Design and Tradition by Amor Fenn - Digital BookAUTHOR’S PREFACEIT may be urged with some reasonable basis of truth that much of the modern art work fails to attain the level of that of the past. It must be conceded, however, that demand and appreciation is more general and widely diffused. As social conditions have developed, interest in environment has been stimulated. Improved processes resulting in more economic production have rendered possible an indulgence by those of moderate means, attainable only at earlier periods by the wealthier class.As a result of this more general appreciation the professional services of the artist are necessarily in greater request, thus affording a sphere of work not only lucrative but temperamentally attractive.At the present time the facilities available to the prospective artist are considerably greater than at any previous period. In every district and important centre, there are schools specialising in the Arts and Crafts, giving opportunities for training at fees that are purely nominal. Most of these deal with the various phases of artistic expression on logical and sound lines, but the knowledge and experience essential to a successful artistic career is invariably acquired in professional work to which the art school training is preparatory.To those specialising in design, the study of Historic Style is of paramount importance. Intelligent investigation will show that in all the varying phases, the underlying factors are much the same, and appreciation of these will be found invaluable in personal work.Necessarily brief, this book has been prompted by the memory of early bewilderment and difficulties, when a guiding hand would have saved much valuable time and mis-directed energy.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.

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