F .

S M EY ER
.

H A N D BO OK OF OR N A M E N T .
 H AN D B O O K

O R N A M E N T
A G RA M M A R
OF

ART I ND U S TR IAL AN D A R C H ITECTURA L D ES I GNING

IN AL L ITS BR AN C H ES
FOR PRACTICAL AS WELL H
AS T EORET CAL USE I

F RA N Z S A LE S M EY E R
P RO F E S S O R O F T H E S C H O O L O F I N D U S TR I A L A R T I N C A RL S RU H E

300 PLATES A
AN D N U M ER OU S IL L USTR TI ONS IN TH E TEXT

I
F F TH I I
E D T ON

BRUNO H E SS L N GI
P U BL I SH E R OF A R CH I TE CTU R A L A N D A R T I N D U ST R I A L W OR K S
N E W Y OR K 6 4 E A ST
-
12
g STR E E T .
 A UTH OR S
’
P R EFACE .

rictly sp ki g the present H dbook of Ornament is a

St ea n
,
“
an
”
re

iss e in b ok form of m y Collection of ornament l forms published

u , o ,
“
a

in folio siz e under the title Ornamentale Fo me lehre “

r n

Th reasons which induced me to publis h this Handbook

e were “

the following Owing to the nature of th case the text of the For
. e ,
“

m nleh
e which forms an essential though not the chief part of that
re

work had to be printed on separate sheets whi ch is always a so ce

, ,
ur

o f inconve ience in practical us ; and for this reason many critics w h

n e ,
o

in other respects pass ed an nexpectedly favourable and very flattering

u

j udgment on my work expressed the wish that th text should be

,
e

issued in a more convenient book form On the other hand it was .

c lear that the text c o ld have no value except for those who already
u

possessed the p1ates and as the price of the collection owi g

'

, ,
n

to its siz e and style is not inconsiderable and as plates on a reduced

, ,

scale are q i te s uffi cient fo ll who desire to use the work

u r a

merely fo study and not directly for p rposes of design the author
j r ,
u ,

d publisher arranged to combine text and plates in the Handbook “ ”

an

in such a way that the plates on a greatly reduced scale might be ,

-
,

printed wi th the text They hOp in this way to have met the wi shes
. e

that have be en expressed and while o ffering to teachers a convenient

,

a id to have produced a work which from its wealth of text and

,

illustrations and its comparatively trifling price may prove of very ,

a companion to the Ornamentale Formenlehre it was necessary

As “ ”

that the Handbook sho ld retain the general plan and main divisions
u
VI PREFACE .

of that work ; but this did not exclude partial alterations and parti ,

c l
u ar ly an e largement of the desc iptive text These have cc
'

n r . a or

d ingly been made as wi ll be seen on a careful comparison

,
But in .

making them there has been no sacrifice of the principle of giving

e erything that is important and essenti al with the utmost conci
v ,

en
s ess and the o mission of all di gressions .

I take this Opportu i ty of thanking ll those who have rendered

n a

the publication of this work possible and have supported me with their
kind assistance and I now present the book to the public
,
th ,
In e

hope that it will meet with a hearty reception and favourable criticism .

K a r l s r u h e March 1 8 8 8
, .

F R AN Z SAL E S ME YE R .

P R E F A CE TO THE F O U R TH E D I T I O N .

carcely four years have elapsed since the first e dition of this
S
book was placed in the hands of the public I ts unexpecte dly
'

favourable reception continues to recomm end it As my critics to .

,

whom my best thanks are due have made no suggestions for improve
,

ment in it the Handbook apart f om some t ifli ng corrections h s

,
“ ”
,
r r ,
a

remained essentially the s me May it continue to win new friends i

a . n

school d home
an .

K a r l s r uh e F ebr ary 1 8 9 2
,
u ,
.

THE AU TH OR .
 INTR O D U CTIo N .

!Th term ORN AM E NT in its limited sense includes such of

“ ”
e , ,

the Elem ents of D ecoration as are adapted or developed from Natural , ,

Folia ge These differ from the G eometrical elements inasmuch s

.
,
a

they are org nic i e possessing stems leaves flowers &c whi le th
a . .
, , ,
.
,
e

When merely drawn on paper &c and unapplied a foliated ,

.
,

element is considered i the abstract as Ornament When applied

n
“ ”
.

to beautify an object it becomes an Element of D ecoration “ ”

.

Th e term D E C OR ATI ON signifies th art or process p f applyi g

“ ”
e n

th various Elements to beau tify Objects

e It is also used to denote .

the completed re sult Thus the artist who is occupied in the deco
; ,
“

ration of a vase may represent ornament upon it ; and the ornament

”
,

is then th Decoration of the vase

e
“
.

Th e E LE M E N TS of D ecoration are G eometrical lines Ornament

“ ”
-
: , ,

Natural foliage Ar tifici l Objects Animals and the Human Figure

-
,
a
, ,
.

These may be considered as the ingredients and they are mixed “

,

and applied on various arrangements or Features according to certain

,
“

acknowledged recipes which are termed Principles

“ ” “ ”
.

Th PR I N CI P L E S of Decoration are ot included in this Hand

e
“
n

book as the limits of it allow only a brief notice of such Elements

,

as have been in general use during the successive Historic epoch s ! -

Wh erever the hand of man has produced any Decoration be it ,

 VI I I IN TR OD UCTIO N .

o riginal Invention or only th arbitrary Variation of some fami liar

,
e

fundamental idea the followi g wi ll invariably be the case

,
n :

a
() Th e decoration is produced by arranging and joining Dots
an d Lines or by combini g and dividi g G eometrical Figu es in
,
n n r ,

a ccordance with the laws of rhythm regularity symmetry &c ; , , ,

.

b
() It arises from the attempt of the decorator to represent the
Objects of the external world Nearest at hand for imit tion is o . a ,
r

ganie Nature with the Plants A i m als and Human form But in ,
n ,
.

organi c Nature also o ffers models e ; g the forms of Crystalli sation . .

(snow fl k-
s) and
a the
e Phenomena
,
of ature (clouds waves Rich n , ,

sources are also opened p by the Artificial Objects which are fashioned
-
u

by man himself .

It is obvious that all kinds of Elements may be used in com

bination G eometrical may be united with Nat ral forms ; and so on
: u .

Moreover it was easy for hum an imagination to combine details taken

from nature into monstrous ferms not found in nature g the ,
9 . .

S phinx Centaur
,
Mermaid &c and Animal and Human bodies
, ,
.

with plant like terminations

-
.

If we collect into groups the bases or motives of decoration

, , ,

omitting what is non essenti l and detached we arrive at the classi

-
a ,

fic tio given in th followi g pages

a n e n .

Decoration is applied to countless objects ; and the style may be

very varied w ithout being arbitrary ; bei g determined firstly by the n , ,

aim and thé material of the object to be decorated and secondly by , , ,

the ideas r ling at different periods d among different nations It

u an .

is therefore obvio s that it has a comprehensive and important domain

u .

A knowledge of it is indispensable to artists ; and it is an instructive and

sociologically interesting factor of general culture .

Th peculiarities which arise from the reciprocal relation of

e

material form and aim more or less modified by the ideas of the
, , ,

Age and the natural characteristics of the Nation are termed th ,

e

Style of that Period and Nation Th mention of the Century and

“ ”
. e ,

the Nation gives a convenient method of labelli g works of A t

,
n r ,

which is now well understood ; e g 1 7 th century Italian . .

,
”
.

Th e majority of works on ornament arrange their material ,

according to Periods and Nations ; but the present Handbook follow ,

ing the principles laid down by Semper B otti h and Jacobsthal is ,

c er ,

based on a system whi ch is synthetic rather than analytic ; and i

’

tended more to construct and develope from the Elements than to

dissect and deduce It contains three main divisions .

D ivision I treats of the Elements of Decoration or motives of “

whi ch it is formed G eometrical motives formed by the rhythmical

.

arrangement of dots and lines by the reg lar section of angles by ,

u ,

the formation and division of closed figures are followed by th ,

e

forms of Nature which are o ffered for ornamental imitation by th e

 INTROD UCTIO N .

v egetable and animal kingdoms and by the hum n fr m c These in ,

a a .

their turn followed by Artificial Objects or forms borrowed from

a re ,

A t Technology and S cience and usually met with in the class of

r , , ,
-

trophies sym bols 8 0 , ,

5 .

Division II Ornament applied to Featu es arranges them

,
“
r

according to their f nctions and the reciprocal rel tion between th

u
,
a e

construction of the object and the application of the ornament The .

division falls into five sub divisions A Bands (bordering frami n g -

: .
,

and conne cting forms) ; B Free Ornaments (forms whose construction .

expresses a termination or cessation) ; C Supports (types of orname t . n

which exp ess the principle of weight bearing) ; D Enclosed Ornamen t

r -
.

suitable for the e livenment of a defined bordered field (panels) ;

n ,

E Repeating Ornament (the decoration of surfaces which disregardi g

.
,
n

the limits of space are developed on a geometrical or organic basis

, , ,

into patterns “

Division III shows the application f decoration to vase form

,
o -
,

metal objects furniture frames jewe lry heral dry and writi g
, , , , n ,

printi g &c n
,
.

Further details as to the groups and divisions will be found in

, ,

the Table of the Arrangement of the Handbook which follows this

“

introduction .

Th e illustrations numbering almost and comprised on 3 00

,

f ll page plates represent the styles of the most various periods and
u -
,

nations A comparatively large share of attention has been devoted

.

to th Antique becaus e it is in that Period that form usually finds

e ,

its clearest and most beautif l expression Next to that in impor u .

tance is the Renascence with its wealth and freedom of form The .

space devoted to the creations of the Middle Ages is more limi ted
, , .

From the styles of the De cadence only a few examples have been ,

admitted for the sake of comparison and characterisation Modern

,
.

times as a rule have o ly been taken into account where forms arose
, ,
n ,

which do not occur in th historic styles e .

Th e illustratio n s have been partly taken direct from the o riginals

and partly as was almost unavoidable —reproduced f om other Books ; r

for the leading idea of the present work is not to o ffer anything new ,

but to arrange what is already kno w n in a manner s i table both to ,

u

the subject and to the aim of a Handbook Where the author was .

acquainted with th source which he regre ts was not always the

e ,

case the authority has been mentioned in the text

,
.

Each division and sub division is prefixed by a few r marks on - e

style and history characteristics motives sym bolism aim and ppli
, , , , ,
a

cation These are followed so far as is necessary and practicable

.
, ,

by notes on the places where the objects illustrated were discovered ,

where they are w preserved and on their material and si z e Hints

no ,
.
X INTRODUCTION .

as to construction are given only where the construction cannot at

,

once be inferred from the fi gu e r .

Readers who use this book for purposes of tuition will fi d in ,

n

the Author s O n men ta lc F ormen lehr e the P lates on a scale of

’
r a
” *

times th si z e of thi s Handbook together wi th the requisite hints

e ,

for th e use of the work in schools .

ale Meyer
S s : Orna men ta le hree hundre d
T
pl ate in a p ortfo lio
s, .
 T A BL E
S HOWIN G THE AR A R N GEMENT OF THE CHAP TERS AND PLATES .

D IV I S I O N I .

THE E L E ME N TS OF D E C OR ATI ON .

A . Geometrica l E lemen ts . 35 Variou Lea e

. s v s.

1 N etwork 36 37 Various Flower

-
. s.
Fr i t Fe toon
. .

24 -
. Band Motiv es .
3 8- 39 Th e. u
eaf and Flower F e too
s .

5-7 . Diap er Pattern s .

40 Th e L .
, s n.

8 . Th S ector Po lygon an d Star

e , , .
b Animal Organism (Th Fauna s e of
Th S quare an d its Subdi v i ion
.

9 10-
e ,
s .
Or ament) n
Octagon d its S b
.
.

11 Th
4 1 44 Th L ion
. e , an u

div i ion e
-
. .

45 46 Th Griffi
s
&
.

Th Triangl e Hexagon &

-
e n, c
12
. .

4 7 4 8 Th L ion Hea d
. e , , c .
,

an d their Sub di v i ion

-
. e .

4 9 50 Th Panther Head &

s .

Obl o g an d it S b e c.
-

1 3 -1 6 Th
. ,

51 Th Hor e Hea d &

. e n , s u

d ivision .

52 5 4 Th Eagl e
. e s , 0 .

Th Rho m bu an d Tra p e ium

-
e
17
. .

55 Th Win g
. e s, z ,

an d their Subdi v i ion s .

.

5 6 58 Th Do lp hi n
e .

Th Circl e it S bi i i and
-
e
18
. .

59 Th She ll
. e , s u v s on ,

Inter ections s .
.

6 0 Th Serp ent &

e .

Gothic Tracery .
. e , c .

20 . Th E llip se an d its Subdi v i ion

e ,
s . 0 Hum an Organism
. .

61 Th Mask
. e .

a Orga i sm of Plant (Th

Th e
6 2 64 Th G tt q
-
. eMa k ro es u e s .

65 Th Me dusa Hea d
. n s s e
Flora of Ornam ent) .
.

6 6 Th G tt q
e
e ro es u e.
.

L eaf
.

21 Th Ak th
. e an os .
67 68 Th Hal f Figure
-
e -

22 23 Th Artificia l L eaf
.

6 9 Th Sp hi x and Centaur
.

-
. e .
e n
24 26 Artifi cial Fo l iage
. , .

70 Th Cherub Hea d &

-
. .
e -
c
27 28 Th L aure l an d Oli v e
.
. ,
-
. e , .

29 3 0 Th e Vine
- 0 Artificia l Obj ects
. .

rophy
. .

31 Th L otus Papyrus an d Palm

e 7 1 -7 2 Th e T
. .

ymb o l
. .
, ,

3 2 Th I y e v 7 3 7 7 Th e S
-
. .

ibb on
. .

3 3 Th Corn an d Conv o lvulus

e . 7 8 - 7 9 Th e R
. .

Miscell aneous Object

.
,

34 Th Ho p an d Bryony
. e , . 80 . s .
X II TA L B E .

D I V I S I O N II .

OR N A MENT A PPL I E D TO F E AT U RE S .

A B a nd s
. . 1 25 . Th e Decorate d Shaft
Pro fil e d Shaft
.

1 26 Th e
81 84-
Th eFret Ban d 1 27 1 3 0 The Cap ita l
.

Chain Ban d
.

-
85 Th e .

8 6 90
.

The Interl ace ent Ban d

m
.

13 1 Th e Pil a ter Pane ls .

Pil a ter Cap ital

-

1 3 2 1 34
.

Th e
o ette Band
.
-
s
91 Th e R s
.

Can d el abrum Ba e
.

1 35
.

The
.

92 . Th ePal ette Ban d

m
1 36
.

Th e Cand el abrum Shaft

s .

Vertebrate Band
.

93 Th e
.

Cand el ab r m Cap it l
.

137
. .

Th e
9 4 96
-
. Th e Undul ate Band .

1 38
.

Th e B l
u a .

97 . Th eE v olute p ra l Band
S i -
.

1 39
.

The Termi u
t
a a u s er .

98 . Th e En richm u t of the 1 40
.

. Th e Parap et
n

.
s .

1 41 Th e R ail i g Po t
Th Enrichmentofthe Toru s
n
99 . .

1 00
.

Th E fi M
e
t ofthe Cym a
s .

1 42 . Th e Fu itu e L grn r e .

Trap ezo p horon

e n c en ,
1 4 3 1 44 Th e
and the O v ol o .

1 4 5 14 7
-

-
.
.

Th e Con ol e s
.

Bracket
.

1 48 Th e .

1 01 1 03
-
Th e
. L i k Bord er
n .
1 49 1 50 -
. Th e Caryatid Atl ante & , , c .

1 04 Th e Cresti g Bord er n .
D E nclosed Orna men ts , or P a n els
t ; an d A t fix
. .

1 05 106
-
Th e Ak er o er n e
q are Panel
. .

1 07 Th e Ste l e Cre t s
1 5 1 -1 5 5 . Th e S u .

tar hap e Pane l

.

1 08 Th e Perf rate d Cre ti g

o s n
1 56 . Th e S -
s .

Circul ar Pa el
. .

1 09 1 1 0
-
Th e Cr os s
1 57 1 60 -
. Th e n .

Obl o g P nel
. .

1 1 1 1 12
-
Th e Fi i al
n
1 6 1 1 64 -
. Th e n a .

E lliptic Panel
. .

1 13 Th e Finial K ob an d Va e-
n s
1 65 . Th e .

unette and Spa

. .
,

1 14 Th e Pen d ant Knob - 166 1 6 7 -

. Th e L , n ra il
Pane l
. .

1 15 Th e Ro ette
s .

Th e L ozenge Pa e l
. .

1 16 The Crocket an d Gargoyle 1 68 . n .

Variou Panel
. .

Hinge &
,

1 17 Th e
. c .
1 69 1 7 0 -
. s s .

1 18 Th e Ta se l
s
E R ep ea ting Orna men ts, D iap ers
. .

119 Th e
. Fri ge an d Val ence
n ,
.
. or .

1 20 Th e
. L ace Bord er . 1 71 . Th e Square Diap er , &c .

1 72 Th e Cir cle Dia p er, & c

'

. .

1 73 Th e Scal e Diap er &c .

Foliate d Shaft
.
,

1 21 Th e . . 1 7 4 1 75 -
. The Ci cl e Diap er
r , &c .

1 22 Th e . Flute d Shaft . 1 76 1 79 -
Vari u Diap ero s s .

Variou Gri ll Diap er

.

1 23 1 24 Th e
-
. B e as . 1 80 . s s.

D IV I S I O N III .

D E C OR ATE D OB JE CTS .

7
1 8 6 Th eAm p u lla , A
. l ab a tro s n, &c .

1 81 Fun d amental Va e Form s -

s . 1 87 Th Fl wer Va e &
e o -
s , c .

Va e f rms for
.
.

a H lde o rs 1 88 s i o v a r ou s
purp oses
. . .

1 82 Th e Am phora .

Th Jar an d Ci t
.

1 83 The Urn 1 89 e ,
s .

Th Font d H l y Wate
. . .

1 84 Th e Krater 1 90 . e , an o - r

St up
. .

18 5 . Th e s Ba i and Di h
n , s . o .
 TABL E . XI I I
b Dipp ers . Kn fe an d Fork
23 2 . Th e i , .

Pap er K ife
.

1 9 1 Th e Hydria 23 3 Th e -
n .

ci r
.

. .

1 9 2 Th e Bucket & c
234 . Th e S s so s
Han d Bell
.
. .
,

1 9 3 Th e S
. p oon and L a dl e , .
23 5 . Th e -
.

c . P urer
o s .
e Variou Dom e tic Uten il
. s s s s, &c .

