olomini Chapel, Siena) f120

Diagram showing the Principal Fundamental Plans or Systems f121
of Line governing Mural Spacing and Decorative Distribution

Diagram to show how the apparent Depth of a Space is f122
increased by the Use of Vertical Lines, and its apparent
Width by the Use of Horizontal Lines

Decorative Spacing of the Wall: Sketches (to half-inch f123
scale) to show different Treatment and Proportions

Figure of Laura, from the Burgundian Tapestries: The f124
Triumphs of Petrarch, in the South Kensington Museum

Pinturicchio: Fresco in the Appartimenti Borgia f125

Portion of Detail of the Holy Carpet of the Mosque of f126
Ardebil: Persian, sixteenth century

Sketch to illustrate Treatment of Borders in a Persian Rug f127

Arras Tapestry: Diagrams to show the Principle of Working f128
and Surface Effect

Contrasting Surfaces in Warp and Weft in Woven Silk Hanging f129

Indian printed Cotton Cover: South Kensington Museum f130

Stained Glass Treatment: Inclosure of Form and Colour by f131
Lead Lines

Sketch to show Effect of the same Colour and Form upon f132
different Coloured Grounds

Principle of the Effect of the Blending or Blurring of f133
Colours at their Edges

Use of Black and White Outline to clear the Edges of f133
Coloured Forms upon different Coloured Grounds

J. Van Eyck: Portrait of J. Arnolfini and his Wife f134

Ver Meer of Delft: Lady at a Spinet f135

Botticelli: The Nativity f136

Holbein: The Ambassadors f137

Botticelli: Madonna and Child f138

Crivelli: The Annunciation f139

Perugino: The Virgin in Adoration with St. Michael and St. f140
Raphael, and Tobias

Titian: Bacchus and Ariadne f141

Madox Brown: Christ Washing St. Peter's Feet f142

[Illustration (f002): The Origin of Outline.]

OF LINE AND FORM

CHAPTER I

Origin and Fu