that remains of them was probably built shortly before or in his times, as all these buildings exhibit the same style.

The architraves of doors and windows were formed as of wreaths of flowers and foliage, as it appears in the temple of Baalbec, and many such doors are also to be seen in Rome. The columns were not exempt from this encroachment; the whole base with its members was surmounted with wreaths, as are those under the porphyry columns on the so-called Battisterio Constantini at Rome, and another base of uncommon size in the church of St. Paul, near Rome, which is seven palms in diameter. Similarly carved were those discovered in our times on the Palatine hill.-Translated from the German.

A BUILDING without ornament is like health in poverty, which none consider sufficient by itself; and uniformity or monotony can-in architecture, like in the style of writing, and other art-works-become blameable. Ornament has its causation in variety; in composition as well as in architecture, it serves the mind and eye as a means of diversification, and if in architecture ornament is coupled with simplicity, beauty arises: because anything is good and beauteous, if it is what it ought to be! Ornaments of a building, therefore, ought to be appropriate as well to their general as essential aim; in relation to the former, they are to appear as accessories; in relation to the latter, not to interfere with the nature of the locality, and its nearer adapta- A DISCOVERY BY ACCIDENT.-The chief distion. They are to be considered like vest-coveries in the arts have been made by acciments, which serve to cover nudity; and, therefore, the huger a building is in its plan, the less ornament is required: like a precious stone, which is merely to be encircled by a golden thread, that it may shine forth in its full lustre.

Ornaments were as rare on ancient buildings as they are on statues, but the members on which those ornaments were placed afterwards were either straight, or but little concave or convex. Not long before the times of Augustus (under the consulate of Dolabella), an arch was erected on the Claudian aqueduct on Mount Coelius in Rome, on which the projecting beam, or cornice of Travertino, extends above the inscription obliquely, still in a straight line, which silliness would not have happened at a subsequent period.

dent, not from forethought or a deep knowledge of the principles in nature. It is related that the discovery of glass-making was effected by seeing the sand vitrified on which a fire had been kindled. The discovery of the manufacture of plate-glass is said to have been equally accidental. Blancourt relates, as the mode in which the casting of plate-glass was discovered, that a person who was melting some of this material in a crucible, accidentally spilled it, while fluid, upon the ground. The metal ran under one of the large flag-stones wherewith the place was paved, which obliged the workman to take up the stone in order to recover the glass. He then found it in the form of a plate, such as could not be produced by the ordinary process of blowing. The man's attention being roused by this fact, he was unable to sleep, and conceiving at once the superiority of this method for forming mirrors, he immediately commenced experimenting, and before the day appeared, had proved the practicability of the improvement which the purest chance had thus placed within the sphere of his observation.

When, however, variety was sought for in architecture, which arises from depressions or elevations, or by concave or convex lines, the straight members and orders were broken through, and by this some variety was achieved. This variety, however, which was imparted to every order of architecture in a different way, was, properly speaking, not considered as an ornament, which, in fact, was so little sought for by the ancients, that the word mode of painting as a substitute for fresco has The Paris journals announce that a new for it was only used by the Romans for orna- been discovered by a French artist, M. Chevot. ment in dress. Because, as genuine good taste We give the particulars in their own words :was failing, and appearance was preferred to reality, ornaments were no more considered as and consists of a composition which effectually "It is called by the author Fresque Mixturale; accessories, but the spaces, which had hitherto resists the action of saltpetre, so fatal to fresco remained empty, were filled with them. Thence arose the littleness in architecture; be- painting wherever there is saltpetre in the cause, if every part is little, the whole is little walls on which it was laid. The effect of M. too. Architecture underwent the same changes it is a substitute, and the colours are as vivid. Chevot's painting is as bold as that for which as the old tongues; they became richer as they It possesses not merely the advantage of resistdeclined from their beauty, which can be ing the effect of saltpetre, but can be washed proved as well of Greeks as Romans; and as when dirt or dust has accumulated upon it architects could either not reach the beauty of with quite as much security as oil paintings. their predecessors, or not surpass it, they en- Unlike fresco paintings, it never chips off; and deavoured to appear at least richer. everything indicates that it will resist longer

The superabundance of ornament began probably under Nero; because in the times of Titus, this fashion was prevalent, as we see in his arch; and under the following emperors it went on increasing. What architecture had

than any other process the action of time."

There is an alkali in the leaves of tobacco, called nicotina, one grain of which, in its pure state, would be fatal to animal life.

The New House of Lords.

(Concluded from page 19.)

THE THRONE.

THE centre of the southern end of the House is occupied by the golden throne, and on either side of it, below the peeresses' gallery, is a doorway, the spandrils of which are highly enriched, leading into the Victoria Lobby. Two candelabra, of most exuberant richness of design, stand on either side, a few paces in front of the throne.