1 94 Th e P roch oiis , Oinocho e 23 6 Th e Door Knock r

.
-
e
237 Th e K ey
.
.
,

O lp e ,
&c .
.

238 Th e Han d Mirror

.

1 95 ekyth . Th e L us .
.
-
.

196 1 9 7 -
p out Pitcher
Th e L ip s - 239 Th e F an
240 Variou T l
. .
. .

1 98 Pip e p out Pot

. Th e -
s .
. s oo s .

1 9 9 200 B ttl e
-
. Th e o .

0 F urn itur e
d Dri ki g Ve els
. .

. n n ss .

a S eat s
201 Th Kyl ix K antharo
. .

&
202 Th Rhyt n
. e ,
s , c .

24 1 243 -
. Th e i Cha r .

203 Th C p an d Beaker
e o .

24 4 24 5 -
Th e T hrone an d A m chair r -

tall
. .
,
e u
24 6 Th e S
. .
,

204 Th Cha lice d Go bl et

t l
. .

e an
24 7 Th e S oo
. .
,

205 Th Ha a p
.

F ld g Chair
.

e n
248 Th e o in
. .

206 Th Rum m er or R Om
-

Bench g
. .

e er
24 9 Th e
. .

207 Various Dri king Ve e l

. .

208 Th Mug
.

e
n ss s .

250 . Th e S , ofa and Couch .

209 Th Tankard abl e

.

b
.

. e . . T s .

210 M d ern Dri ki g Gl asse

. o n n s .
251 Th e T
. abl e
252 Th e Writi g Tabl e n -

M eta l Obj ects

. .

B . .

a U ten il
lluminati on
s s for I
c Cab i et
. n s .

Cabinet
. .

253 Th e
21 1 21 2 Th e Ca d e l ab rum
'

id eb ard
.
-
n
254 Th e S
. .

21 3 Th e Anti q e L am p
. o .

21 4 215 Th Can dl estick

u .

Ha ging Cab i e t
255 . Th e n -
n .
-
.

21 6 Th Ha d Can dl e tick
e
e n -
.

s .
Che t
256 . Th e s .

21 7 Th e Can dl e Bracket
.

1 Mi ce ll a eo
-
.
( s n us
21 8 Th Pen d ant L a m p
.
. .

25 7 Th De k an d Ea e l
. e -

219 Th e Cha d e l ier

.

. e s , s .

258 Th Cl ck Ca e an d T il et
. n .

220 Mod ern L am p s

. e o -
s , o
. .

Cab i et n

259 260 Th Be d tea d an d C dle

.

Re l igiou Uten il s e s ra
-
s s
.
.
.
,

221 Th e Alta . r .

222 Th Tri p o d . e .
D . F ra mes, (fie .

223 Th eCen er
. s .
261 - 262 Th e A rchitectural Frame
Crucifix
.

Mi ror Fram e &

.

224 Th e. .
263 -
26 4 Th e r -
c
C o ier and M ,
. .

225 Th e. r z , on 265 -
266 Th e Strap work Fram e -

strance
.

Typ g p hi l Fra m e
.

26 7 268 Th e o ra ca
St pg
. -

k Tabl et
.

269 Th e w
U te il f War an d Hunting
ra or .

Stra p work Bord er

.

c ns s O
27 0 Th e d
.

Weap ons an
-
. =
,
.

226 Th Shie ld
. e .

227 Th He l m et e
E Jew elr y
. .

228 Th Sword and it Scabb ard

. .

!
e s
Pin
.
, .

229 he Dagger and it Scab s 271 Th e .

Butt n
.
.
,

ard 27 2 . Th e o .

ing
.

230 Th Halb erd & e c 27 3 Th e R .

Chain
. .
,
.

274 Th e
Tabl e Uten il
. .

d . s s .
27 5 The Neck l ace .

Bra e l et
.

231 Th Sp oon
. e . 27 6 . Th e c .
X IV B E
TA L .

27 7 Th e
. Girdl e Buckle , , an d 28 9 . Crow s
n ,

l s Cap 290 . Heraldic Acce ori ss es

Pendant
. .

278 Th e
. .

279 Th e
. Ear ring - . G .

280 M s i ce ll aneou Jewelry s .

29 1 . Rom anes que L ette rs .

F H era ld ry
29 2 293 -
. Got c Unci l L etter
hi a s

O ld Engli h L ette &

.

29 4
. .

. s rs , c
inctur d Di v i ion Ol d Germ n L etter
.

28 1 . T es , an s s, 29 5 . a s.
the Shield . 29 6 . Mo d ern Text s .

28 2 . Sh p e of th Shi el d
a s e . 297 . R enai ance L ette
ss rs
Ordinarie
.

28 3 . s . 29 8 . Roman I i tia l n s .

28 4 285
-
. 29 9 . Ro m n L etters
a .

28 6 . F o m of the He lmet
r s . Constru tion c Num era l
s , s,
28 7 288
-
. H lm fi Tra pp ing
e s . M onogram s.
 D I V I S I ON I .

THE ELEMENTS

DECORAT ON .

A . Ge o m e tri c a l El e m e n ts ,

M o ti v e s .

B . Na tu ra l Obj e c ts :
a Pl t g i m
. an or an s s
( lo ra
F Of

o rn a m e n t
) .

C . A rt fic i i l Obj e
a c ts
(TrOp h ie s ,

S ym b o ls , e tc .

)
 Ne tw rk o . Band Moti v e s .

N E TWO RK .
(Pl a te

systems of subsidiary lines required in geometrical patterns

Th e ,

9. g parquets mosaics window glaz ing &c are termed Nets Th

.
, , ,
.
, . e

name explains i tself They may be of very various kinds Th most. . e

frequent are quadrangular and triangular reticulations combi ed of ,

n

single squares or equilateral triangles A Special network resembling .

,

th e plait of a cane chair is required for some Moorish patterns , .

Ordinary quadrangular Equal di visions are set off in one di c

1 . . re

tion parallels are drawn through the points Of division and

, ,

th former c t by a line at an angle of

e uTh points e ,

where these diagonals c t the parallels m ark the di vi sions in u ,

the Opposite direction .

2 Oblique quadrang l ar
. Th divisio s e set Off on a vertical u . e n ar -

line and the parallels are then drawn at an angle of 4 5 on 0

each side of the points of division .

3 Straight with alternate divi s i ons Constructi on similar to No 1

.
,
. . .

4 Oblique quadrangular
. with alternate divisions Const uction , , . r

similar to N 2 O .

5 Moorish Diapers
6 Enlarged detail to No 5
. .

. . .

7 Triangular net
. It is based on the cn tr ctio of the equi
. ns u n

lateral triangle ; and may be arr anged in two attitudes s show .

,
a n

in figs 8 and 9 . .

8 and 9 Enlarged details to fig 7

. . .

B AND M O TIVES .
(Pl a t e s 2

Plates 2 3 and 4 cont in a number of band motives These

,
a .

are made by the joining of regularly placed points those in Plate 2 -

:

are joined by straight lines ; those in Plate 3 by rcs ; and those in a

Plate 4 by a combination of both .

Each of the plates contains beneath th motives Sp ecimens of ,

e ,

their application taken from di fferen t styles ,

.

PL ATE 2 . B AN D M OTIVE S , IN STR AI GH T L IN E S .

1 , 7, 8 and 1 4 Greek . .

2 . Zigzag lines .

15 . Moo ish plaited band

r .

6 an d 16 These exampl es
. m a y be ill us trated by folded strips of

paper .
GE OMETRICAL E L EMENTS . 5

Ne tw k
or . P l te
a 1 .
 E M
G O ETRI CAL E L EM EN TS .

Pl t e
a 2
. Ba d M tiv
n o es .
 C
GEOM ETRI AL EL EMENTS . 7

Ba d M tiv
n o es . Pl at e 3 .
8 O
GE M ETR ICAL ELE ME N TS .

P la te 4 . Ba d M ti ve
n o s .
 Ban d Motiv e s. Diap er Patt e rn s .

71 and 1 9 Carvings in basrelief from the impleme ts of savages

. n .

18 . Greek ase painting Moti v e th seam

v ,
: e .

20 . Waves with lotus Egyptian wall painting (Owen J ones) ,

-
,
.

PL ATE 3 . B AN D M OTI VE S , IN A R CS .

5 -
and 1 3 Undulate lines . .

10 . Moti v e f the strung coin p ttern (coins threaded on a cord)

O
“ "
a .

17 . Romanesque orname t from an evangeliarium written for Charle n

magne 8 th century Library Of the Louvre Paris

, , ,
.

18 . Romanesque mural painti g Swedish church n ,

.

19 . Chinese dam skeened ornament from a v e (Raci t) a as ,

ne .

PL ATE 4 . B A N D M OTI VE S , M I X E D
13 Romanesque glass painting church of 8 U rban Troyes
.
,
: ,
.

15 Frieze house Beau e 1 7 th century (R ci t)

.
, ,
n , ,
a ne .

N B Where two arc are joi e d it i e e ary in ord er to a v oid a

. . s n : s n c ss ,

bre k that the tw centre an d the p i t of j nction hould b e in th

a , o s o n u s e

sam e t aight line

s r .

DIAPER P ATTE RN S .
(Pl a te s 5

Plat s 5 6 and 7 give a selection for flat patterns Almost all

e ,
.

the constructions may be referred to the quadrang lar or the trian u

g ular Net Th ex mples in Plate 5 show

. junctions in a straight
e a

line ; those in Plate 6 are composed of arcs ; and in Plate 7 th e

reg larly placed points are joined by mixed lines

”

u -
.

Th designs may be used as patt rns for parquet flooring window

e e ,

glazing and similar work without further enrichment They are at

, ,
.

the same time available as construction lines for the further develope -

ment f richer patterns for mural and glass painting carpets tapestry
O , , ,

ceilings &c as shown by the examples of application appended to

,
.
,

the simple motives .

PL ATE 5 . D I A PE R PATTE RN S ,
se ,
W I TH STR A I GH T L I N ES .

4 and 6 . Roof covering may be considered as th moti v e

-
e .

10 Th natural motive is the cell of the honey bee

e

1 3 —1 5
. .

. Designs for fl ceiling by Sebastian Serlio l 6 th century

co
'

er , , ,

(Formenschatz) .

PL ATE 6 . D I A PE R PATT E R N S ,
W I TH A R C S .

1, 4 and 7 S c le motives . a .

10 . Romanesque glass painting Cath edral Bourges , , , (Ra c in et) .

 GEOMETRICAL E LEMENTS .

Pl at e 5 . Di p r P tt r
a e a e ns .
12 ME TRICAL E L EMEN TS
GEO .

P la te 7 . D iap r Patte
e rn s .
 Diap er Pattern s . The S e ctor Polyg n and Star
, o , . 13

11 . Mural painting As sisi (Vorbilder fur Fabrikant en und Hand

, ,

werker) .

12 . Old Italian mural painting S Francesco A isi (H s m e ) ,

an ,
ss ,
e se r .

P L ATE 7 . D I APE R PATT E R N S ,

WI TH M I X E D L I NE S .

10 . Old It lian mural painting

‘

a Sa n Francesco ,
A ssisi , (B essemer) .

THE SECTO R , TH E P OL Y GO N , A ND THE STAR .

Polygons and Stars are of frequent occurrence in ornamental

design Th Sector is the foundation of Rose ttes Th Polygon d
. e . e an

the St r are often used as Frames to Ornaments They also serve

a .

as compartments in cofi Ceilings and composite ornamental designs er .

In this case they are frequently di vi ded into smaller figures as will
, ,

be seen in the following plates .

Plate 8 gives the shape and co struction of those which most ,

n

frequently occur ; followed by some examples of their application .

PL ATE 8 R A D I ATI N G F I GU R E S , & c

—4
. .

1 . Th e S ector produced by the reg lar division of circles

,
u .

5 . Th S quare described obliquely in a circle

e ,
.

6 . Th S quare formed b y the juxtaposition of right angles and

e

cutting Off the lengths for the sides

-
.

Th regular Octagon described obliquely in a circle

e ,
.

Th regular Oct gon descri b ed in the square by measuring

.

e a
,

half diagonals from its angles .

Th regular Triangle and Hexagon formed by measuring the

e ,

radius as chords six t ii s round the circumference

, ,
ne .

Th regular Duodecagon formed by applying the radius

e ,

to the circle from the ends of two diameters at right angles

to each other
—1 2
.

11 . Th regular Pentagon and Decagon formed by a co st c

e ,
n ru

tion b ased on the theorem of the Golden Mean as shown “

in the figures .

Th regular fi e pointed Star formed by joining the alter

e v -
,

nate points of fi points placed at equal distances in the ve

circ mference of a circle Known in the history of magic

u .

and witchcraft as the Pentagram or Pentacle “

Th regular six point d Star

e formed by joining alternate
-
e ,

points placed at equal distances in the circumference of a

circle .
14 Th e S ect r Polyg n and Star
o , o ,
. Th e S quare an d , its S ubd iv i ion s s .

15 —1 6 Regular eight pointed Star formed by combining every

.
-
,

second or third of eight points placed at equal distances in

the circumference of a circle
—1 8
.

17 . Regular ten pointed Stars formed by joining every second

-
,

or third of ten points placed at equal distances in the

circum ference Of a circle .

The pointed Stars may also be formed by producing to

a sufficient distance the ides of ordinary regular polygons ; S

and conversely e ch star contains a simpler star as well

, ,
a
,

as the regular polygon of the same number of sides

_

Star formed by a suitable combination of corresponding

,

points reg larly placed on the circumferences of two con

u

centric circles .

U raniscus the star like decoration Of a Greek cofl ceiling '

-
, er .

From the Propylaea in Athens G old on a blue ground . .

Back of a modern chair carved in basrelief , .

Ornamentation of a semi regular pointed star Arabic -

.
,

1 6 th century (Prisse d A e s)
’

, v nn e .

TH E SQ UARE , AN D I TS SUBDIVISIONS (Pl a te s 9 and

'

reg lar four sided figure or Square with its equal sides
The u -
,

and angles is a fundamental form of frequent occurence It may be

,
.

divided into compartments in various ways ; the p i ciip l auxiliary r n a

lines for this purpose bei g the Diagonals (or oblique lines co n n

n ecti g the angles) and the Diameters (or lines connecting the centre
n ,

of each side) Where the square 8 di vided for a ceiling floor or

. 1 ,

similar Object a border is made round the enclosed space In most

: .

cases a la rge central compa tment is retained ; and this may be a

'

r
,

square either parallel or oblique to the other ; or may b e a circle

, ,

an octagon &c ,
.

Th Subdivisions of Plate 9 follow the richer divisions of

e

Plate 1 0 .

P L A TE 9 TH E S QU AR E
—1 5
. .

1 . Th e simple Subdivisions .

P L ATE 10 TH E S QU AR E .

—8 Richer and more complicated Subdi i sions

.

1 . v .

6 .
R lli g of Ceiling
ane inn Nuremberg
n Moder n , , ,
.

8 .P nelling of ceiling Massimi Palace Rome by B aldassare

a , , ,

P i Italian Renascence (L t
eru zZ illy)
, ,
e a rou .
 GEOMETRICAL MO TIVE S . 15

t r the P lyg
Th e Se c o ,
o on , and the ar
St . Pl at e 8 .
16 GEOME TRICAL MO TIVES .

Pl ate 9 . Th e S qua re , and ubd ivi io

its S s n .
 O
GE M ETR CAL M OT I IVES .

Th e S q a
u re , and its S u bdivi i
s on .

Me y er, H and bo k
o of Orn a m e n t .
18 Th e S ubdivi i n s o s of the Octag on , T ria gl e n , an d Hexag n —Th O bl g &
o . e on , c .

THE S UBDIVISION OF TH E OCTAGON , TRIANGL E , AND

H E X AGON .
(Pl a t es 1 1 and

Next to the square the r gular polygons most frequently occur : e

ring i ornam entation are the Octagon d the Hex gon Th Triangle
n an a . e ,

P ntagon Decagon and Duodec gon are for obvious reasons less
e ,
a
, ,

common ; while the other reg l r polygons e scarcely used at all ua ar .

S ometimes the semi re gular po lygons also appear These are form d -
. e

by cutting off equal triangles from the angles of a regular polygon

-

in such a manner that the esulti g figure has long and short sides r n

alternately and the angles all lie on the circumference of a circle

,
.

D iagonals and Di meters with seri s of lines in th manner of a e e

pointed stars are the r diest auxiliaries for divi ding reg lar and
,
ea u

semi regular Polygons

-
.

PL ATE 11 TH E O CTA G ON
—8
. .

1 . Th e best known Subdivisions

-
.

PL ATE 12 . TH E TR IA N GL E , TH E H E X A G ON , &e .

1 5 Simple Subdivisions of the Equilateral triangle

—
. .

6 13 . Th best known Subdivisions of the regular Hexago

e -
n.

14 . Subdivisio s of a regular Pentagon n .

THE OB L ON G, A ND I TS SUBDIVISION .
(Pl a tes 1 3

right angled plane figure with unequal pairs of sides

The -
,

known s an Oblo g is the m st usual of all fundamental forms

a n ,
o .

Ceilings floors walls doors wainscoting panels of furniture table

, , , , , ,

tops book covers a d numbers of other obj cts have an oblong

,
-
,
n e ,

shape The di fference in the lengths of the sides adapts itself to all
.

possible conditions the Oblo g approachi g the square on the one : n n

hand and the B and or Border on the other ; so that the divisions r a e

very various ; as will be seen by a gla ce at the examples A a n . s

r le the diagonal is not used as an auxiliary line but is replaced

u , ,

by the mitral line of the angle as this latter alone gives equal
-
,

breadths of the Border Wh en the Oblo g approaches the S quare . n ,

a

distorted square subdivi sion is sometim s re sorted to (Comp re P I 1 6

“

e - a ,
.
,

fig .

P L ATE 13 TH E OB L ON G
—
. .

1 6 . Th e usual subdivisions .

7 . Mo saic flooring Italian , , ,

16 th centu ry , (S torck t
’
20 E M
G O ETR IC AL MO TIVES .

Pl tea 12
. riangl e Hexag
Th e T ,
on , &c
.
, an d their Su bd ivi i
s on .
Th e Obl ng an d it Subdi v i ion
o , s s . Th e S ubdiv i ion of th Rhom bus
s e ,
&c . 21

PL ATE 14 . TH E OB L ON G .

1 . bdivision for Door panels Sofits of arches

Su , ,
&c .

2 . tablets & ,
c .

3 . Borders for ceilings .

4 and 5 . Modern Album covers (Gewerbehalle) -

, .

L ATE 15 . TH E OB L ON G .

