Invaluable source of information for art historians, craftspeople, dealers, collectors, and preservationists includes hundreds of finely detailed illustrations of garden seats, candelabras, moldings, gates, balcony grilles, vases, crosses, funerary ornaments and monuments, finials, doorknobs and many other ornamental features. A rich source of inspiration and royalty-free graphics, as well, for commercial artists and designers.

Elaborately wrought designs for gates, fences, finials, banisters, window grilles, bedsteads, cathedral screens, other architectural and decorative appointments, Gothic to Art Nouveau — meticulously rendered in black-and-white drawings reprinted from vintage publications.

Over 1,500 attractive black-and-white illustrations — drawn from balconies, gates, grilles, stair railings, and elsewhere — incorporate floral and foliate designs, human and animal figures, musical motifs, heraldic crests, mythological figures, geometrics, more.

Forty plates of meticulously rendered hinges, grilles, railings, latches, door knockers, and more — selected from English chapels, tombs, castles, and other structures — span more than 600 years of metalworking history.

Artists have made gates and fences in wrought iron over the centuries in ornamental designs shown here in hundreds of photos. The restoration of wrought iron is discussed and ironwork examples are organized according to their uses, such as gratings that protect doors and windows, entries and gates from Europe in the Middle Ages, artistic creations of the 17th and 18th centuries, and works of our own day.

Since precious few architectural drawings and no theoretical treatises on architecture remain from the premodern Islamic world, the Timurid pattern scroll in the collection of the Topkapi Palace Museum Library is an exceedingly rich and valuable source of information. In the course of her in-depth analysis of this scroll dating from the late fifteenth or early sixteenth century, Gülru Necipoğlu throws new light on the conceptualization, recording, and transmission of architectural design in the Islamic world between the tenth and sixteenth centuries. Her text has particularly far-reaching implications for recent discussions on vision, subjectivity, and the semiotics of abstract representation. She also compares the Islamic understanding of geometry with that found in medieval Western art, making this book particularly valuable for all historians and critics of architecture. The scroll, with its 114 individual geometric patterns for wall surfaces and vaulting, is reproduced entirely in color in this elegant, large-format volume. An extensive catalogue includes illustrations showing the underlying geometries (in the form of incised “dead” drawings) from which the individual patterns are generated. An essay by Mohammad al-Asad discusses the geometry of the muqarnas and demonstrates by means of CAD drawings how one of the scroll’s patterns could be used co design a three-dimensional vault.

Chinese craft design excelled in the manipulation of geometric space and reached its highest point in the design of window lattices on Chinese houses. Long recognized as an important folk art, window lattices have been generally neglected as an art form and this book is the first work on the subject since the 17th century. Fortunately, it is also the definitive work on the subject, and though no book can present a complete coverage of Chinese lattice, this book is a great classic study and an incredibly rich source of design for Westerners. More than 1200 designs are shown here, arranged in a clear system of classification that includes 22 areas of related design — borders, brackets, tail pieces, and so on. The lattices are classified according to one basic figure or concept, and the hundreds of beautiful design variations fall into only 26 categories: parallelogram, octagon or octagon square, hexagon, single focus frames, double focus frames, triple focus frames, quintuple focus frames, no focus frames, wedge-lock, presentation, out-lock, in-out bound, the Han line, parallel waves, opposed waves, recurving wave, loop-continued, like swastikas (a Buddhist symbol), unlike swastikas, central Ju I, allover Ju I, S-scroll, U-scroll, rustic ice-ray, symmetrical ice-ray, and square and round. Each category is introduced in sections at the front. In addition, there is usually a short description for each design and every design is designated by name, location, and approximate date of construction. Professor Dye spent over 21 years studying and copying lattices all over China, and because of the ravages of time and changing cultural values, this collection can probably never be duplicated. Balanced, intricate, sometimes asymmetrical, usually harmonious, these lattice designs present a wealth of material for the Western commercial artist, textile designer, pattern-maker, and craftsman. Reflecting their Chinese heritage, these designs are universal and can be used almost anywhere.