Returning again to the horse-drawn vehicle, here the need for weather protection, which is imperative in the automobile, was far less pressing, and in the introduction of doors in the early auto mobile (where such would not have existed in an equivalent horse drawn vehicle) judgment was warped by traditions of the old carriage builder's idea of elegance in lightness of line and design. This resulted in these doors being at first made low with pretty curves and decorative mouldings. Instead of the automobile designer boldly proceeding on the firm basis of utility and then allowing his artistic sense to harmonize his lines with his purpose, he put the cart before the horse and endeavoured to allow what he thought was artistic feeling to interfere with his freedom of choice. Early attempts to establish a horizontal waist line were hampered by the dread of giving a heavy or clumsy appearance. This was due to regarding the design as static, something suitable to stand in a glass case, and not as a vehicle travelling along the road at 40 or more miles an hour. The straight and uncom promising waist line of a modern car would have been reached many years earlier if nobody had worried about the appearance of a car at all, and, paradoxical as it may seem, the result would have been the attainment of beauty far sooner.
One of the results of modern design has been, as already stated, to present the car to the eye as a struc tural unit. The blending of the body and bonnet characteristic of the modern car may be cited as an example of this tendency. There is an appearance of strength and power about a machine whose lines suggest structural unity that does not exist otherwise and cannot otherwise be suggested to the mind.
Before a considered judgment can be formed on the score of artistic merit, whatever the subject may be, the artistic sense requires education; there is no realm in which preconceived ideas are more prone to be the subject of prejudice than that of the arts. Some go as far as to assert that merit in art is merely a matter of taste. It is not altogether easy to combat such a state ment; there is, however, one sound reply, viz., the general ten dency of the evolution of the individual. Among those who take an interest in any art, progress in taste goes with experience. Thus we make the public—the interested public—the final and ultimate judge. It is the general direction in which the public ap preciation tends, not the verdict of the majority at any moment nor the pendulous swing of fashion, that decides the reality and soundness of the advance made in all that pertains to appearance and in the art of the designer which contributes to same.
There are certain factors that enter into the design and appearance of the automobile which require separate consideration and discussion. Some cars exhibit a lavish display of nickel plate work, revealing a practice that is almost universally condemned. Nevertheless, tradition permits us to brighten up the otherwise dull appearance by means of showy lamps, and a con spicuous radiator-frame and crown. A car with no bright metal work rarely satisfies the eye, and, although possibly this may not always be so, it is probably justified. The hunger for some such
decorative embellishment may be a survival of the fact that the well turned out horse-vehicle, the glossy coated chestnuts or bays, and the well-polished harness-fittings and lamps must have their counterpart in the power-driven vehicle. The justification or condemnation of this view, time alone will determine, but there is one fact that quite early impressed itself, viz., that any accessories. such as lamps, horns, etc., must either be made quite inconspicuous or must be developed as a definitely striking feature or ornament.
Another much debated question is that of body colours. Comparatively few appreciate the reasons for avoiding brilliant or violent colours. We know that in the days of the horse-drawn vehicle such colours were "bad form," and with few exceptions, such as the coach yellow used on stage coaches and vehicles of a sporting character, any well turned out equipage was finished in a dark colour, such as a deep lake, a dark blue or green, or even black. The underlying factor, and the principal reason for this exclusive use of non-committal colours, was the need for avoiding a clash with ladies' dresses, and perhaps in the 18th cen tury with the colours worn by men also. Another factor, however, which cannot be ignored is of visibility. In entering a thorough fare out of a side road, for example, especially in the dusk, the driver has to concentrate his main attention on approaching traffic, and it has been the experience of many drivers that in doing so he has failed to see a car approaching in the other direction, i.e., in the line of traffic which he is about to join. Especially does this apply when the colour is of a uniformly sombre hue; this ques tion of visibility arises in other road experiences. Consequently there is a demand for tints and colours which, while not liable to clash with the costume colours of the passengers, are sufficiently conspicuous to give good visibility. Such colours as the various shades of grey, light russet, biscuit-colour, pale coach yellow, etc., are coming to be accepted as consistent with good form, even in automobiles of the most exclusive class. (F. W. LA.) The first automobile bodies were open bodies, consisting of a front and rear seat, each seat being designed to accommodate two persons, and were upholstered in leather. The rear seat was gen erally entered through a small door in the middle of the back. In 1902, side rear doors were added, displacing the middle back door, but there were not as yet doors for the front compartment. Such doors did not come into use until 1910-12. It was not until 1910 that bodies were equipped with windshields as standard equip ment, although these could be purchased as special equipment. The first windshields were made with wood frames. Cars with tops as standard equipment had appeared in 1907-08. These were merely carriage tops, the folding top, which could be lowered or raised with comparative rapidity, coming into use in 1910.