Ceiling Quedlinburg G erman 1 5 6 0 (Gewerbehalle)

, , , , .

Ceiling Massimi Palace Rome by Baldassare Peruzzi (L eta

, , , ,
rouilly) .

Cofl ceiling Farnese Palace Ro m e by B rozzi da Vignola

'

er , , ,
a
,

(L eta r ou ill
y) .

PL ATE 16 . TH E OB L ON G .

1 . Ceiling modern (Gewerbehalle )

, , .

2 . Vaulted ceiling S Peter s Rome beginning of the ,

.
'

, , 1 7 th
century (Italienisches Skizzenbuch)
, .

THE S UBDIVISION OF THE RHOMBUS, A ND THE TRAPE ZIUM

(Pl a te

Rhombus or Lozenge is the name u ually given to the equi

“ ”
s

lateral foursided figu e with pairs of unequal angles The principalr

'

auxiliary lines of these figures are the diagonals Th subdivision . e

generally leaves an oblong or hexagonal p anel in the centre .

Th Trapeziu m is a four sided figure with unequal sides

e Th -
. e

Parallel Trapezium has two parallel sides which are unequal and two
equal sides which are not parallel (P I 1 7 figs 5 to Th Sym .
,
. e

met ical Trapezium has two pairs of adjacent equal sides (P I 1 7

r .
,

figs 9 and. A y other irreg lar four sided rectilinear figure is

n u -

a Trapezoid Some suit ble subdivisions are given on Plate 1 7

. a .

Definite directions for the Trapezoid c scarcely be given ; its sub an

division is seldom easy and varies wi th each partic lar case Th

general principle is —Endeavour to cut ff projecting a gles by mean
,
u . e

: -
o n s

of triangles in such a way as to leave a portion of the entire fig e ur

regular or symmetrical This is however a matter of artistic taste ; .

, ,

and more easily learnt than taught .

Among other applications of the symm trical or parallel Tr e a

p i m is that to Cupolas of D omes

ez u the lines are indeed curves :

on a b ent surface ; but this causes very little alteration in the sub
division .
 GE OMETRICAL O V
M TI ES .

Pl ate 13 . Th e O bl g
on ,
and its Su bdivi s ion .
 GEO ETRM ICAL MOTIVES . 23

bl g
Th e O on ,
an d bdivi i
its Su s on . Pl at e 14 .
24 GEOMETRI CAL MOTIVES .

Pl ate 15 . bl g
Th e O on ,
and ubd ivi i
its S s on .
 O
GE M ETRI AL M T C O IVES .

bl
Th e O on g , and ubd ivi i
its S s on . Pl t
a e 16 .
26 GEOMETRICAL MOTIVES .

Pl ate 17 . Th e R ho m b u s, the Trap e z iu m , a nd their Su bd iv i i

s on .
 O
GE M ETR CA L I MO TIVES .

P l at e 18 . Th e Circl e, and ubdivi i

its S s on .
GEOM ETRI CAL MOTIVES . 29

Gothi c Tr a y
ce r . Pl ate 19 .
30 Got hic Tra y cer . Th e Elli p se .

the quatrefoil (in the centre of fig the cinquefoil & Th pro .

,
c . e

j
e cti g points
n term d cusp the voids between the
a re cusps are e s,

termed foils .

P L ATE 1 9 TR A C E R Y
—
. .

1 11 . Gothic tracery for panels and w indows Th figures give

, . e

partly the fundamental construction partly the further deve ,

l p m t
o Thus figur s 1 and 2 3 and 4 6 and 7 8 and
e en . e , , ,

9 1 0 and 1 1 belong together

, , .

THE ELLIPSE .
(Pl a te

Ellipse is a figure whose radius of curvation is continually

Th e ,

changing It has the p ec liar quality th t if any point on th

. u a , , e

circumference be joined with the two foci the sum of the two o , c n

ne cti g lines is invariable

n and always equal to the longitudinal axis , .

Th three centred arch is an approximate construction to an

e -

elliptic curve It is composed of a number of ares which is not

.
,

possible in the cas e of the ellipse As regards beauty of line it c . an

never be a substitute for the Ellipse ; but its easier construction has ,

notwithstanding caused it to b used for many purposes,

'

e .

Th expression Oval for the ellipse is erroneous Oval is

e
“ ”
,
.

derived fro m ovum (egg) and therefore means an egg shape

“
,
-
.

Th Ellipse is of comparatively late appearance in art the o

e ,
c n

struction presupposing a certain knowledge of Geometry which was ,

not possessed by primitiv peoples Afterwards it became of common e .

application as will be seen from many passages of this Handbook

,
.

Th e Ellipse is a very popular shape for ceilings panels boxes and , , ,

dishes Figu e 1 5 affords hints as to th manner of subdividing it

. r e .

20 . TH E E L L I P S E , & e .

C n truction by m ean of 8 p int

o s s o s .

When the q are with it d i g al d tran v er al is p j

s u s a on s an s s s ro e c

te d Obl g the circl e d e c ib e d in it b ec m e an Ellip e

as an on ,
s r o s s .

C truction from the F ci

on s o .

Fr m the end f the c jugate axi d e crib e circl e with a

o s o on s, s s

ra di of one hal f th tran v er e axi ; the p oint where the e

us e s s s s s

circl es t each ther will b e the foci N w div id e th tra

ou o . o e ns

v er e axis into two e q al p art an d from the f ci ce tre

s un u s ,
o as n s

d e crib e circl e ha v i g th e un q a l p art for their ra dii ; the

s s n es e u s

p i t of i ter cti n w ill b e f ur p int of the E ll ip e An th r

o n s n se o o o s s . o e

di v i ion w ill gi v e an th r f ur p i ts an d
s on o e o o n ,
so .

Con truction by m ean of Ta gent

s s n s .

C n truct an O bl o g with i d e f the l e gth of the tran v r e

o s n s s o n s s e s

an d c nj gate ax re p ctiv ely ; draw the tra v er al tha t

o u es s e ns s s, 18 ,
 E M
G O ETR CAL I MOTIVE S . 31

Th e Ellip se , an d ubdivi i
its S s on . Pl ate 20 .
32 Th e Elli e ps .

the t an v r e d njugate ax ; j oin the end of the axe in

r s e s an co es s s
on e of the quarters by a di ag nal ; d t fl a num b er of p oi t o an se -
o
'

n s

on thi diagonal Thro gh the e p oint draw straigh t l in from

s . u s s es
the o pp osite angl e an d al o p arall l to the l gitudina l axi , s e s on s .

N w join the p oint thu o b taine d on the out i d e of the quarter

o s s s s

in th way show in the figure ; an d t an fer the e line to the

e n r s s s
rem aining th ee quarter ; an d a eries of ta g nt will b e ob taine d
r s s n e s ,

within which the ellip e can b e drawn by han d s .

Con tr ctions by mean of two Circl es

s u s .

With the centre of the Ellip se as a centre d e c ib e t w circles s r o

p a i g thro gh the end of the tran v erse and conjugate axe
ss n u s s s

re p ectiv e ly ; d aw a num b er of diam ter through two pp o ite

s r e s O s
qua drant ; where the e diameter
s t th m all er circl e draw s s cu e s ,

p arall el to the l ongitudinal axis ; an d w here they t the great r

s cu e
circl e p arall l to the tran v er e axi (or v ice v er a) ; the p oint
, e s s s s s s
of the p arall e l will then h p oints on the e ll ip se Th oth r
s e . e e
p oi ts re quire d may b e b tai e d by p ro duci g the p arall el s into
n O n n

the remaini g quad nt Thi con truction m y b e p ecially re

n ra s . s s a s

com m end e d f p ractical use or .

Practical con truction on a l arger scal e (centre gard en b e d

s s, -
s,

Mark the two foci by na il p o t & ; pl ace roun d them a s, s s , c .

cord e qual in length to the tran v er e axis plu the di tance s s s s

b etween the foci and tie d at b th e d ; tretch the cord tense , o n s s ,

by means of a p encil and l et the l atter run round the foci the , :
r ulting figure will b e an E ll ip e
—12 es
S e v era l con tructions for E ll ip i d
s .

con tructi n 7 —
7 . s so s .

I n 9 the l e gth of the tran v r e xis h

s o s a n s e s a as
d efi ite in v ariabl e p rop ortion to that of the co j gate axis
_

n , n u , so
that wh n the one i giv en the other im m ed iately foll ow I
e s s . n

c n truction 1 0 1 2 the l ength of each axi i v ariabl e Th

o s s -
s s . e
p int of junction of two circl es of different di am eter m u t lie on
o s
th e s am e traight line the centres of the two circl e
s as s .

De crib e two circl es each of w hich p a es thro gh the centre of

s ss u

the other Join the centres w ith the p oints of intersection of the
.

circl e the traight l ine so f rme d will m ark ff the four arc
s: s s o -
o s
of which as the figure hows the Ellip soid i co m p o e d Th cent e
, S , s s . e r
p oints are marke d by s m all d t o s .

De crib e two circl es touching ach other an d with the p oint f

s e , o
c ntact as centre d e crib e a third circl e of the same d iameter
o , s .

The e three irc l es o t each other in four p oints

s c Join the e to u . s

the ext al ce tres ern h wn on the fig re ; an d the re ul ti g

n as S o u
“

s n

f r traight l ines will again mark ff the f ur arcs which are

ou s -
O o
then to b e d e crib e d from the p oints indicate d by th sm all d ots
s e .

C n t ct two quare ha v i g
o s ru si d e i com mon an d in them
s s, n on e n ,

d crib e th f r dia nal ; the e will then mark ff the four ar

es e ou g o s s -
O cs
hi h mu t then b e drawn from the p ints d enote d b y s m all
c
at
v s o
o s .

C n truct a recta gl e w ith i d es e qual to the tra v er e d

o s n s ns s an
l o gitudi al axe re p ectiv e ly ; draw the tw tran v e als (th
n n s s o s rs e
tran v r e an d l gitudinal axe ) an d join th ir end in one of
s e s on s e s

the quarter C t ff from thi li e b ginni g fr m the p int of

s . u -
o s n , e n o o

j uncti n with the c njugate axi the difference of half the tra
o o s, ns
ve e d half the co jugate axi ; on the centre p oint of the
rs an n s re

m aini g p ie e dra w a p erp e d icul ar an d the three more im il ar

n c n s
li e the e f u l i e wi ll th n h w the limit of the arc w hich
n s: s o r n s e s o s s

a re t h n to b e d awn fro m the

e i t m a ke d by s m a ll d ot
r p o n s r s .
 Th e Elli p e s ,
&c . Th e th e c tr d Arch
re -
en e . 33

C n truct an O bl ng with i d es e qual to the t a v er e d

o s o s r ns s an

l git dinal ax r p ectiv ely

on u d draw the two t a v er a l
es es , an r ns s s .

M a ure the half of the tran v erse axi up on hal f the l ngitudinal
e s s s o
axi and ascertai th diff rence ; halv e this difference Thi ha lf
s, n e e . s
diff ence m u t w b e taken four tM al ng the tran v er e
er s no es o s s

axi tr m th centre p int f the Ellip id and three tim e al ong

s o e o o so ,
s
the l gitud i al axis Th four re quire d p oint wil l thus b h
on n . e s e O
t i d
a ne Th traight lines connecti g them will gi v e the p oint
. e s n s
o f junction of the arcs .

C n tructi n fro m eight centre

o s o s .

C truct an O bl g wh e i d are e qual to the maj r and

on s on os s es o
m i r ax
no re p ectiv ely ; draw the t a v er al an d j in their end
es s r ns s s, o s

in of the quarter Fr m the n are t a gl e draw a p p

on e s . o e s n er en
to thi diag nal ; the p i t w here thi p erp endi cul ar cut
,

di l cu a r s o o n s s s
the two axe will b e two of the re quire d centre Tw more
s s . o a re
O b tai e d by ymm etrical tran fer nce Fr m the e four p i t
n s s e . o s o n s
d e cri be circl e with a ra diu
s (CB DA) ; the p oi ts where
s s -
n
they t each oth r inter ally will giv e f ur m re centre I f the
ou e n o o s .

centre thu f und b e j ine d by m ea f traight line

s s o hown o ns o s s, as s
on the figure the l atter will m ark the p oi t wh re the eight
, n s e
arc w ill m et
s e .

Con tructi n f O v al or egg hap e d figure Th c truction f

s o o s -
s s . e on s o
s uch fig re u ually c n i t in comb ining a em i ci cl e with a
u s s o s s s s -
r

s em i llip e -
e s .

Draw in a circl e two d iam eters at right a gl e t each oth r n s o e

an d tw inter cti g chord of a q a drant ; th e when pro duce d
,

o se n s u es
wi ll d eterm i the p oi t w here the v a ious ar m eet Th
ne n s r es e
entre of th e l atter lie on the end of the diam eter
.

c s es s s
Th con truction of the l w er ha l f i the am e in fig 7 Th
.

e s o s s as . e
centre f the upp er l i in th inter ecti n of ta gent to the
.

o es e s o n s
l wer and upp circl e
o er s .

Exam pl e f the ubdi vi ion and d ecorati n of an e llip se (St rch

o s s o , o
’
s

Z ei h v orl ag n)
c en e .

TH E TH R EE CE N TRED -
ARCH .

hree centred arch which was often used in the Transition

The T -
,

period between the Gothic and the Renascence may be considered as , a

semi ellipsoid ; and it may be described by one of the methods sh o w

-
n

on Plate 20 (see also the Head piece to this Section on page -

Me y e r, Han d bo k o of Orn a m e n t .
 34
’

N A T U R A L F O R MS .

a . The Or ga n isms f P la n ts (F lor a

o f Orn a men t)
o .

In nearly every style the plant world h s been used in patterns -

a .

Leaves sprays flowers and fr i ts either singly or combined have

, , ,
u
, ,

been adapted in ornament Th direct imitation of nature retaining

. e ,

form and color as much as possible leads to the naturalistic con ,

cepti ; the const uction of an ornament according to the rules of

rhythm and symmetry with a stricter obse vance of regularity —is
on r

,
r

known as the artificial method .

Th selection of the comparatively f w plants from th l xuriant

e e e u

field of the plant world was partly determined by beauty of form (the
-
.

outline of the leaf the delicacy of th e Spray &c ) and partly by the
, ,
.

f t that they possess (or did at some time possess) a symbolic

ac

meaning .

Th e plate s which illustrate this section will first exhibit th e

Ak th os ; and then such plant forms as are less used or only found
an -

in certain styles They will first be presented as they exist in Nature ;

.

and then as they w ere modified in the various styles .

TH E AKAN TH OS L E AF .
(Pl a t es 21

Of all the ornamental designs which have been borrowed from

plants ; the Ak th s is the most popular Since its introduction by
an o .

the Greeks it recurs again and again in every Western style A

,
.

symbolical significance has never attached to the Ak th ; its freque t an os n

36 N ATU RAL F OR MS .

Pl at e 21 . Th e Ak a n th o s L eaf
,
and th e Artificil a L ea f
.
N A TU RAL FORMS . 37

ti ial
Th e Ar fic L ea f
. Pl ate 22
.
38 NATURAL FO RMS .

Pl ate 23 . rtifi ia l L eaf

Th e A c .
 Th e A rtifici l L eaf a . Artificial Fo liage . 39

5 . Romanesque leaf monastery of ,

St T . rophimus ,
A rles ,
X II . century
( g
Ra u en et
) .

6 . Gothic leaf , (
L e i vre) .

PL ATE 23 . TH E AR TI F I C I AL L E AF .

1 . L eaf French Renascence St Eustache Paris

, ,
.
,
.

Leaf style of Louis XVI (R g t)

t
, ,
a u en e .

L eaf French Renascence church Epernay (Li ev e)

, , , , r .

1
- Leaf French Renascence (Gropius)
, ,
.

1
0 Modern Leaf Louvre Paris (F A M Cours d o
, , ,
. . .
’
rn em en t
) .

5
0 Modern L eaf Theatre Monte Carlo Monaco (R gu
, , , ,
a en et
) .

ARTIFICIAL F O LIAGE .
(Pl a te s 24 —2

croll s a purely artistic in v ention the natural plant having

Th e S I ,

no tendrils Flow rs and calices such as f equently occur in a tificial

. e ,
r r

foliage are usually developed with serrated edges composed to recall

, ,

natural models (Comp Plate 25 figs 2 und ,

A tificial foli age is .
,
. r

often combined with forms from plants e g la el oak ivy ears ,

. . : ur , , ,

of wheat &c (Comp Plate 26 figs 2 and

,
.
,
What was said above .
,
.

Of the Ak th s leaf holds good here too for the di fferences of exe
an o , ,

cu ti in the various styles Th e greatest luxuriance d the highest

on . an

elegance were attained by the Italian Renascence (Comp Plate 25 ,

.
,

fig It is characteristic of the Lo i s XVI epoch that the lines

. u .

which form the scroll are som stim s flattened and so to Speak make e e , , ,

elliptic spirals (Comp Plate 26 fig ,

.
,
.

PL ATE 24 . A R TI F I C I AL F OL I A GE .

1 . Ornament summit of the monum ent of L ysik t

,
r a es
,
A thens .

2 . Cup Roman,
.

3 . Rom an ornament the so called Medicean Pilaster ,

“
(A i rt ficial fo
liage of a large ize) S .

4 . Fragment of a Greek relief (F A M Co s d o ,

. . .
,
ur
’
rn em en t
) .

PL ATE 25 . AR TI FI C I AL F OL I A GE .

1 Roman ornament marble B iga from the style of the ornament , ,

it must have been an imitation of an original in bronze .

2 . Roman ornament from th so called Florentine Pilaster a richly

,
e
“ ”
,

decorated marble relief in the Uffi i Florence (Jaco b sthal) z

, ,
.

3 . Romanesque frieze St Denis (Li evre) ,

.
,
.

4 . Early Gothic Notre Dame Paris (Li evre) , , ,

.

5 . Re ascence ornament relief on the tomb of H i im o Basso St

n , _
er on ,
a.

Maria del Po p olo Rome by S ansovino (Gropius) , , ,

.
40 NATURA L FO RMS .

Pl at e 24 . i il
A rt fi c a li g
Fo a e .
NATURAL F ORM S . 41

i i l F liage
Ar t fic a o . Pl te
a 25 .
 N ATU RAL FO RMS .

Pl ate 26 . rtificial F liage

A o .
44 NATU RA L FO RMS .

Pl ate 27 . Th e L a l
u re ,
and th e O l iv e .
 NATU RAL FO RMS . 45

Th e L a u r el, th e B a y, an d th e O li v e . Pl at e 28 .
46 N ATU RAL FO RMS .

