72 
THE YOUNG SCIENTIST. 
being frequently introduced. This was 
tlie period of gorgeous and elaborate dia- 
per decorations, the habit of ornamenting 
the entire surfaces of their apartments af- 
fording a wide field for the display of this 
branch of art. The third Middle Age 
style was the Gothic, and this style, per- 
haps more than all others, should be of 
interest to the wood-carver. 
There is hardly a cathedral where 
boldly-executed Gothic carvings do not 
meet the eye. The symbolic elements of 
both the Byzantine and Saracenic styles 
are continued in the Gothic, but are chiefly 
distinguished from these styles by the 
universal absence of the dome. In Gothic 
ornament the geometrical and pointed 
elements are elaborated as much as pos- 
sible, these elements being also frequentl}^ 
combined with conventional treatment of 
animal and vegetable forms. This is one 
of the great features of tliis style, the 
tracery in particular being so paramount 
that some of the varieties of Gothic are 
almost entirely distinguislied by this fea- 
ture. We have in this style an extensive 
application of foliage ; and the trefoil, or 
as it is frequently called the Early Eng- 
lish leaf, plays an important part, and is 
a characteristic feature of the orna- 
ment. Gothic ornaments, independent of 
tracery, are nearly exclusively leaves, 
fruit, or flowers— classical ornaments be- 
ing excluded; and there is generally a 
want of finis li about the details. 
We now come to the Modern styles, com- 
mencing with the Renaissance, the prin- 
cipal features of which are intricate 
tracery and delicate scroll work of con- 
ventional foliage. The mixture of vari- 
ous elements is also one of the essential 
of this style, men and annuals, natural 
and grotesque, conventional and natural 
foliage, tracery, and scrolls— all forming 
])art of this mixture. The Renaissance in 
fact is rather a combination of various 
styles than a revival of any particular 
style. 
Cinquecento is the next style, and this, 
as a development of art, is the most per- 
fect of the modern styles. The Arabesque 
scroll work, with its gracefid, pleasing 
curves, is a prominent feature of this 
style, and with this it combines unlimited 
choice of natural and conventionrJ imit^i- 
tions from both the animal and vegetable 
kingdoms, either arbitrarily disposed or 
combined. All the efforts of this, the 
culminating style in ornamental art, are 
made to attain the most attractive results 
and to gratify the eye. The Louis Qua- 
torze style shows great contrasts of shade 
and light, and to obtain this result exaci 
symmetry in the imrts were no longer es- 
sential ; consequently, in some examples 
of this period we find symmetry avoided 
both in the balance of the whole and in 
the details of the parts. The individuality 
of this style is in the constant and pe- 
culiar combination of the scroll and 
shell, the other elements of the style be- 
ing classical. We find also that the broad 
acanthus foliations have become more 
elongated, and that flat surfaces are not 
admitted into any of the designs of this 
period — in fact, as sudden and varied 
contrasts of light and shade are so essen- 
tial to this style, all the ornamental de- 
tails are either concave or convex. 
The Queen Anne style (so called) is 
simply a mixing of styles, and possesses 
no marked distinctive features. Intaglio, 
sunken or incised work, is the chief char- 
acteristic of this style. 
The amateur reader will glean from the 
foregoing some idea of the leading fea- 
tures of each style, and will doubtless be 
able to distinguish one from the other. 
In future numbers simple and easy de- 
signs, with instructions, will be given, so 
t hat they may be executed. 
A Wrinkle for Amateurs. 
HE difficulty of holding a picture- 
frame or other mitred work 
while the corners are being fas- 
tened, or the glue setting, has 
often been the cause of annoyance and 
irritation to young amateurs. Like most 
matters of this kind, the trouble ensued 
more from a lack of knowledge on the 
part of the workman than from actual 
difficulties besetting the work. The ac- 
companying engravings exhibit a method 
by which picture-frames, work-boxes, 
small writing-desks, glove, collar, or cuff 
boxes may be held solid until the corners 