THE REPORTERS' GALLERY.

The northern end of the House has the reporters' gallery over the principal doorway in its centre; and, on either side, three small arches under the peeresses' gallery, each of them having a sunken panel above the arch, containing symbols of the Virtues, &c., held by angels. The strangers' gallery is above the reporters'; and, as before-mentioned, is placed in the recesses of the great arches.

central front gable crocketed and finialed; whilst small buttresses, with pinnacles, are on either side.

THE BAR.

The bar is about nine feet wide and three deep; and, on its outer and inner fronts and sides, it is ornamented by small sunken panels, having two rows of quatrefoils and arches wrought within them. At each corner of the bar is a massive post, having on its outer faces the monogram, V. R., within quatrefoiled circles; and a narrow panel with pateræ, likewise on each face. The angles of the posts are ornamented by a reversed ogee moulding. The two inner posts of the bar are crowned with small figures of the lion and unicorn holding shields; and the two outer are terminated by a cap, having battlements wrought on it.

Affixed to the wall, on the right hand of the bar, is the enclosed and elevated seat of the usher of the black rod; it is paneled and decorated in corresponding style with the extreme! ends of the peers' seats, which have panels of extremely intricate treillage of vine, oak, rose, and thistle patterns, beautifully sculptured and pierced, let into them. The extreme ends of the seats rise in steps, corresponding to the steps on which the seats are elevated, and at their corners are badges of some of the royal houses of England; the white hart, dragon, greyhound, &c. These figures are beautifully acrved.

THE CORRIDORS.

On each side of the House are two doors, one near either end, leading into corridors. The doors are paneled in the lower part, and filled with open-worked arches in the upper, which are glazed with plate-glass.

The reporters' gallery is most convenient, both in its arrangement and ease of access, the comfort of the gentlemen of the press having been well studied. The gallery is approached by a staircase on the west side of the peers' lobby. From the floor of the House, the appearance of this gallery is eminently beautiful. It projects several feet from the wall, and is supported by five arches, three in the front, and one at each end; the central arch in the front being of wider and loftier span than the others, which have small bas-reliefs of angels holding wreaths, within which are symbols of two of the virtues, in sunken panels above them. Above the arches springs a canopy similar to that round the other parts of the The corridors are very handsomely paneled, House, divided into compartments, traceried and ceiled with oak, and extend to the whole and gilded also; the compartments over the length of the House. Their appearance is centre door having within them the coat singularly rich and effective, the warm colour, armour of the Saxon, Norman, Plantagenet, of the paneling harmonising thoroughly with Tudor, Stuart, and Hanoverian houses, the stained glass and the rich blue of the carpainted upon shields; whilst in the compart-pet; the windows are square-headed, divided ments over the side doors are the arms of the by mullions, and traceried. The glass is richly archepiscopal sees, and some of the bishoprics, diapered; and in labels running diagonally, in continuation of the series of episcopal arms, the motto "Dieu et Mon Droit" is many emblazoned at this end of the room. The times repeated. In recesses opposite to the front of the gallery is divided into three com- windows are seats cushioned and covered with partments, by buttresses, which are enriched red leather. In the recesses, also, are branches by panels and crowned with poppy heads, to for gas, and opposite the doors leading from correspond to the doorways beneath; within the House, globe lights hang from the ceiling. them are sunken panels, most beautifully ornamented with deeply-sculptured arches and quatrefoils, and gilded; in lozenges of eccentric form and foliated, the badges of different Sovereigns of England are painted, whilst at the lower part of the panels a foliated brattish- roof. ing is introduced. There are two ranges of seats in the reporters' gallery, and the front one has accommodation for ten persons, for whose use inkstands are sunk in a shelf. The arches under the gallery, and the three small arches on either side of it, are hung with the richest and brightest red velvet; and a clock, the face of which is exquisitely enameled in colours, stands on a bracket in front of the gallery. The case is beautifully carved, the

Above these principal corridors are others, destitute of decoration, whence ingress is obtained to the peeresses' gallery. This upper corridor is lighted by small quatrefoil-shaped windows, and gas-lights are pendant from the

CANDELABRA, FURNITURE, &c.

Two magnificent candelabra of brass rise from the posts at the end of the peers' seats. They are about twelve feet and a half high, and consist of a shaft, ornamented with a leaf pattern, and supported at the sides by short pillars, crowned with fleur-de-lis; at about eight feet from the ground, the shaft has eight flying buttresses projecting from it, each with

tracery and pinnacle work; and from them, in graceful curves, spring out branches, with sockets for lights. Oak treillage is wrought in fantastic circumvolutions about the branches. Above this series of lights, four others, of lesser dimensions, add their intricate forms to the general richness, and the whole is crowned by a single light, rising from the centre. The workmanship of these candelabra is most elaborate, and is worthy of their exquisite design.