Pl ate 29 . Th e Vi ne : N atural .
N A TURAL F ORMS . 47

Th e Vi ne : ti ial
Ar fic . P l a te 30 .
48 Th e Vine the , Lo tu the Papyru an d the P a l m
s, s, .

ecclesiastical art of the Middle Ages adopted the Vine toge

Th e ,

ther with ears of Corn as the symbol of Christ , .

L at r styles and Modern art have adopted th Vine in both the

e , , e

antique and medieval senses .

PL ATE 29 . TH E V I N E .

1 . Nat ral branch

u .

PL ATE 80 . TH E V I N E .

1 . Scroll ornament Roman relief ,

.

2 . Roman ornament vertical B order , .

3 . Early Gothic ornament Notre Dame Paris (Li evre) , , , .

4 . Renascence ornament Italian pilaster ,

.

5 . Renascence ornament frieze Venice 1 6 th century (G ii , , , ,

r n er
) .

TH E L O TUS, TH E P APYRUS, AND TH E P AL M .

(Pl a te

Lotus and th Papyrus are p lants of ancient oriental civi

Th e e

lis tio ; and play an important part in th social life of the Egyptians
a n e ,

Hindoos Assyrians and other nations Th dried stalks of th se water

, ,
. e e

pl nts were used as fuel or made into mats and other plaited arti
a ,

cles ; their roots served as food ; the pith as wicks for lamps The .

paper of the ancients was m ade of Papyrus This explain sits appear .

ance in the ornamental art of these nations and its special luxuriance , ,

in E gyptian style Spoons and other utensils were decorated with Lotus
.

flowers and calices ; the ca p itals of Columns imitate the flowers or

buds of the Lotus the shaft m pl s a bound group of stalks ; the
: r ese e

base reminds us of the root leaves of these water plants ; their mur l a

Painting shows Lotus and Papyrus moti v es in the most comprehe sive n

manner Th Lotus was sacred to Osiris and Isis and was the sym
. e ,

bol of the recurring fertilisation of the land by the Nile d in a ,

an ,

higher sense of immortality

.

,
.

Th Palm of which a few varieties exist in the Eas t and S outh

e ,

of Europe is also used in ornament l art Palm leaves or branches were

,
a .

used at the entry of kings into Jerusalem at the feasts f Osiris in ,

o

Egypt at the Olympian games in Greece and in the triumphal pro

, ,

cessions of ancient Rome They were the symbol of victory and of .

peace In this latter sense they have been rece ived into the ritual
.

of the Christian church Th late Renascence and following styles . e

down to the present day have made a decorative use of palm leaves .

Th symbolic significance in a higher sense as the token of eter al

e ,
n

peace has secured for the Palm leaf a place in Modern art on to mb s
,

and similar monum ents Th decorative e ffect of dried palm fronds . e ,

 NATU RAL FO RMS . 49

Th e L o tu the Papy
s, ru s , an d the P l m
a .

Me y er, H and b k
oo of Orn a m e n t .
50 N ATU RA L FORMS .

Pl ate 32
.
Th e I vy : Natu al
r ,
an d Artifica l
.
52 Th e Corn ,
&c . Variou s L ea v es .

THE C ORN , THE H OP , THE C ONVOLVU L US ,

AND THE B RYONY .

(Pl a t e s 3 3,

eeing how important agriculture has been in ll ages it w s

S
‘
a , a

impossible that decorative t sho ld neglect the ears of Wheat ar u

,

although their comparatively sc nty ornamental possibilities prevented a

any very extensive application Combined with other motives e rs .

,
a

of Corn have been made us e of in various styles In ecclesias tical .

art they have a symboli c l significance (S what was said of the Vine)
a ee .

Th H Op (H mu lus l p u l s) is a well known indigenous plant

e u u u

of civilisation and also occurs wild in marshy woods I ts picturesque

,
.

qualities indicate it as well adapted for ornamental use In combina .

tion with e rs of Barley it is applied in Modern art to th decoration

a ,
e

of Beer mugs th walls of Inns &c

-
,
e ,
.

Th e Convolvulus ( Convol u lus) an indigenous climbing p lant of v ,

ornamental appearance is frequently us ed in Modern art ,

.

Th e B ryony (B ryom ) has delicate tendrils and beautifully in

'

dented leaves whi ch afford a fertile motive so that it is w to ishi g

, ,
n n

that this and other allied plants have hitherto found comparatively
,

little favor in decorative t ar .

PL ATE 33 . TH E CORN , &c .

1 . Ears of Cats (Av en sa ti a) a v .

2 . Ears of Rye (S ca le cer e le) e a .

O
C Ears of Wheat (M ticum lga e) vu r .

Pl
s
Ears of Spelt (T iticum sp elt ) r a .

‘
J
C Ears of the comm on Barley (H o deum dis tichum) r .

G Ears of the battledore Barley (H o deu m zeokm ton) r

’

I
‘
N Field Co o v lus (Con olvu lus a ensis) with red flowers Th
nv n u v rv . e

hedge Convolv lus (Convolvu lus sep tum) has a similar habit and
u

white flowers (Th group has been sk etched f eely from a

. e r

from nature by B ofl ge of Stuttg rt )

,
n r a .

PL ATE 34 . TH E H OP , &c .

Hop s and B ryony (drawn from pressed plants) .

VARIO US L E AVE S .
(Pl a te

Plate 3 5 pre s nts a series of various leaves whose general orna

e ,

mental possibilities have either secured or deserve to secure for them

aplace in art .

Th Oak the king of our indigenous tree s the symbol of power

e , ,
 N ATURAL F ORMS . 53

Th e Cr
o n, an d th e C nv lvulu
o o s . Pl ate 33 .
54 N ATURAL FO RMS .

Pl ate 34 . Th e H op , and the Bry ny

o .
NATU RAL FORMS . 55

Va i u
r o s Le av es . Pl ate 35 .
56 Vari u o s L ea v e an d Fl wer s, o s .

and strength in antiquity the tree of Jupiter has from time to tim9
, ,

been used in every western style Oak foliage and perhaps alm ost .
,

as frequently the leaves of the Maple are often used in early Gothic , ,

where we meet them on friezes cornices and colum s Th f , ,

n . e ro

quent recurrence of oak leaves i certain works of the Italian Rena ,

n

scen c is due to the fact that the Oak w s the crest of the family of
e, a

d ella Rovere (R o er e winter oak ; tw members of which family

v o

ascended the papal chair as Sixtus I V and J lius IL) Oak som ti ,
. u .
,
e

mes alternating with la rel is usual orn ment of medals and coins
u ,
a a .

PL ATE 35 . OA K L E A V E S , &c .

1 Leaf of th winter Oak ( Q e cus sessiliflo a)

. e u r r .

N S pray of the bitter Oak ( Q e cus cerris) u r .

O-
Leaf of the Maple (Aeer ca mp es t e) r

t Spray of the sugar Maple (Acer p la n ta noides)

.

fl
C Leaf of a species of Ranunc lus u .

Q Leaf of the oriental Amber tree (L iquida m ber or ien ta l ) e .

fi Leaf of the Am c Am ber tree (L i quid a mbe S tym eifl a)

erI an r u .

(T his tree fu nishes the Storax or S tr

yrax a kind of resin ) , .

o
o Leaf of the Tulip tree (I /iriode d on t lip if m ) n r u e .

o
c Leaf of the climbing Mikania (Mika ni s ca de s) a n n .

o Leaf of the Liverwort (H ep a tiea tri loba) .

VARIO US F L OWERS .
(Pl a te s 8 6 ,

It need scarcely be said that flowers these most beautiful pro ,

ducts of the plant world have in all ages been exceedi gly popul r ,
n a

in ornam ental rt In flat as well s in relief ornament they are

a . a

used in the most manifold forms as bouquets garlands wreaths &c , , , ,

.

Flower painting for decorative purposes (fans tapestry &c ) has de

-
, ,
.

ve lOp d i to a distinct branch of art

e n Flowers with their natural .
,

de elopement from a centre are the most obvi ous models for the for
v ,

mation of Rosettes (rosette little rose) Th Rosettes on th e we ll = . e

kno w n sarcophagus of Scipio the rosette B osses on the doors of th ,

e

Antique and the Italian Renascence are striking examples of this ,

.

Th realm of Flowers is so extensive that we must confine o

e ur

s elves to a few examples .

Plate 3 6 gives a variety of single fl owers (drawn from casts

from nature by J G B ofi ge of Stuttgart) Plate 3 7 shows a bou
. . n r : ~

quet of flowers .

PL ATE 36 . V AR I OU S F L OWE RS .

1 . pine Rose
Al (R hod oden dr on) .
NATURAL F ORMS . 57

Vari u Fl w
o s o er s . Pl at e 36 .
58 NATURAL FORMS .

Pl t a e 37 .
Va i
r ou s Fl w
o e rs .
 NATURA L F ORMS .

Pl at e 38 . Th e F uit F
r e s toon .
N ATU R AL FORMS . 61

Th e Fruit F t
e s oon . Pl ate 39 .
62 NATU RAL FO RMS .

Pl ate 40 . a and Flower F t

Th e L e f, e s oon .
 Th e Fe t s oon . An m i al Orga n ism s . 63

PL ATE 40 . TH E L E AF F E STOON , &c .

1 . Festoon between skulls Roman ,

.

2 . Festoon tomb of Beatrice and L avinia P

, tti on ze ,
Sta . Ma rI a della
Pace Rome Renascence by Baldassare Peruzzi
, , , .

3 . Festoon Louis XVI style ,

. .

4 . Festoon Modern Paris (R g t) , , ,

a u en e .

Anima l Orga nisms (The F a un a of Orna men t) .

By the side of the Flora stand the Fauna of ornament Th , . e

us of A i mals in natural or idealised forms is considerable ;

e ,
n , ,

but compared with that of Plant forms it is less extens ive The
,
-
, .

r ason of this is obvious that greater diffic lties stood in the way
e : u

of the adaptation of a i mal forms than in the use of plant motives n .

Th absence of A imals in the Mahometan styles is due to religious

e n

maxims whi ch forbade or limited the use of representations of living

Beings .

Following the same direction as was taken i the Flora we Shall n

'

find that the principal representations from the Fauna are not as ,

mi ght be supposed those of domestic a i mals such as the horse the ,

n ,

dog and the like but that the selection was g i ded first by the sym
,
u

b li character and next by the o amental possibilities of each

'

o c ,
.

If we disr gard the more a cid t l naturalistic use of animals

e en a ,

such as e liven scroll ornaments in the shape of butterfli es birds

n , ,

reptiles and other a i mals and confine our attention to those inde
,
n ,

pendent forms of a i mal ornament which have become typical ; they n

W ill be found to diminish to a comparatively small number the most ,

important of which will here be treated in detail Of the mammalia .

we have fi st to mention the Lion Tiger and Panther the Ox the

r
, , ,

Horse and the Goat ; the D lphi also finds a place Th Eagle
,
o n . e

is the only bird which has been generally used Then come the .

fantastic forms of fabulous animals the Griffin the double headed : ,

Eagle 8 0 ,
5 .

TH E L ION .
(Pl a te s 4 1

Lion (F elis leo) holds the first rank in ornamental fauna

Th e .

His stre gth bis courage and his nobili ty have assured him from the
n , , ,

earliest times the Title of King of Beasts His majestic stature his “ ”
.
,

compact proportionate build his striking muscles o ffer gratef l pro

, , ,
u

bl m to art
e sL ying walking Sitti g fighti g conquering or con
.
, ,
n
,
n ,

quered he is an often used motive

, .

L ion scenes and lion h ts are common subjects on the palaces un

of the Assyrian kings Characteristic natural movem nts and a .

,
e ,
64 Th e L ion .

distinctive rendering of the muscles give these idealised representations ,

a peculiar charm and a certain grande ur .

Th L ion was used in the Egyptian reli gion

e Th e fact that the .

annual overflow of the Nile so fertilising and of such imme se im ,

n

portance for the land occurred at the time when the sun entered the ,

S ign of the Lion brought the anim l into relation with water ; and led
,
a

to representations on pails and other vessels for water &c Egyptian ,

.

ar t us ually ide li ses the Lion till he is unrecog i sable ; it represents

a ,
n

hi m at rest ; and the simple severe treatment of the mane (not unli ke ,

a sti ff ruff) gives hi m somewhat of the appearance of the Lioness ,

which does not posses one .

Am ong the Greeks and Romans the Lion was cons idered as the
guardian of Springs of gates and temples ; hence his appearance at
, ,

fountains on flights of steps over gates and on monuments Th e

, , , .

sleeping Lion is the symbol of the fallen hero (Th lion of the . e

Piraeus the tomb of Leonidas and the tombs of Halicarn ss s m y

, ,
a u ,
a

be quoted as evidence ) .

I Christian art the symbolism of the Lion is various as th

n : : e

emblem of the Redeemer (the Lion of the Tribe of Judah) as the ,

emblem of the e i l principle and of the enemi es of the church as

v

well as of the D evil hi mself (the enemy who goeth about as a ro ring a

lion seeking whom he may devour) as the attribute of the evange

, ,

list St Mark and of other saints Hence his frequent appearance on

.
,
.

the vessels and other articles of reli gious use &c

, ,
.

In consequence of the crusades in the 1 2th centu ry he w s i a n

t od ced into Heraldry in whi ch he became the m

,

r u ost popular animal ,

fig re As a heraldic creatu e he was severely idealis ed (see

u . r ,

Division III under Heraldry) ,

.

In the Renascence period the Lion is represented in ll of th e ,

a

foregoing uses .

In the Rococo period th ere was little Skill and little understan , ,

ding for the figure of the Lion

,
.

Modern art follows the example of the Anti que and the Ren s a

cence ; and thus it comes that in the present day the Lion enjoys the
li on s share in decoration
’

It is remarkable that in all ages when representing the Lion A , ,

r

tists have given to hi s countenance something of a human type by using ,

the oval eye of man instead of the round Cat like eye (Compare ,
-
, ,

Plate 4 7 fig
Plates 4 1 —4 3 Show the Lion in nat ralistic treatment and also
,
.

u ,

the conventional treatments of the various epochs ; Plate 4 4 is devo

ted to heraldi c treatments .

exhau tiv e articl e entitl e d Der

An s ,
L Ow e in d er Kun t by Con s ,
”
st.

Uh d e will b e f u d in the Gewerb eha ll e pp 8 1 et e qq

”
, o n ,
1 8 7
. 2 . s .
 NATUR AL F OR MS .

Th e L i on .

Me y e r, Hand b oo k of O rn a m e n t .
66 NATURAL FO RMS .

Pl at e 42
.
Th e L IOI I .
68 NATURAL FO RMS .

Pl at e 44 . Th e L
‘
i on .
 Th e L in o .

P L ATE 4 1 . TH E L I ON .

1 . Walking L ion from Nature (M h Bild rbog n) , ,

unc en er e e .

2 . Egyptian Lion relief with sunken outlines temple D , , ,

ao bel, (Ra
gu en et
) .

3 . Egyptian L ion Capitol Rome (R g t) , , ,

a u en e .

4 .
A ssyrian L ion glaz e d clay slabs royal palace Kh o s,
b d 6 th ce , ,
r a a ,
n

tury B C . .

5 . Heads of slaughtered lions Assyrian h s relief British Mus e um ,

a -
,
.

PL ATE 42 . TH E L I ON .

1 . L ion suppo ting a shield (called il Marzocco by Donatello Na

r
“
,

ti l Muse m Florence Italian 1 5 th century

on a u , , ,
.

2 . Lion front of the Louvre Paris Modern by Barye (Baldus Ra

, , , , , ,

gu en et
) .

3 . Lion Tuileries Paris Modern (Baldus R g t)

, , , , ,
a u en e .

4 and 5 L ion in front of the palace of the Cortes Madrid Mo

.
, , ,

dern (R g t)
,
a u en e .

6 . Lion supporting a shield Modern (R g e et) , ,

a u n .

P L ATE 4 3 . TH E L I ON .

1 . Sleeping L ion monument to Pope Clement XIII S t Peter s Rome

,
.
,
.
’

, ,

by Canova .

2 . Wounded L ion Kriegerdenkmal Hannover by Professor Volz of , , , ,

Carlsruhe .

3 . H ad of the Co m panion of the above

e .

4 . Walking Lion Modern French , ,

.

P L ATE 4 4 . TH E L I ON .

1 .Lion in pavement town hall L uneburg , , ,

.

2 .L ion shield of Joh nn of Heringen register of the m

,
ity of a ,
u v er s

Erfurt 1 4 8 7 (Heraldische Meisterwerke) , ,

.

3 .L ion coat of arms Inlaid marble work St

,
Croce Florence , ,
a .
,
.

Italian Renascence (T i i h Eingelegte M m O m t ) ,

e r c ,
ar or rn a en e .

4 .Lion coat of arms Intarsia panel St Maria Novella Florence

, , ,
a .
, ,

Italian Renascence (Meurer Fl h m t ) , ,

ac or n a en e .

5 .L ion tomb in Wertheim German 1 6 th century by J ohann of

, , , ,

Trarbach .

6 Lion supporting a shield mural decoration Modern (Heral

.
, , ,

dische Meisterwerke)
—
.

7 8 Heraldi c L ions Al brecht Du er

.
,
r .
70 Th e Gr fin , & c if . Th e L ion Hea d .

TH E GRIFFIN, AND THE CHIMAERA .

(Pl a te s 4 5 and

In addition to the imitations of natural animals there have been ,

from the arlist times various fab lous Monsters which were composed
c ,
u ,

of parts of s veral di fferent a i mals

e n .

Cent urs Sphi xes the Assyrian hum an Lions Lion and Eagle
a ,
n , ,

men combine the human and the animal body Th combination of

,
. e ,

different animal forms with one another leads to Monsters the chief
-
, ,

representatives of which are the G riffin and the Chi maera Th Griffin ,
. e

is the union of a Lion s body with the head and wings of an Eagle ’

Th fore extremities may belong either to the L ion or the Eagle

e As .

the Lion with water so the Griffin is associated in Antiquity with

,

fire ; hence his frequent appearance with Candelabra on friezes &c In , .

Heraldry the Griffin is the symbol of wi sdom and watchf lness ,

u .

There are other combinations ; e g the Chimaera the Hippo . .

,

g i fi
r the I c
,
hthy g iff & which may be seen
o rin P om p j decoration
,
c .
,
e an .

1 . Greek Griffin Fragment Museum Naples

, , ,
.

2 . Roman Griffin Fragment ,

.

3 . Griffin Renascence
,
.

PL ATE 46 . TH E GR I F F I N , &c .

1 . Head of an A ssyrian eagle headed Personage British Museum

-
,

2 . Head of an Assyrian lion headed P ersonage -

,
.

3 . Roman Chimaera Vatican ,

.

Sitting Griffin support of a seat Castle of Gaillon French Renas

"

4 .
, , ,

cence (F A M Cours d
,
. m t)
. .
,
’
orn e en .

Winged Lion tomb f Loys de B é Rouen cathedral 1 5 3 5

'

5 .
,
o r e sz , ,

1 54 4 .

6 . Winged L ioness as supporter Louvre Paris Mode n (Baldus)

, , , ,
r ,
.

7 . Sitting winged Lioness Casa S Isidora S antiago Chili Modern ,

.
, , , ,

F rench (R gu,
t) a en e .

TH E L ION H EAD .

(Pl a te s 4 7 ,
48 )
ion head has been still more extensively applied than th
Th e L e

entire figure of the Lion It is found in countless exam ples as a .

Gargoyle on the temples of the Antique as a Spout on vessels with , ,

a ring in the jaw as a Handle and Knocker on the doors of the por
tals of the Middle Ages and the Renas cence ; and as a purely deco
r ti
a element like Bosses and Rosettes Th Anti que created
ve . e a
N ATU RAL F R O MS . 71

Th e G iffin
r . Pl ate 45 .
2 NATURA L FORMS .

Pl ate 46 . Th e G iffi
r n ,
&c
.
 Th e L ion H a d e ,
&c . Th e G at H ead
o ,
&c . 73

remarkable form by the direct union of the Lion head with on e

leg to form the support of a Table (S Division II Suppo ts

, ,
ee ,
r ,

Plates 1 4 3 and
PL ATE 47 . TH E L I ON H E A D
1 . Head prospectus of Dr Schubert s Naturgeschichte
,
.
’

2 Head painting by Paul M y h im

,
e er e .

3 . Gargoyle M t p t m Greek (Gropius

,
e a on u , , ,

4 . Gargoyle terracotta Athens (Gropius)

, , ,
.

5 Gargoyle Parthenon Athens

, ,
.

6 and 7 . F ront and Side View of an antique he d Vatican a , .

48 . TH E L I ON H E A D .

Door knocker Cathedral Mainz Romanes que , , ,

.

Heads in basrelief by Ghiberti M dallions inside the bronze

, , ,
e

doors Baptistry Florence Italian Ren scence (Gropius)

, , ,
a ,
.

4 . Head fountain Of the sacristy S L or nzo Florence Ita

,
'

,
an e , ,

lian Renascence .

Head in medallion Italian Renascence

, ,
.

Head Heidelberg castle German Renascence

, ,
.

Gargoyle Opera House Paris Modern Fr nch Architect

, , , ,
e ,

Garnier (R g t) ,
a u en e .

Head Modern French Architect Garnier (R g t)

, , , ,
a u en e .

Head i profile Modern French by the sculptor Cain f

,
n , , ,
o

Paris (R g t)
,
a u en e .

Head by L i enard Modern Fren h

, , ,
c .

Head by Prof Vol z of Carlsruhe

,
.
,
.

TH E L ION H E AD, GO AT H E AD , &c .

(Pl a te s 4 9 , 50 )

iger (F elis tigris) and the Panther ( F elis p dns) are

The T ar

sometimes found in antique works Amorini Bacchantes and Maen ds .

, ,
a ,

gambol about on them or drive in carriages drawn by these crea ~

tu es ; and decorate themselves and their utensils with their skins

r .

Panther and Tiger heads as well as the head of the L ynx (F elis ,

lynx) find from time to time simi lar application to the L ion head
,
.

Ram heads are a favourite form of corner ornament for the cornices
of al tars and tripods ; or serve like the skulls of Oxen as objects
, , ,
‘

from which to hang festoons Th decorative use in both cases is . e

connected with the use of the Ram as a sacrificial animal (Com ,

pare p .

Instead of real animal heads we sometimes meet with fantasti c

forms which may b d ib d as Chimaera heads e , es cr e .
 NATURAL FORMS .

Pl at e 47 . Th e L i on H e d
a .
76 He ad s of Various Anim al s .

PLA TE 49 . TH E P A N TH E R H E AD , &c .

1 and 2 . Front and side View of Panther head Mo d ern French , ,

.

3 and 4 . Front and Side w of Tiger head from Nature

-
n e , .

5 and 6 . Front and side View of Lynx head Antique Gargoyle , ,

Vatican .

P L A TE 5 0 . TH E R A M H E A D , &c .

1 and 2 . Front and side View of Chimaera head Cor er of antique ,

n

three sided altar-

.

3 . Ram head Roman alt r ,

a .

4 . Ditto .

5 . Ditto .

6 and 7 . Front and side View of R m h ad L ate Renascence a e , .

H E AD S OF VARIO U S AN I M AL S .
(Pl a t e

Horse (E qu s) o ffers certain diffic lties in the way of

The u u

artistic imit tion Th legs for exam ple are too thin for rendering
a . e , ,

in Statues except in Metal This circumstance presents less hin

,
.

dra n ce to representations in h s relief As an isolated figure the a -

.

Horse seldom occurs ; he is more frequent in groups forming teams

of two three and more (biga t ig qu d iga) intended to be
, , ,
r a ,
a r ,

the crowning feature of monumental edifices (S Ma rco Venice ; an ,

Brandenburger Thor Altes Museum Berli ; Propylaea Munich) mo stly, ,

n ,

along with the figure of the man who leads him (Horse tamers on ‘
-

the Monte Cavallo Rome) or rides him (Statue of the Condottiere

,

B artolomm eo C ll i 1 4 7 6 Venice ; the colossal statues in the Burg

o e on ,

hof at Vienna ; the Grosser K fii t the Alter Fritz the battle scenes ur rs , ,

by Kiss and Wolff on the st irc ases of the Museum at Berlin) In a .

h s relief the horse is almost without exception represented only in

a -
: , ,

profile (hunti g scenes from the ancient A ssyrian royal palaces the
n ,

frie z e of the Parthenon) In g tt sq Painting he furnishe s the

'

. ro e ue :

fore parts of various monsters the hinder parts being formed by ,

fish tails or in some other way The use of the horse head as a
,
.

medallion on Stables Riding schools Prize cups and numerous objec ts

, ,
-
,
-
,

connected with; sport is common in Modern art In Herald y the ,

. r :

Horse occurs in a few cases (Shield of Stuttgart) In Japan the . :

Horse is symbolical ; and is connected with the hours .

S till less adapted to ornamental purposes is the Ox; d ep e an r r

s
en at ti s are therefore exceedingly rare
on Th same is tr e of the . e u

D g the Pig the Fox the Stag the Hare &c whose forms either
o , , , , ,
.
, ,

entire or as heads are only us d symboli cally on such obje cts as

,
e ,

have some connection with Hunting (hunting weapons powder ho rns , ,

targets) .
 NATURA L F ORMS . 77

Th e Pa th r Head
n e , ,
&c . P l ate 49 .
 78 NATU RAL FO RM S .

P l a te 50 .
Th e Ra m H e ad , &c .
 NATU RAL FORMS .
79

r H d
Th e H o se ea ,
&c .
Pl a t e 51 .
 80 Head of Variou s s A ni m al s . Th e Eagle
.

PL ATE 51 . TH E H OR SE H E A D , &c .

1 .Horse head Parthenon Athens , ,

.

Horse head Assyrian basrelief British Museum

‘
”

2
3 —4 Antique Horse head
.
, ,

. .

Horse head Modern German , ,

.

Head of a hunting Dog ,

H d f F
Hid 5 f 2B 33 by H b n sch den of a e a ,
Mun chen .

Head of an Ox ,

TH E EAGL E .

(Pl a t e s 5 2

Like th e lion among quadrupeds the Eagle (Aquila F a lco , ,

fu l us ) isvthe most important representative of the feathered tribes .

His size and strength his majestic flight his keen vision distinguish , , ,

him above all other birds He has bee used in decorative t since . n ar

the earliest times e g in the Persian Assyrian and Egyptian styles

,
. .
, ,
.

With the G reeks he was the companion of Zeus whose thunder : ,

bolts he keeps and gu rds ; he carried off G anymede on his wings a .

Th e Romans us ed him in the apotheoses of their emperors ; and

c hose him for the st ndards of their legions Napoleon I imitating a . .
,

Roman caesarism granted his armies the French Eagle in 1 8 0 4

,
.

Hence the frequent appearance of th e Eagle on trophies and emblems

,

Of war
'

In ecclesiastical art th Eagle is the symbol of the evangelist : e

S J ohn whom be either accompanies or symbolises independen tly

.
, ,
.

Th e Eagle appears in H rald y t a very early period about e r a ,

th e time of Charlemagne Next to the Lion he is the most us ed .

-

heraldic creature (e g the United States Germany Austria Pru sia d

. .
, , ,
s ,
a n

France under the second empire all possess the Eagle) His heraldi c ,
.

forms vary considerably from the natural one B lue excepted he .

,

appears in all the tinctures Th double he ded Eagle is a Byzantine . e -

a

invention The heraldic eagle is a highly ornamental figure so that

.
, ,

from the middle ages up to the present time he has been employed ,

not only for heraldi c but also for pu ely decorative purposes he is ,
r :

seen in manifold forms i int rsia c t or etched in metal c t in n a ,

u ,
u

leather embroidered woven and painted ; on weapons and tools f rni

, , , ,
a

ture ceilings and walls (Se the Heraldic treatment in Division II I

, , ,
e ,

Our figures Show him atural as we ll as idealised in various ,

n ,

positions and conceptions ; plate 5 3 shows his heraldic forms (Comp ,

.

plate
 Th e Eagle . Th e Wing . 81

P L ATE 5 2 . TH E E A GL E .

1 Young Eagle in a scutella (dish) Roma

.
, ,
n .

2 Roman Eagle pedestal of Trajan s column R m (R g t)

.
,
’

,
o e, a u en e .

3 Roman Eagle Vatican Rome (R g

. t) , , ,
a u en e .

4 Roman Eagle in an oak garland B relief originally in Trajan s ’

.
,
a S-

Forum now in SS Apostoli Rome (De Vico Trenta tavole

,
.
, , , ,

5 Sitting Eagle modern (G erlach Das G w b m

.
, g mm ) , , e er e on o r a .

P L ATE 5 3 TH E H E R AL D I O E A GL E . .

1 Romanesque Eagle Germanisches Museum Nuremberg

.
, , .

2 Eagle G othic style Vi ll t l Duc (Dictionnaire de l hi t c ’

.
, ,
o e -
o- , a rc e

tu re) .

3 Eagle G othic style

. il painting
,
Germanisches Museum N m ,
O , ,
ur e

berg .

4 Eagle Gothic style by Al brecht Durer (Hirth Formensc hatz)

.
, , , ,
.

5 Eagle Renascence by Al brecht D ii

.
, (H i rth) ,
r er
,
.

6 Eagle Renascence (Hirth)

.
, ,
.

7 Eagle Renascence by W d li Di tt li
.
, (Hirth) ,
en er n e er n
, .

8 Eagle Modern G erman (Heraldische Meiste rwerke)

.
, , , .

P L ATE 5 4 TH E E A G LE . .

1 Eagle . as Akroter Flora pavill i on Louvre Paris Architec t

, , , , ,

L f l (B aldus)
e ue ,
.

O
B Eagle in a laurel garland Modern German by Rauch
, , , ,
.

O
O Eagle with olive branch in medallion L ouvre Paris (Baldus)
, , , , , .

P
l Eagle hi gh relief by Rauch on monument Berlin
-
, , , ,
.

i
O French Eagle M odern new Opera House Paris A chitect Garnier
, , , ,
r
,

R
( g
a u en et) .

)
0 Flying Eagle from Natu e ,
r , ( g
Ra u en et
) .

1
N Eagle from nature
,
.

WING (Pl a te THE .

A s the small scale of the preceding plates does not admit of

the details of the Wing being fully shown ; and as draughtsmen as '

well as modellers are often called upon to design winged shapes (be
,
-

sides the Eagle Angels Am orini Genii G ott sq es the C duceus of

, , , ,
r e u ,
a

Mercury the symbolic Wheel of the railroad &c we have thought it

, , ,
:

advisable to add a plate showing the details of th e Wings on a .

somewhat larger scale They are taken from nature ; but will be .
'

found helpful for idealised renderings .

P L ATE 5 5 TH E WI N G . .

1 Wing of a duck
. .

2 Wing of a wild goose

. .

M k O m
ey er , H an db o o of rn a en t .
82 N ATURA L FORMS .

Pl ate 52
.
Th e Eag l e .
 N ATURAL FO RMS .

was mum

Pl ate 54 . Th e Eagl e .
NATURAL FO RMS .
85

Th e Wi g
n . Pl t
a e 55 .
86 Th e Dolp hin .

THE D OLPHIN .
(Pl a t e s 5 6

Dolphin (D lp hi us delp his F rench da up hi ) has enjoyed

The
~

e n , ,
n

an unusual share of attention This sea mammal which has some .

,

times been erroneously classed among the fishes lives i the seas of ,
n

th e northern hemi sphere swarms round ships swims in Shoals and , , ,

is fond of sport In ancient times the D olphin enjoyed and enjoys

.
,

even now in some parts a kind of veneration which protects him ,

from persecution We meet him occasionally on Antique coins on

.
,

G c italic terracottas on Pompeian mural paintings on fu niture

ra e o- , ,
r

and utensils and in the architecture of the Greeks and Romans

,
.

G igo IV of Viennois (1 1 4 0) took to hi mself the title of

u .

Dauphin , and the D olphin as crest One of his successors Humbert H

”
.
,
.
,

s rrendered the D phi y in 1 3 4 9 to Charles of Valois in exchange

u au n ,

for a legacy and on th e condition that the heir to th throne Should e

always bear the title Dauphin ; which condition was faithfully kept “ ”
.

This is the explanation of the frequent appearance Of th Dolphin in e

French de coration ; but its frequent appearance in It lian decoration a ,

is due to its artistic capabilities Th Dolphin is often used in . e

pilasters panels in intarsias in ceilings and mural paintings

, , , ,

in enamel in niello work and in typographical ornaments In

, ,
.

modern styles the D olphin often masks the spouts of fou tains In n .

symbolic representations he is the compa i on of Nymphs Nereids n , ,

and Tritons and of Arion Aphrodite and Neptune with whose

, , , ,

trident he is often combined in ornament .

Porti on of frie z e G co Italic Campana collection Paris ,

ra e , ,
.

S hield of the French kings 1 5 th cent y (R g e t) ,

ur ,
a u ne .

Castle at B lois French Renascence (R g t) , ,

a u en e .

Italian Renascence Louvre Paris (R g t) , , ,

a u en e .

Head from a relief French by Cl di (1 7 3 8

, , ,
o on

Pair of Dolphins by S chi k l (V0 bild fii Fabrikanten und ,

n e ,
1 er I

Handwerker) .

Head as pout by B b t Paris (R g e t)

,
S ,
ar eza , ,
a u ne .

Heads as Spouts, face and profile (Hauptmann Moderne Orna

, , ,

mentale Werke m Stile der Italienischen Renasce nce) i .

PL ATE 57 . TH E D OL PH I N .

l . Frieze ,
S ta . Maria dell ’

Ani ma ,
R om e (1 5 0 0 to Italian ,

R
( ga u en et) .

2 . Panel or ament French Renascence n ,

.

3 . Choir seats Certosa near Pavia Italia n Renascence , , , (Teiri ch,

Meurer) .
88 NA TU RAL F ORMS .

Pl ate 57
N ATURAL F OR MS .
89

The D lphi
o n . Pl ate 58 .
90 Th e Dolp hi n. Th e S he ll . Th e S erp ent .

4 .Part of Frie z e Rome Arco della chiesa nuova Italian Re , , ,

nascence (Weissbach und L tte m o Architektonische Motive) o r ser ,

5 —6 Heads
, .

—
. .

7 s Parts of Address by G erman artists to king H m bert of Italy

.
,
u
,

by Director GOt z .

PL ATE 58 . TH E D OL PH I N .

1 . Panel Venetian Renascence

, .

2 . Lower part of panel Ducal Palace Ve i ce Italian Renascence , ,

n ,
.

3 . Part of frie z e St Maria della Pace Rome by Bramante 1 5 04

,
a .
, , , ,

4 . Part of Majolica Tile St Caterina Siena Italian Renascence ,

a .
, ,
.

5 . Head cathedral Limoges French Renascence

, , ,
.

6 . Handle of a vessel pilaster by Benedetto da Majano Italian , , ,

Re
nascence .

7 . Pen drawing by Lucas von Leyden ,

TH E SHE LL .
(Pl a t e

ong molluscs the Nautilus (N utilus P omp ilius) and various

Am : a

shells principally of the family of the Tr ochoid are placed on feet ;

,
ae
,

and elegantly mounted in metal serve as D rinking vessels

,

-
,
.
,

Th e S callop shell is used as the top of cylindrical niches as a ,

w t b si
a er in the form of a shallow dish and as a decorative back
a n ,

ground for vases and busts It was extensively employed for these .

purposes in the later Ren scence a .

PL ATE 59 . TH E SH E LL .

1 . Nautilus from nature ,

.

2 S . nail (Tur bo ma rmo a tus) from a Renascence drinking vessel r ,

-
.

3 . Exterior of the Scallop ( Ostr ea Ja coba ea P ecten Ja coba eus) ,

from nature .

4 . Interior of the Scallop after J ost Amman (Hirth Forme schatz) , , ,

n .

5 . S callop design Louis XVI style lower end of a panel

,
.
,
.

6 . Scallop design by the sculptor Lehr of B erlin

, ,
.

7 . S callop design for the decoration of a niche,

.

TH E SE RPENT .
(Pl a te

erpent is occasionally used for symbolic and decorative

Th e S
purposes It is developed ints an antique Bracelet and to a Handle
.
,

for vessels a pair tw ine round the Sta ff of Mercury (the Caduceus
, ,
 NATU R AL FO RMS .

Pl at e 60 . Th e Se rp t
en ,
&c .
 Th e S e rp nt e . Hum a n Or ga i m n s . 93

comp plate and a single one round the staff of Es l pi

. cu a us .

Coiled in a circle with tail in m outh it is the sym bol of Eternity on

tombs it is used in mythology and is an indispensable c m p i
, ,
a co an

ment of the Symbols of Envy and Dissension ; and the h ir of Medusa a

is rep esented as composed of Serpents (Plate

r

ln eccle iastical art the Serpent is the symbol of Wickedness

~
s :
,

Si and Temptation (the scene in Paradise) ; it appears under the feet

n
,

of the Virgin Mary W ith an apple in its mouth In Heraldry it is . :

represented devouring a child on the shield of the Visconti of Milano , ,

.