The seats for the peers are extremely comfortable, being thoroughly well stuffed. There are four rows of seats, each disposed in three ranges, so as to allow of free passage up the alleys thus made between the ranges.

The carpet is of deep blue, ornamented with roses in gold colour.

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A glimpse at the ball-room just built for Sir Isaac Lyon Goldsmid, in St. John's-lodge, Regent's-park, under the superintendence of Mr. Barry, and decorated in the cinque-cento style, suffices to show how unnecessary it is to call in the aid of German or Frenchman in such matters. We, who have seen the decorations of the Travellers' and Conservative Clubs, of the Royal Exchange, Mrs. Drummond's house in Hyde-park-gardens, one in Privy-gardens, Whitehall, and others of minor consequence,-consider the whole design of the decoration of this ball-room, executed under the superintendence of an Englishman, to be greatly superior-both as regards invention and the execution in detail-to them all. At the same time, however, they are as inferior to works of similar style abroad. Any one who, having just left the Bibliothèque at Munich, will visit the two clubs which we have

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mentioned, will be struck with a poverty of invention and clumsiness of execution which, he will feel, would not pass muster in the former city. After this specimen at Sir Isaac Goldsmid's of decorative art, however, we shall probably hear less of the skill of foreign artists.-From the Athenæum.

Notices to Correspondents.

TO OUR READERS.-We intend to devote a portion of the Wrapper of each Number for a List of Artisans, &c., who require situations. We shall only charge the Advertisement Duty for each insertion. Those parties who wish to dispose of their Inventions or Improvements, will find that the DECORATOR'S ASSISTANT will afford an excellent medium for advertising, and the Manufacturer also, as the circulation of the Work will be chiefly among those actively engaged in Engineering and other works.

We shall be happy to oblige any Correspondent with any information he may desire to possess. Letters to be prepaid, and addressed to the "Editor of the DECORATOR'S ASSISTANT," 17, Holywell street, Strand.

Q. E. D. (Norwich.)—Mr. John Weale has published a 4to.

volume on the subject mentioned by you; it is entitled "Designs of Ornamental Gates, Lodges, Palisading, and Iron-work of the Royal Parks;" price £2 8s. WILLIAM. We must refer you to the "Student's, Builder's, and Architect's Instructor."

M. R. S.-The Board of Green Cloth is a court of justice, held in the counting-house of the Queen's household, composed of the lord steward and the officers under him. It has jurisdiction of the court-royal, which extends every way 200 yards from the gate of the palace. It takes its name from the green cloth spread over the board at which it is held.

M. J.-We thank "M. J." for his suggestion, and will shortly take advantage of it.

-We are of opinion that "perpetual motion" can never be obtained, for it is plain that all materials will, in time, wear out; but we know that motion, as long as the mateials last, and with very little friction, can be obtained in various ways.

J. PARKER. Mr. John Dickenson, the eminent paper manufacturer, obtained a patent in 1840 for a new mode of sizing paper continuously, in an air-tight vessel (partly exhausted of air), by unwinding a scroll of dried paper from a reel, and conducting it through heated size; then, after pressing out the superfluous size, winding the paper on to another reel.

S. S.-Among collections of designs for chimney-pieces, Piranesi's Maniere di Ornar di Camini" is unrivalled for magnificence of ideas.

S. D.-In France, there are, intermediate between the ele-. mentary schools and the royal academies, several others) which treat of art in its relation either to manufacture or to science, and which are either supported partly by the state and partly by municipalities, or are private establishments assisted by municipalities. The "Ecole des Beaux Arts," at Paris, schools of a somewhat similar kind at Lyons, Strasbourg, Dijon, Nancy, Bordeaux, &c., the "Ecole Royale Gratuite de Dessin," at Paris, are the principal of these.

PHILO-CHEMICUS (Jersey).-The word "phosphorous" is derived from the Greek, phos (light), and phoros (a bearer). The substance did not, however, bear that name until after the year 1760. The Greek and Latin synonyms of iron are, respectively, sideros and ferrum; those of lead, molubdos and plumbum; and those of tin, kassitepos and stannum. The name of antimonium is met with for the first time in the works of the fifteenth century. The ancients knew it under the name of stinimi or stibium. Arsenic (Latin, arsenicum; Greek, arsenikon) is a very ancient name, first applied to arsenious acid.

London: Published at the Office of the SPORTSMAN'S nications to the Editor are to be addressed); and to be had MAGAZINE, 17, Holywell-street, Strand (where all commuof all Booksellers.-Saturday, June 12, 1847.

Printed by W. COOLE, Lumley Court, Strand.

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