PL ATE 60 . TH E SE R PE N T .

1 . Cast from life of a Viper ( Vip be us P elia s b us) with er a r er

a Lizard (L e ta viridis L ce t gi lis)

ac r b y J Eberhard a r a a ,
.

of Heilbronn .

0
1 Cast from life of a Viper by J Eberhard of Heilbronn ,
. .

An tique bracelet in the form of a Viper Pompeii

3
0 ,
.

$ Th Snake e th symbol of Eternity (G

aserlach Aellegorien und , ,

Embleme) .

0 . H um a n Orga nism .

human form has been and is destined to be a favoured

The ,

object of representation in art Th desire to depict for contemporaries . e ,

and to transmit to posterity the great Deeds of individuals and th , e

epoch making A chievements and fate of Whole races and ations is

-
n
,

univers l among mankind ; as also the attempt to reproduce the

a

Portraits of celebrated P rsons Even the super atural powers his e . n

,

Gods man represents in the form of men Th Lord of creation

,
. e
“ ”

can give to the bei gs he venerates no more ideal form than his n

own which he holds to be the most developed Th Christian

,
*
. e

conception has arrived at the same res lt by the reverse process u

“
God created m in his own image Virtues Vices Passions Sci
an .
, , ,

en c s and Arts
e A ges S easons and Hours Elements Rivers Countries
, , , , , ,

Hemispheres and many other things receive symbolic expression ;

,

and are pictorially rendered by human figures A d the human body . n

is oft n represented without a ny meaning and solely (decoratively)

e , ,

Mortal h we v er p ine that the Go d ha d an origin m like ;

s, o , O s an -

Fee l an d ha v e v oice l ike m like m ha v e a b dily fa hi n s en , en o s o

Oxen d l i n an d oub t if they ha d b t ha d and a chi e l
o s, no u n s s ,

Pe cil well t d epict the figure div i e w ld d l ikewi e

,

n s as o n ou o s
God f the h r e w e a h r e an d G d f the x n were l ike
, ,

or o s re o s o or o e ox- ,

Each would thi k G d like him elf d giv e to hi Go d his w

,

n o s an s o n
im
gB C
a
6g
.

X e p ha e of Co l o p h n no n s o . . .
94 Th e Hum a Figure n . Th e Ma k s .

on account of its beauty of form All these delineations which fall .

,

within the domain of high art lie beyond the m om of thi work ,
s .

We have only to d eal with the human figure so far as it has been
r ceived into de coration we have only to occupy ourselves with
e :
“
conventionalised man This includes the applicati o s of the hum n
”
. n a

face more or less true to nature or with arbitrary accessions ; masks

,

and caricatures ; g tt sq s those strange combinations of hum an

ro e ue ,

with animal or plant elements ; and also the applications of the upper
half of the human body as the starting point of ornam ent ; half lengths - -

as commencements of ornaments ; those mixtures of human and animal

shapes in which the upper half falls to the share of man e g ,
. . :

Sphinxes centaurs &

, ,
c .

THE M A SK .
(Pl a t e

Mask strictly o called is an artificial hollow face intended

Th e ,
s -
, , ,

to be placed in front of and to conceal the human countenance so ,

as to make the wearer unrecognisable or to characterize him in some ,

Special way Th use of the Mask dates back to the popular Harvest
. e

games of the earliest Greek pe iod From these games the mask is r .

believed to have been transferred to the ancient Theatre in whi ch the ,

actors all appeared masked Different class s of M sks were recognised . e a

tragic comic &c Definite types of Masks were connected with de

, ,
.

finite characters and persons Th mouth openings of these Masks “ ”

. e -

were unnaturally large and shaped like a bell mouth so as to reinforce -

,

the voice of the peaker ; in Latin the mask is termed persona (from
S
“ ”

p e s to sound through) From theatrical the Masks passed

r on a r e .
,

to artistic use e g in the mural paintings of theatres and secular

,
. .

edifices (Pompeian decorations on B acchic vessels and other utensils

(various beakers in th e silver treasure of H ildesheim) Th Renascence . e

and the following styles have at times used Masks in decoration ,

altering and exaggerating the forms In partic lar the Mask is often . u

used for the decoration of the keystones of door and window arches .

We may also mention the beautif l freely treated Heads of dying u ,

-

warriors by Schl it on the arsenal at Berlin ; and the Masks in

I
‘
er

A tique style on the new Opera House in Paris by Garnier

n ,
.

61 . TH E M A SK .

B acchus Italic fragment of a vessel or utensil

,
Gra eco ,
.

H ads go b let (Hildesheim treasure) Roman Berlin Museum

e , , ,
.

Keystone G eco Italic terracotta Campana collection

,
ra , ,
.

Part of Frieze G o Italic Campana collection ,

r a ec ,
.

Silenus handle of Etruscan vessel

,
.

Decoration Pompeii ,
.
96 N ATU R AL FORMS .

Pl ate 61 . Th e M k
as ,
&c .
 N ATU RAL FO RM S . 97

Th e Grotte s q u e Ma k
s .

Me y er, Hand b k
oo of Orn a m en t .
98 NATURAL FO RMS .

Pl at e 63 . Th e Gr ottes qu e Ma k
s .
1 00 Th e Gr ottes qu e Ma k s . Th e Me du a Hea d s . Th e Gr o tte squ e .

6 . Modern French ,
T heatre de B ellecour , L yons ,
A rchit ct e Ch a tron ,
a u e n et)
( g
R .

7 . Modern French Ministry of War Paris , , ,

Ar chitect B ouchot ,

( g
R a u en et
) .

PL ATE 64 . TH E GR O IT E S Q U E M A SK
’
.

1 Gr ottesqu e ,
. by Michelangelo Italian Renascence (R g t) , ,
a u en e .

2 Gr ottesqu e ,
. castle of Ecouen French 1 5 3 8 (R g t) , , ,
a u en e .

3 . German
,
16 th century (Lessing) ,
.

4 Gr ottesqu e,
. German Re ascence Gem isch s Museum Nuremberg n ,
an e ,
.

5 . G ott qu e pedestal of a column tomb in Pforzheim G erm n

r es , , ,
a

Renascence by Hans von Trarbach ,

.

6 . From the Spout of a c German R nascence an, e .

7 . G tt sq
ro escutcheon of a lock G erman Renascence
e u e, , .

8 . G ottesq
r modern panel S culptor Hauptm ann
u e, , .

TH E MEDUSA H EA D .
(Pl a te

nique among the m sks

U the head of Medusa Medusa in a Is .
,

mythological tradition one of the three G orgons whose Head Perseus ,

c t off to present it to Athene as an ornament for her shield

u -
,
It is .

employed in ancient art as a decoration for breastplates and shields ,

on and above doors and gates and on the ground of paterae and ,

d ishes The xpression is that of the rigidity of death ; its look is

. e

meant to p trify ; the hair is interlaced with serpents ; serpents wind

e
'

them elves in knots beneath her chin ; and small wi gs are ften added
s n O .

Th Archaic art represe ted the G orgon as ugly terrible

e d n , ,
an

disgusting ; the later Greek co c pti d Praxiteles was of ste r n e on , . un er ,

n,

grand beauty (the so called R d i Medusa in the Glyp tothek

, ,
on an ne

at Munich) .

In the Modern and Renascence styles the head of Medusa is only ,

decorative ; and it is seldom employed .

P L ATE 65 . TH E M E D U S A H E AD .

1 . Th e Farnese dish (Onyx Patera) Museum Naples Roman , , ,

.

2 . Centre of antique Patera Roman ,

.

3 . Medallion probably modern French , ,

.

4 . Tym panum Tuileries Paris (Baldus) , , ,

.

THE GR OTTES Q UE .
(Pl a t e

(from
Grottesqu es
g otto) are fantastic ofte n really ugly m onsters r , ,

produced by the combination of human anim l and plant organism s ,

a ,
 The Grottes q u e . Th e Ha lf Figure -
. 101

in the freest and most arbitrary manner Squatti g winged female . n ,

figures without arm s ; human bodies with fisht ils with endlessly long a , ,

windi g necks with extremities terminating in foliage are types of

n , ,

this style of ornamentation Th origin of the G tt q must be . e ro es ue

sought in the decorative painting f the Romans P m pe Offers O . o iI

copious material Various painters of the Italian Renascence among .

,

them R fael revived and used the antique G tt q p inting

a ,
ro es ue a

(Rafael s loggie ) after’

the discovery of the g tt q painti g

,
in the ro es ue n

thermae of Titus at Rome (from these Vaults or Grottoes is derived ,

the name g tt q ) ro es ue .

Th G tt q s are a striking ex mple of th playful and artistic

e ro es u e a e

feeling of th Ancients ; and stand in great contrast to the coarse

“

attempts at the comic to be fou d in Medieval art From decorative n .

painting the g tt q passed to the plastic art of the Renascence

ro es u es .

Th revival of Italian decorati v e painting in m dern art h s led to

e o a

the retention of these forms also .

P L ATE 6 6 . TH E GR O IT E S Q UE ’
.

1 . Part of pilaster Italian Renascence by Benedetto d Majano , ,

a .

2 . Part of pilaster tomb of Louis XII St Denis French Re ,

.
,
.
,

nascence .

3 . Part of pilaster Palaz zo m g ifico Siena Italian Renascence ,

a n , , ,

by Barile
—5
.

4 . Parts of ornamental columns Palazzo Guadagni Florence , , ,

(S chii tz
) .

6 . Italian majolica pavement Siena It lian Renascence (L ar t , ,

a ,
’

pour tous) .

7 . St ll in S
a S everino Naples Italian Renascence by Bar to
an
, , ,

l m m o Chiarini and B ernadino Torelli da Brescia

o e (S ch ilt z) ,
.

8 . Stall S Agostino Perugia Italian Renascence

,
an
, ,
.

THE H A F
L -
F IGURE .
(Pl a te s 6 7
rom Antique times up to the present d y Half fig es have
F a ,
-
ur

been pop lar as startings for ornaments Th upper part of th

u . e

human body undergoes little variation from its natural form s .

B elow the breast or the sto m ach often defined by a girdle there is , ,

developed a sort of inverted foliage c p from which the scroll orna -

u ,

ment grows Half fig s are found not only in th flat and in bas
.
-
u re e

relief but also in round plastic art in this latter case as brackets for
, ,

lamps to hhold s doorknockers &c

,
rc er , ,
.

PL ATE 67 TH E H A L F F I G U R E -

—2 Panels Roman Alt r

. .

1 .
,
a .

3 . Part of a Roman relief .

 NATURAL FO RMS .

Pl at e 65 . Th e M du a H ad
e s e .
104 N ATURAL F R O MS .

P l a te 67 . Th e Half Figure
-
.
NATURAL F OR M S . 10 5

Th e H al f Fig r
-
u e . Pl ate 68 .
1 06 Th e Half Fig re-
u . Th e S phi x an d the Centaur
n , .

4 . S ocle ofAl tar cathedral of Orvieto Italian Renascence (O

, , ,
s

w erbeha lle) .

5 . Part of relief Italian Renascence ,

.

PL ATE 68 . TH E H A L F F I GU R E -
.

1 . B racket Italian South Kensington M s eum London (Ar ndel

,
1 7 50 , ,
u , ,
u

S ociety Objects of
,
t) ar .

2 . Decoration on ceiling Castle of S A gelo Rome It lian Re ,

. n , ,
a

nascence .

3 . S ketch by Polidore da Caravaggio 1 6 th century Itali an Louvre

, , , , ,

Paris .

4 . Centre of a relief lectern cathedral Limoges French Ren a scence

, , , ,
.

5 . From basrelief by J Verch ere Modern French

,
.
, ,
.

TH E SP H I Nx , AN D THE C ENTAUR .
(Pl a te

phinx is an imaginary combination Of the Human b st

The S u

with body of the Lion It was originally

th e Egyptian invention . an .

The colossal Sphinx of Memphis was begun under Cheops ; it is hewn

from the living rock partly supplemented by masonry and is more , ,

than 1 5 0 feet long The bust is generally a Wom n s ; but in some

. a
’

cas es it is a Ram head Th Sphinx is the gua r di n of temples and. e a

tombs in front of whi ch it is frequently ranged in avenues In the

,
.

Roman period wings are added probably th rough As syrian influence ;

: ,

and th e crouching position is sometimes exchanged for the half erect -

.

Th e Renascence uses Sphinxes in painting (as double Sphinx also with ,

a Single head and double body) and in free shapes as fi dogs &c ,
re ,
.

Th e B arocco period adorns gardens and portals with crouchi ng Sp hi nxes ,

(th e castle g rden at S chwetzingen

a con tains a considerable number ) .

Centaurs are i m aginary wild monsters with the fore part of a M ,

an

and the hinder part of a Horse Among th e Greeks the Centaur ori .
,

g i llna
y symbolised th e T hessalian race of equestrian renown M y th o .

logy recounts their struggles with the L pithae Later deli neations a .
,

such as th e mural paintings of Pompeii depict th e Centaurs less ,

wild tamed to the service of Dionysos and Sporting with Am 0 rini and
, ,

B acchantes The decorative capabilities of these fant stic figures has

. a

ensured them renewed application in later styles ; and they are some
times used in modern decoration .

P L ATE 69 . TH E SP H I N x, A ND TH E CE NTA U R .

1 . Crouching Sphinx Egyptian Louvre Paris (R g , , , ,

a u en et
) .

2 . Crouching Sphinx with ram head Egyptian (R g , ,

a u en et ) .

Lower corner of antique candelabrum Roman

'

an , .
1 08 N ATU RAL F O RMS .

Pl ate 70 . Th e Cherub H a d
e ,
&c .
 Mi ce ll a e u Hea d
s n o s s .
1 09

4 . S itting
phinx Modern French Andiron by the sculptor
S , , , ,

(
P la t,L art pour tous )
’
.

5 Crouching Sphinx mo d rn
—7
e
,
. .

6 . Centaurs and Bacchantes Mural paintings Pompe (Ch fs , ,

u , e

d oeuvre de l rt antique)
’ '

a .

MISCE LL ANEO US H E AD S .
(Pl a te

gel faces winged youthful heads with a circular or disc like

An -
, , ,
-

halo are first met with in the Byz ntine style as a result of the
,
-
a
,

acti i ty of ecclesiastical artists In the early Italian Renascence the

v .
,

rendering is charmingly naive (L ucca della R o b bia may be specially

mentioned) ; they adorn friezes and arches fill m edallions and are , ,

found in borders They occur often on Tombs ; and they are also .

much u ed in Modern ecclesiastical decoration

s .

Th profiles of Minerva Mars Apollo frequently occur i me

e , , ,
n

d allions .

Th Skull or Death s head the gruesome grinning relic of de

’

e ,

parted life and emblem f Decay and Death finds its place in the
,
O ,

Dances of Death at one ti m e so popular ; also on the shield of Death

,

(A lbrecht D ii ) on Monuments Tom b s & c It is generally

r er represented
, , ,
.

in front View and often over two crossed bon s ,

e .

PL ATE 70 . TH E CH E R U B H E AD , & c .

1 . herub Early Italian Renascence

C ,
.

herub candelabrum Certosa near Pavia It lian

C , , ,
a R enascence .

Frame G erma i sches Museum Nuremberg

,
n ,
.

Column of the Plague Vienna Barocco , ,

.

Modern medallio by Prof H eer Carlsruhe

,
n, .
,
.

Minerva Berlin Museum Modern , ,

.

Mi er a Modern
n v ,
.

Warrior L ouvre Paris (Baldus) , , ,

.

Mars from L i evre Les Arts D o tifs

, ,
e c ra .

H Skull from nature ,

.
 A RTI F I CI AL O BJE CT S .

B esides G eometrical elements

and those C opied from organic ,

Nature ornamental art avails itself of Artificial objects either alone

:
,

or in combination with the two fi st named classes B ut thi s does r -

.

not include the accidental use of all kinds of articles in symbolic

work and the still life painting but o ly the vessels tools weapo s
,
-
,
n
,
n ,

instrum ents shields knots ribbons &c whi ch are used as deco ra
, , , ,
.
,

tion or blended with it

,
.

It is easy to understand how the vessels of religious ri tes passed

into th decoration of religious edifices temples and churches
e In , ,
.

the A tique style the altars tripods candelabra sacrificial axes

n : , , , ,

sp rink lers &c ; in th Christian styles the symbol of the cross marks
,
. e : ,

of priestly dignity the instruments of the Passion &c decorate , ,

.
,

frie z es walls and panels (Comp Plat 7 5 figs 2 and

, , ,
. e ,
.

D ecorative groups of hunting and warlike implements and of .

tools &c are termed T Ophi s the devices of g i lds and companies
,
.
,
r e : u

are Symbols .

Th followi ng chapters will treat of the se th ings in detail along

e ,

with o ther designs of somewhat rarer occurrence which also belong

, ,

to this secti on .

TH E TROPHY .
(Pl a t e s 7 1 an d 7

It was the custom of the Greeks to ha g on th tru ks of n e n

t rees ,
the weapo s which the flying enemy had left behind on th
n e
 I II
ART F C AL OB JECTS .

Pl a te 71 . Th e T r phy
o .
 ART IFICIAL OBJECTS .

r phy
Th e T o .

Me y er, H an d b o ok of Orn a m en t .
1 14 Th e S m y b ol .

either as a W hole or for individual sciences Mathematics Astronom y :

, ,

Chemistry &c ; of Commerce of Techni c l Science and finally of

,
.
,
a
,
Han di crafts and Trades .

Singing for exam ple is symbolised by a lyre wi th or witho t

, , u

sheets of music : Music by violins flutes horns Pan s pipes &c ; , , ,

’

,
.

Dancing by the ta mbourine and c astagnettes ; Acting by masks ; Paint

ing by br h d p lette ; S culpture by the hamm er chisel and
us an a
, ,

works of sc lpture busts torsi ; Ar chitecture by square straight edge

u , , ,
-

and compasses usually in combination with capitals The Rail oad

, . r

and Steam are symbolised by a winged wheel the Telegraph by coils of ,

wire which radiate lightning Trade is repre sente d by c s ks and bales

, . a

of goods on which the caduceus (a sta ff round which winged se pents r

are twini ng the attribute Of Mercury) is resting ; Ag i lt has r cu uI e

th e plough th e sickle the scythe , ( Vine culture the vine press .

Th di fferent Trades have chosen their Sym bols partly from their
, ,

tools partly from their fi ished produc ts The G i lds and Companies
,
n . u

of past centuries introduced a certain sys tem into these outw rd and a

visible signs ; a large number of g i ld pictures some of them very u ,

beautif l and ingenious are preserved in the industri l art museum

u ,
a s

of modern times .

A far more detailed and extensive treatment of Symbols than can

be given in the present work will be found in Gerlach s Allegori en ’

un d E mbleme to which we are indebted for a number of i llu trations

,
s .

PL ATE 73 . TH E S YM B OL .

1 . An gle ornament hall of the Ministry ,

of S tate Louvre Paris
, , ,

2 Louvre Paris (Bald s ) u .

Symbol of the violin makers guild Klinge n

.
, ,

3 . thal 1 7 1 6 (G erlach ’

, , , ,

Al legorien und E mbleme)

—
.

4 5 Pilaster panels by the sculptor F om ili i of Florence Modern

—
n ,
.
.
,

6 9 . Medalli ons by the sc lptor Lehr of B erlin Modern

,
u ,
.

P L ATE 7 4 . TH E S Y MB OL .

Carved wood Door head French 1 8 th century (L art pour tous)

’

—3
1 .
-
, , ,
.

2 . Symbols of sculpture and painting by the sculptor Hauptmann , ,

Dresden Modern ,
.

-
4 .
Part of Exh ibition progra mme Munchen 1 8 7 6 by R Seitz -
, , ,
. .

5 . A ddress card of an ink factory by Prof Hammer of Carlsruhe

-
,
. .

Title to an edition of G oe the s works by Dir GOt of Carlsruhe

’

6 ,
. z .

P L ATE 7 5 . TH E SYMB OL .

1 . Part of Panel court of Ducal palace Ve ice It lian Renascence

, ,
n ,
a ,

(S chutz ) .
116 IFICIAL OBJ EC TS
AR T .

Pl ate 74 . y bl
Th e S m o .
 IFICIAL OBJECTS
AR T .

y bl
Th e S m o . Pl at e 75 .
118 IFICIAL OBJEC TS
AR T .

Pl ate 76 . ymb ol
Th e S .
1 20 Th e S ymb ol .

Ecclesiastical art ,

Architecture and S culpture ,

Painting ,
In Pilasters by the sc lptor
,
u

A ntique art ,
Hauptmann Modern staircase of
, ,

Christian art ,
M useum Dresden ,
.

Art,
S ulc pture ,

PL A TE 76 . TH E SYM BOL .

1 . B anner of the architectural school of the

,
P olyte chn icu m , Carls
ruhe .

2 . Chemistry .

0
0 Mathematics .

R
-
t Mecha ical Engineering
n .

a Civil Engineering .

fi F orestry .

“ Post and Comm erce P olytech i m at Carlsr h e Designed by ,

n cu u ,

G Kachel
. .

8 . Mechanical Engineering,
9 . Th Mechanic
e
(G erlach Al legorien und Embleme
, ) , .

10 . Smithery ,

11 . Navig tion and Commerce Tuileries Paris (Baldus)

a , , ,
.

77 TH E SYM B OL .

Navigation ,

A gric lture u
Court front of the T ileries Paris (Baldus)
,

Music ,
u , ,
.

Farming ,

War B order of a copper plate engraving by Hein ich

, ,
r

Goltziu s (1 5 5 8
7 . Hunting and Fishing by Stuck of ,
Munich , (G erlach , Alle
g i
or enund Embleme ) .

Forestry ,

S word making -
,

Musketry (G erla ch ) ,
.

F arriery ,

S mi thery .

THE RIBBON .
(P l a te s 7 8
Ribbons are not used alone but e frequently employed s ,
ar a a

decoration of garlands and festoons (comp plates 3 8 3 9 of sym .

, ,

bols (comp plates 7 1 . or they are Labels to h some motto ea r

(comp plate
. Th e Ribbons of the A ntique are simple often ter ,

mi tin g in a ball or acorn like knob ; the Middle Ages partic u larly
na ,
 AR T IFICIAL OBJECTS . 1 21

ibb o
Th e R n, an d th e L ab l
e . Pl ate 78 .
1 22 IFICIAL OBJECTS
ART .

Pl ate 79 . Th e R ibb on .
1 24 Th e R ibb n o . Mi cell a e u obj ct
s n o s e s .

the G othic make them curled and quaint ; in the Renascence they are
,

developed in vario s free and elegant styles Often divided at the ends u ,

like a pennon In the Lo is XVI style they are often peculiarly

. u .

crinkl d but in spite of this mannerism they are not without a cer
_

e ,

tain decorative charm (Comp plates 7 8 and ,

.

PL ATE 7 8 TH E RI BB ON A N D THE LABE L

.
,
.

1 Label for motto on the seal of the town of S chiltach G othic

.
, , ,

I scription on the scroll S Opidi schiltt ch

n :
“
. a

2 Ri b bon from Jost Amm an s Wappen und Stammbuch German ’

.
, ,

R nascencee .

3 Ribbon painting by B Z itblom Carlsruhe ga llery G othic

.
,
. e , ,
.

4 Label for motto old Germain painting S chool of Cologne Carls

.
, , ,

ruhe gallery
—
.

5 L abel for motto t i by Hans B g i 1 4 7 3 1 5 3 0

'

. m p h l c k m ,
r u a a r, ur a r, ,

G erman (Hirth) ,
.

6 Label for motto Albrecht D Der Eiil s y dt alle V Og l ’

“
u r er s en e n e
,
.

di
y gne und gram G erman Renascence (Hirth) ,
”
,
.

P L AT E 7 9 TH E RI BB ON . .

1 Ribbon and knot After Daniel Mig ot G erman Renascence

.
,
n ,
.

2 Ribbon and knot the Louis XVI style (Li evre)

.
,
.
,
.

3 Ribbon and knot for a bunch of fruit after Prof Sturm of Vienna
.
,
.
,

(S t ck s Zeichenvorlagen
or )
’
.

4 D rapery Festoon (R g
. t) ,
a u en e .

MISCELLAN EO US O BJEC TS .
(Pl a te

Finally among the artificial objects which are used in decora

,
“

tion especi lly of pilasters we may mention those forms like cande
,
a ,

labra and vases from which ornaments like growing plants usually , , ,

rise (Comp plates 8 0 and

,
.

C ornucopias Torches small inscrip tion Tablets and ma y other , , ,

n

objects are introduced,

.

P L AT E 8 0 MI S CE L L AN E OU S OB JE CTS
. .

1 Vase window pilaster of the Cancelleria Rome by B ramante I t

.
, , , . a

lian Renas cence (De Vico) ,

.

2 Vase pila ter of a door S

.
,
A gosti o Rome (D Vico)
s ,
an n n , ,
e .

3 Vase lower part of a panel Itali n Ren scence

.
, ,
a a .

4 Vase tomb of L o i s XII St Denis French Renascence

.
,
u .
,
.
,
.

5 Vase L ouis XVI style (F A M Cours d o m t)

’

. rn e en .
,
. . .
.
, ,

6 Crossed Torches upper part of pilaster by Benedetto da Majano

.
, , ,

Italian Renascence .

7 Crossed Torches Ren scence

.
,
a .
1 26

I N T R OD U C T I ON

Th e second division of the Handbook deals with o rnament s a

applied in de corative Features They will be arranged according to

.

their function and treate d in accordance with the mutual relations of

,

the decorative form and its a pplication .

Every one acquainted with Decoration mus t have been struck ,

by the fact that on ce rtain Objects and on certain parts of them th e

decoration invariably appears to have been modelled on the sa me
principle no matter how much the selected motives may v ry fro m
,
a

each other or belong to Special styles In decoration as elsewhere .

, ,

there is a right and a w ong use for everything ; each object even
r ,

the very smallest requires its own proper Form and Decoration d
, ,
an

the artist who understands style will give these though in many cases ,

unco sciously ; artistic instinct g iding one man where another must
n u

study laboriously .

B e this as it may the relations are there A socle ornam ent

, .

cannot be reversed and used as a frie z e without modification ; a

column which looks beautiful and even delicate on monumental archi
,

tectur e may produce a clumsy e ffect if reduced and applied to fu ni

,
r

ture ; no one finds fa lt with the 20 or 24 fl ti gs of it in archi

u u n

tecture but half of them would more than suffice for th e sm ller
,
a

Cabinet A d so on
. n Th e achievements of those periods in which
.
,

th e intimate connection between form aim and material w as either ,

unknown or forgotten are what might be expected Th Empire

, . e

Style which copied the A tiq e t the instance of an august per

,
n n a

sona
ge ; and in s o doing
,
produced work which
,
is classical in respe ct
of its mannerisms ; is an example A Greek temple and an arm chair .

are two different things ; each has its own peculiarities ; an d must be
fashioned and decorated in accordance therewith .

It were an insoluble p roblem to give a formula for each case ;

and to attempt to do so lies beyond the sc0 pe of this H ndbook a .

B t we will attempt to bring together some important groups from

u

the entire fi eld ; and by means of them to illustrate the principles

of design .
1 28 Th e Fre t Ban d .

TH E F RE T B AND .
(Pl a te s 8 1

Th eGreek Fret (or Meander border) is as it name indicates , ,

a

s pecifically Greek ornament and no doubt of textile origin I ts , .

a ccom oda tion to the rectang lar ne tw ork suggests this u .

Th name meander is said to be derived from a river of Asia

”
e

Minor the M ,
d s now the Menderes which flows in sinuou
a ea n ro
, ,
s

c urves Although the forerunners of the Greek border are to b

. e

found in the As syrian and Egyptian styles it was Greek vase painting ,
-

and architecture which gave rise to the variations of the pattern ;

architecture also employed it plastically Among other applications .

in the Roman style it was used for mosaics on floors and often
c ontrary to the principles of style of fl t ornaments in those a

parallel perspective repr sentatio n s in whi ch it seems as if it were a e

plastic Ornament (Plate 8 3 ,

.

Th Middle Ages S eldom u ed the Fret (one example will be

e s

found on Plate 8 3 but similar forms are common in the Chinese

.

an d Japanese styles (Plate 8 4 .

Th Renascence revived the Fret in its ancient application ; made

e

new combinations ; and sometimes interlaced it with plant motives

(Plate 8 3 A l though
. very commonplace the fret s till has a good ,

e ffect when it is applied in the proper manner .

I ts c n truction i v ery impl e In ge eral a lthough not always

o s s s . n

the brea dth of the broa d l ine or ornament i equal to the di tance s s s

b etween them ; w there f re draw a q are network as hown on e o s u s

Pl ate 1 fig 1 then d aw a ll the horizonta l lines (the mea ure
, .
, r s

m ent of the le gth an d the o b er ance of the rhythmic regul ari ty

n s s v
p ec l iar t each Gr ek p attern are the only d ifficulties) an d then join
u o e ,

their en ds by means of p erp en dicul ars (Pl ates 8 1 an d ,

Centre are form e d by a ra gi g the axis at a suitabl e p l ace d

s r n n , an
re v er i g the p atte n (Pl ate 8 4 6 d
s n r ,
. an

A gl e junctio
n m y b e im ilarly arra ge d by cutti g the p attern
ns a S n n

di ag na lly t the s qua e

o t at a suitabl e pl ace
o d re v er i g r ne , an s n as
b ef re (P l t 8 4 3 4 an d
o , a Th a gl e treatm ent of Current Fret
e .
, e n -
s

i m ore d ifficul t (Pl ate 8 4 fig 1 2 an d

s : s .
, ,

Th end of a Fre t with onl y one row may b e forme d b y cutting

e
th p attern hort at a uitabl e p t ; w here two or more rows
e s s s o ru n

p arall e l to or cr each th r they may b e co m b ine d so as to form

os s o e ,

p r p er endi g (Plate 8 4
o n s .

Th p attern is som eti m e carrie d round a ircl e ; b t this i an

e s c u s
arra ge m e t which i quite out of accord ance wi th it character
n n s s .

Th quare network is not lway a pplicabl e to ca e in which th

e s a s s s e

Fret h to b e rep eate d W ithin a gi v en length I this ca e the d iv i

as . n s

i n of l e gth are either el gate d or compre e d by drawi g the

s o s n on ss n

auxil iar l ines at greater or l e a gl e than 45 (this i ho w n on a ss n

° s s

P l ate 1 d s an
 Th e Fret Ban d . Th e Chain Ban d . 1 29

P L ATE 8 1 . UN S YM M ETRI CAL 0B CURR E N T F RE T S : GR EE K V AS E

PAI N TI N G S .

Ordinary simple patterns , .

Elongat d pattern e .

Raking pattern .

Pa tterns whi ch are interr pted by rosettes stars 8 0 u

, ,
5 .

Abnormal pattern formed by fragments instead of a contin

, ,
nous li ne .

PL ATE 82 RE CI PR OCATI N G FR ET S
—
. .

1 4 . Ordinary simple patterns ,

.

5 Doub le pattern Greek ,

.

6 . Intersecting pattern Louvre Paris , ,

.

7 and 1 0 Fragmentary pattern Greek and m odern , , .

7 and 9 Symmet ical double pattern Greek

—1 0
. r ,
.

7 . Ornamented patterns .

P L ATE 8 3 I N T E R S E CT IN G FRET S , &c

— Ordinary patterns Greek vase painti gs
. .

1 6 .
,
n .

7 . Abnormal pattern Japanese metal vessel ,

.

8 . Pattern in parallel perspective Roman mosaic pavement , .

9 . Mediaeval folded t pe pattern re embli g the Fret (R ci

-
a ,
s n
, a n et
) .

10 . Pattern ornamented with laurel Louvr Paris ,

e, .

P L ATE 8 4 . EN D S , AN GL E S , AND CE NTRE S , OF FR E TS .

1, 2 5. and Free unsymm etrical a gle treatment

.
,
n .

3, 4, 6, 7 and 8 Symmetrical angles . .

9 10and Centre treatments

—
. .

11 14 Ends of patterns
. .

A ntique mo ives except No 7 (Chinese) and No 8 (Moder

t ,
.
,
. n
) .

THE CHAIN BAND .

(Pl a te

basis of the design is the Chain Th Chain Band is th ere

The . e

fore of circular elliptical square or lo z enge shaped links

cem p osed , , , ,

w hich are either represented all in front view (as in 1 2 4 and , ,

o alternately in profile (as in 3 5 6 and

r , , ,

Th Chain pattern probably occurs sporadically in eve y style

e r .

Th t Chain bands have not been more frequently us ed alth ough

a -
,

they are a simple d efi ti mode of decoration may be due to '

an ec ve ,

the fact that the chain appeared to a certain degree to b too force e

ful too igorous in its e ffect At any rate delicacies of artistic feel
,
v .
,

M e ye r , H a n db ook of O rn a m e n t 9
1 30 BANDS .

Pl ate 81 . Th e Fr t Band
e .
1 32 BANDS .

Pl ate 83 . The Fr t Band

e .
 BAND S . 1 33

Th e Fret Band . Pl ate 84 .

1 34 BANDS .

Pl ate 85 . Th e Chain Ba d n .
136
‘
7 ‘
I he Interl acement Band .

Th eMoorish style favours a peculiar interlac ement It is cha .

that the bands w hich are always straight make angles of

ra cteristic , ,

9 0 or
°
and are adapted to a network as shown on Plate 1 ,

fig 5 Here too we find the alte rn ate colouring of the Single bands
. .
, , .

Numerous examples will be found in Owen Jones R ci et and Prisse ,

a n
,
’

d Ave es L Ar t Am be
”
a selection from these bei g given in
“ ’

P late 8 8 figs 1 —6
nn , n
,

,
. .

The other Oriental styles exhibit greate variety in this respect ; r

an d also employ rou d forms (P late 8 8 7 und n , .

Th Renascence developed great variety

e B esides the traditional .

forms of th Antique pec lia constructions appear chiefly to be

e ,
u r
,

m t wi th in the arts of inlaying on book co ver decoration in pewter

e -
,
-
,

chasing and typographical borders

, (Plate ,

Modern art borrows from all styles ; and as was also the case ,

in the Middle Ages and the Rena scence intersperses its patterns with ,

foliage (Plate ,

PL ATE 86 TH E I N TE RL A CE M E N T BA N D
—
. .

1 3 Ordinary antique patter s single double and triple

4 —6 Elongat d a tique patterns single double and triple
. n , , ,
.

. e n , , ,
.

7 . A t n ique pattern doubly interlaced with unequal waves , ,

.

8 . A ntique pattern with two rows terracotta painti g ,

n .

Con truction Fir t mark the centre of the eye in 2 d 3 these lie
s . s s s: an

on the p oints of int rsection of a tria g lar net ; in 5 d 6 on tho e e n u an s

of a d iagonal s quare et Th re t will b e un d er too d f om the n . e s s r

figure
PL ATE 87 . TH E I NTE RL A C E M E N T B AN D .

1 . Roman esque patterns decoration of archivolt Segovia , ,

.

3
4 —
.

7 .
B y zantine pattern St S ofia Const ntinople
Northern patterns M nuscript or aments of the 8 th and
,

,
a

a
.
,

n
a .

9 th
century (R ci et ) ,
a n

PL ATE 8 8 ACE M E N T B AN D . TH E I N TE R L .

1 —6 Simple Moorish patterns Alhambra G ranada

.
, ,
.

7 Persia n pattern metal vessel (R ci et)

.
, ,
a n .

Rus sian Oriental pattern (Viollet lo D c L A ,

u ,
“ ’
rt

P L AT E 8 9 INTE R LACE ME NT BAN D TH E

—3
. .

1 .
Patterns wood and ivory inlaid work Italian Renas cence
, ,
.

4 P attern by Domeni co de F ossi of Florence l 6 th century

, , , ,

( g
R a u en et
) .

5 Intarsia pattern St M ria in Organo Verona ; in ,

a . a ,
the original
the interstices are enriched by plant sprays .
 BAND S .

Th e I terl a em e t Band
n c n .
1 38 BANDS .

Pl ate 87 . Th e I terl e m ent Band

n ac .
 BANDS .

Pl ate 89 . Th e Interlacement Ba d
n .
 BANDS . 1 41

Th e I terl em ent Ban d

n ac . Pl at e 90 .
142 Th e Interl ac em ent Band . Th e R osette Band .

6 . T itle border of a mathematical work printed in Paris O ce , ,

r on

F i é 1 5 4 4 (Hirth )
n
, ,
.

7 . S ffit orn ment entrance of the Otto Heinrich building Hei

o a , ,

d lb g 1 5 5 6 to 1 5 5 9 (Must rornamente )
e er , ,
e .

PL AT E 90 TH E I N TER L AC E M E N T B AN D
—6
. .

1 ngles of B ord r Modern F rench (R g t)

. A e , ,
a u en e .

7 Edge of a modern D amask border (Gewerbehalle)

—9 Modern borders (Bfitti h
. .
,

8 .
, c er ,

10 Modern wood intarsia (Gewerbehalle)

.
,
.

TH E R O SETTE B AND .
(Pl a te

term Ros ette B and is a general name for rosette Spray

Th e “ ”
,

and other bands when the o et t is the leading characteristic Th

'

,
r s e . e

single rosettes which are similar to conventional roses seen in front

,

view are either in immediate juxtaposition (Plate 9 1 1 and

,
or .

divided by channels (Plate 9 1 by calices (Plate 9 1 5 7 . .

, ,

or by stalks d sprays (Plate 9 1 4 6 1 0an Th Rosette bands .

, , ,
e

are either current that is they have a definitive direction sideways ;

, ,

or they entirely without direction that is they are sym metrical

a re , , ,

n ot only from top to bottom but a lso from right to left By allow .

ing the rosettes to overlap we get a band more or less identical ’

with the so called Stru g coin or money mo lding (P late 9 1 n -

,
-
u .

1 3 and 1 4 )
~

Rosette bands are especially common in the Assyrian style in ,

Antique vase painting in the Medieval en mels (Cologne enamel) ,

a ,

in the Indian style in the Renascence and in the Modern styles

, ,
.

P L ATE 9 1 . TH E ROS E TTE B AN D .

1 . A ntique vase painting .

2 . Modern decorative pattern .

3 Antique bronz e shield .

4 and 6 . Antique patterns after Jacobsthal ,

.

5 . Neck of a Greek hydria .

7 . Latin Ev g li m written by God s ld for Charlemagne

an e a ru ,
e ca ,

8 th century (R ci t) ,
a ne .

Enamel ornament the great reliquary Aachen (R ci t) , ,

. a ne .

Indian enamel border (Prisse d A e ) ,

’

v n n es .

Indian carving (Owen J ones) ,

.

Intarsia border St Maria in Organo Verona 1 4 9 9 (Muster

,
a .
, , ,

ornamente) .

Pop lar Renascence pattern

u .

Pattern Persepolis ,
.

Plastic border Louis XVI style (R g e t) ,

.
,
a u ne .
1 44 BAND S .

Pl ate 92
. Th e Pal m ette Ba dn .
 The P lmette Ba d
a n . The Verteb rate Ban d . 145

THE PALMETTE B AND .

(Pl a te

Palmette is a specifically Greek kind of ornament Like the fi

The . n

gers of an outspread hand (pa lma the palm of th hand) a group , e ,

odd in number of narrow entire leaves is combined into a symm t

, ,
e

ic l ornament The centre leaf is the largest ; and the leaves diminish
‘

r a .

gradually as they approach the sides The tips of the leaves lie on .

a reg lar curve The lower ends of th leaves are disconnected divi
u . e ,

ded from each other by slight intervals and usually spring from a ,

tongue shaped leaf The delicate sensitiveness of Greek artistic feeling

-
.

finds a striking expression in this ornament It is appli d in mani . e

fold ways e g as A tefixes and Ak ot rs as Cornice de coration

,
. : n r e ,
-

(comp the group .of Free ornaments ) and as Pal m e tte b orders I r ,
. u a re

cases the P i lette ornaments are in j x taposition without anything

a n u

between them th is is usually the case on the Lekythos (a Greek

vessel for Oil &c ) Plate 9 2 3 in the majority of cases th palm
,
. . e

e ttes are connecte d or bordered by Spiral bands (Plate 9 2 1 2 . .

Palmette ornaments are of frequent occurrence on Greek vessels ,

an d on the frie z es of their architecture Where they occur in later .

styles it is only sporadically ; and the severe classical beauty is not

:

retained .

P L ATE 9 2 . TH E P AL M E TT E B AN D .

1 . 2, 3 and 5 . Paintings Greek terracotta vessels , ,

.

4 . 6 and 7 . Greek frie z es ,

.

8 . Intarsia Italian Renascence ,

.

9 . Modern wrought iron trellis ,

.

TH E VE RTEBRATE B AND, &c .

(Pl a te s 93 —9

Leaf bands are generally num erous in ll styles ; and as varied a

s are the modes of their application Th e leaved stalk with or '

a .
,

without fl owers fruits is the simplest natu ral motive Th

, ,
.
s

various plants are used as a bas is partly with partly without , , ,

s ymbolical reference Th A tique chiefly availed itself of the laurel . e n ,

o live and ivy ; the Middle Ages used the vine clover thistle
,
nd maple ; , , ,
a

the Renascence shows the Artificial leaf To these tra di tional patterns .

Modern art has added some others whi ch are specially adapted for
naturalistic representation such as th c o lv lus the passion flow ,
e n vo u ,
-
er ,

the h0 p &c , .

Thus we find in the Antique a succession of buds (Plate 9 3 1 ) : .

st raight stalks with leaves either attached or free ( Plate 9 3 2 .

,
,

o r d l tin g st lks wi th leaves fr i t or flowers (Plate 9 3 4 5

un u a a , ,
u ,
.
, ,

M ey er , H a n d b o o k of Orn a m en t .
10
1 46 The Vert ebrate Band , the Un dulate B an d .

Th elatter mode was ret i ned in the Medieval style ; in the Ro man a

esque style the stalks re more compr ssed and the lobes of the a e
,

leaves f lly rounded (Plate 9 3 7

u in the G othic style the former .
,

are thi n and extended the latter slit and pointed Extremely common
, .

are the two form s depicted on Plate 9 4 7 and 8 Char cteristic of . . a

the late G othic is the example 1 3 Plate 9 4 ; thi s kind of ornament ,

ation is excellently adapte d for simple wood carving and stamped -

leather work;
-

Th e Oriental conception in textile fabrics and by the engra ved ,

an d inlaid metal work is shown (Plate 9 4 1

-
,
.

Intarsia t ech i que leather stamping weaving and the o namenta

n ,
-
, ,
r

ti on of manuscrip ts offere d the Ren scence Opportunity to make use a

of d to vary the fl oral border with advantage (Plate

,
an Inter
lacem ent and fl oral patterns are frequently combined in the sam e

example (Plate 9 5 5 and .

As ex m m es of Modern art the natu alistic borders figured on

—
a ,
r

Plate 9 6 9 1 1 are gi ven

. . .

When the main stem runs longitudinally along the centre of th

-
e

B and like the vert ebral column in the skeleto s of a im ls th en the

,
n n a
,

arrangeme nt is termed Vertebrate When the main stem oscillates .

-

from side to side (as in P late 9 3 4 5 ”

then the .
, ,

is termed Und late u .

93 . TH E VERTE BRATE BAN D , &c .

Painti gs Greek terracotta vessels

n , ,
.

French mural paintings 1 3 th century (R ci et)

, , ,
,
a n .

Glass window Cathedral B ourges 1 4 th cent ry , , ,

u , (Ra cin et) .

Medieval .

Intarsia St Maria in Organo Verona 1 4 9 9

,
a .
, ,
.

Moder plate border

n, -
.

94 . TH E UN DUL ATE BAN D .

Persian ,
m et al vess els (R ,
a cin et
) ;

B y zantine gl a ss mosaic Marco Venice (Musterorn m ente) ,

Sa n a .

Portion of Romanesque initial 1 3 th cent ry B erlin M s eum

, , ,

u u .

, ,

Romanesque portal of cathedral Lucca (Muste ro nam e nte)

, , ,
r .

Gothic flat carving e d of 1 5 th cent ry (Musterornamente) ,

n u ,
.

M dieval m ur al painting Swedish ch ch

e , ,
ur .

French m al painting 1 3 th cent ry (R ci et)

,
ur ,
u ,
a n .

E arly G othic F rench ,

.

Gothi c manuscript orn amentati on

,
.

Late G othic flat car ing 1 5 th century; (M sterornamen te)

,
v ,
u .
 B AND S .

Plate 94 . Th e U n d u la te B a n d, & c
‘

.
 B ANDS . 14 9

Th e U n dul ate Ba n d, &c . Pl ate

1 50 ,
BANDS .

P late 96 . Th e U n dul ate Band , &c .

1 52 The E v o lute Sp ir l Ban d -
a . Th e Enrichment of the Bea d Moulding .

may be c rried in some cas es in shown by fi g 1 4 i which

fa r this
'

a , , .
,
n

v lute piral ine nothing more than the skeleton of the orna
the e o S l is -

men t M dd e g s did not use this form t all

The. i l A e a .

gles and cent es are arranged as shown on figs 4 7 Thi s

An
‘

,
r
’

. .
-
.

band exce len ly a apted for th framing round circular panels

is l t d e .

9 7 . THE EVOL UTE SPIR AL .

Paintings antique vessels ,

.

An gles .

Centr l junction a .

Pattern round a circular panel .

Painting of a stove tile German Renascence G ermanische s , ,

Museum Nuremberg , .

Modern borders .

Border by Sebastian Serlio 1 6 th century

, ,
.

Frie z e Otto Heinrich building of Heidelberg castle

,
-
.

Wrought iron trelli s temple of Apollo in the garden of th

-
,
e

castle t S chwetzingen a .

14 . Painting Pala zz o ducale Mantua Italian Renascence

, , ,
.

THE ENRI CHMENT B E AD M O ULDING (Pl

‘

or THE . a te

B ead or
stragal is the name given to those small half roun d
,
A ,
’

Mouldings which are often enriched by ornaments like Pearls strung

, ,

together &c or as turned bands a d cords Generally they are

,
.
, n .

only u sed in plastic art and as a r le not alone ; but below th e Egg ,
u

and leaf ornaments and si milar cornice profiles (Plate

- .
They ,

also occur as intermediate members between the shaft and th capital e

of colum ns .

B eads are enriched with balls discs or ovals in rather more , , ,

than h alf relief T h s implest bead enri chment is formed of roun d . e -

pearls either close together or perm itting the representation of the

,

thread to show between them Disc and oval enrichments are seldom
‘

used alone b t arranged alternately as shown in figs 1 to 7

‘

,
u ,
.
.
.

In addition to the simple exam ples of the Antique th e Renas

’
'

:
,

c enc e us es richer forms th e single members being again o nament d , ,

r e

profiled and more arbitrarily f shioned (Plate 9 8 8 and

‘

or a .

fi ished off with sm

n all leaf calice s (Plate 9 8 9 n d
-
Wood . a

carving avails i tself of strung discs seen in p e p ectiv (Plate 9 8 r e .

The enrichm ts m y a lso suggest torsion After the mo lding

‘

en a . u

is made it is set ou t like screw as indicated by the auxiliary

figs 1 3 —
' ‘

,
-
a ,

co stru ction s i
n 17 Leave s or pearls sometimes lie in th e
n . .

hollows d follow the thread of th screw (Plate 9 8

’

an e .
 BANDS . 1 53

Th e E volute Sp i al Ba d
-
r n . Pl ate 97 .
1 54 MOU LDINGS .

Pl ate 98 . Th e E nrichment of the Bea d Moulding .

 MO U LDINGS .

Pl ate 99 . Th e E ri h m t of the
n c en To ru M uldi g
s o n .
 MO ULDINGS . 1 57

Th e En ri hm
c e n t of th e Cym a ,
an d O v l M uldi g
o o o n s .
Pl ate 1 00 .
1 58 Th e E richment of Mouldings
n .

In these cases it harmonises the support and the weight ; and

has also a decorative purpose as a bordering member .

Th Leaf enrichment may be explained in the follo w ing way a

e :

row of leaves growing upwards supports the weight and is bent

, , ,

outwards by its pressure (fig If this o ly o ccurs p rtially we . n a ,

have the D oric form (fig If the leaves bent down tow . are -

ards their lower ends (fig we obtain forms like th so called . e -

“
Lesbian cym atium .
”

A false conception which regarded th e leaf shape merely as a ,

-

geometrical element afte wards gave rise to the corrupt forms of the
,
r

la te Greek and Roman styles (figs 5 6 and 6 b) . a, a, .

If the simple waterleaf be replaced by more richly serrated

ones like the Artifici l leaf we obtain examples like fig 7 a ,
. .

Figure 8 show s the egg pattern from which all th more or ,

e

less misunderstood varieties have in co se of time been derived ,

ur ,
.

Th e dart shaped intermediate leaves have o ften been developed into

-

ac tual darts ; and the eggs or curved surfac e s of the leaves have also
been covered with independent ornamentation in complete defiance of ,

thei origin (figs 1 0 and

r .

Th corner is treated either by freely carryi g the pattern ov er

e ,
n

into a palmette anthemi on (figs 1 5 and or by covering it wi th .

independent leaves .

F urther details on the su bject of this chapter will be found in

B otticher s Tektonik der H ellm an
’

PL ATE 1 00 . TH E EN R I CH M E N T on TH E CYMA AN D OV OL O
M OUL D I N GS .

1 and 3 . Drawings to illustrate the origin of the pattern .

2 . Gr ec o D o ric painted
a -
,
.

4 . Leaf Erechtheum Athens

, , .

5 and 6 . Corrupt leaf (B ettich ) ,

er .

7 . Roman leaf (Jacobsthal) ,

.

8 . Greek egg and tongue Erechtheum Athens

- -
, ,
.

9 . Campana egg and tongue Gr eco Italic Campana collection

- -
,
a -
,
.

10 . Colossal egg and leaf temple of Jupiter To s Rome

”
,
nan ,
.

Roman egg nd dart Arles cathedral (R g et)

—1 3
11 . a , ,
a u en .

12 Renascence egg a d dart (R g e t) -

n a u ne .

Modern egg and dart (Rgu e et)

.
,

14 .
,
a n .
1 60 Th e L i nk Bord er .

THE L IN K B O RDER .
(P l a te s 1 0 1

Link Borders are so termed because the tra sversely growing n -

foliage is connected together by S crolls which serve this pu pose r ,

li ke the Links of a chain Of this class are much decoration of

"
“
.

cornices crestings i
,
architecture d fri nges in textile art B esides
n ,
an .

thes e Link borders which may be enlarged t will and have a de

, , a ,

finite direction upwa rds o downwards e us ed in a Similiar manner r ,

ar

as B orders as edgings for carpets plates and panels ; as borders for , ,

w lls fl oors and ceilings (in whi ch cas e the edging alm ost invariably
a , ,

grows outw ards) ; on the neck body d feet of vessels ; and f , ,

an re

q uently in architec t ral frie z es u .

Palmette leaves connected by circles or by links are adapted , ,

for edgi gs The typical form is found on Antique vessels and

n .

frie z es ; its forerunner is seen in th e conne cted lily and pomegranate

of the Assyrian style .

Th Li n k border is found in every subsequent style both fl at

e -
, ,

a n d in relief .

It is gener lly composed of identical details symmet ically e

a ,
r r

p t d Unsymmetr ical and natu ralisti c forms are rarer (Plate

ea e .
,

P L ATE 1 0 1 LINK BORDE R

. TH E .

1 . As syrian painted ha s relief Kho s ba d

,
-
,
r a .

2 . External margin Greek kylix (Lau) , ,

.

3 . Greek hydria (L art pour to s) ,

'
u .

4 . Greek cym a ,
.

5 . Mosaic ornament S Marco Venice B yz antine (Muste orn ,

an , , ,
r a

mente) .

6 . Medieval mural paintin g Swedish church (R ci et)

, , ,
a n .

7 . Old embroidery Eisleben (Vorbilder fiir Fabrikanten und Hand, , ,

werker) .

8 . Painted Cathedral B randenburg (Vorbilder fur Fabrikanten und

, , ,

Handwerker) .

9 . Illumination of a Koran t omb of the Sultan El Ghu ry 1 6 th ce ,

-
,
n

tury (Prisse d A e s)
,
'

v nne .

10 . Majoli ca di sh Germanisches Museum N remberg , ,

u .

11 . Majoli ca dish l 6 th century (Kunsthandwerk) , ,

.

12 . Modern (G ewerbehalle) ,
.

P L ATE 1 0 2 . TH E L IN K B ORDE R .

1 . Greek carved frie z e Erechtheum Athens

, , ,
.

2 . Roman frie z e (Fragments de l chit ct e antiq e)

, ,
’
ar e ur u .

3 . Romanesque f i e z e i 3th century (M usterornamente)

,
r , ,
.
 Th e L ink Bord er . on Moulding s . Th e Cre tis ng .
161

4 . A rabic mosque of th Sultan Hassan Cairo 1 4 th century

,
'

e , ,
.

5 . Itali n Renascence Marble frieze tomb of the Conte Ugone

a , , ,

Badia Florence (Weissbach und L tt m s )

, ,
o er o er .

6 . Italian Renascence Intarsia frieze (Meurer) , ,

.

7 . Modern decoration (Kolb und Hogg Vorbilder flir das Orna , ,

m en ten zeichn en ) .

THE L IN K B ORDER ON M O ULDINGS .

(Pl a te

cyma in architecture s the topmost or concluding member

The I

of a corn ice It is frequently us ed as a gutter Th section is some

. . e

times concave or convex quadrant but in most c ses cons ists of

a , a

two arcs curving inwards and outwards respectively (fig ,

.

Th ornamentation was merely painted in the earlier periods ;

e

but afterwards received a plast ic form It is chiefly composed of .

p ha tt leaves either
e unconnected
e (fig 1 and 2) or connected
, (figs 3 . .
,

5 and with Lily cups between Artificial leaves pointing p .

,
u

wards and lying close on the profile with calices O water leaves peep r -

ing out between them (fig 4 ) are als o used . .

Th Mid dl e A ges used both systems especially the latter with the
e , ,

latter with the modifications required by the changed forms of the

,

leaves (figs 7 and ,

.

B oth the Renascence and Modern art follow the tradition of

the Antique ; but give the Palmette orn ment a richer form (figs
“

a
,
.

1 03 . TH E LI N K B ORDE R -
ENR I CH M E N T OF MOUL DI N GS .

Antique (B otti h ) ,
c er .

Rom an altar .

G c Italic terracotta ornament (L i ev e)

ra e o- ,
r .

Romanesque cornice house Metz 1 2th century (R g t) , , , ,

a u en e .

Cornice Notre Dame Paris 1 3 th century (Musterorn mente)

, , , ,
a .

Cornice L ouvre Paris French Renascence

, , ,
.

Marble frieze tomb in St Maria sopra Minerva Rome Itali an

,
a .
, ,

Renascence .

12 . Modern (Arch Skizzenbuch),

. .

THE CRE STING B ORDER .

(Pl a te

Crestings are intended to ornament the ridge or top of the roof .

Such ornaments have been especially popular in France from Gothic

M e y e r, H a n d b oo k of Orn a m e n t : 11
 FREE O RNAMENTS .

Pl a te 1 01 . Th e L i nk B rd
o e r.
1 64 FREE ORN AMENTS .

Pl ate 1 03 . Th e L i k b ord er E nrichment

n - of Moulding s:
FREE O RNAMENTS . 1 65

Th e Cr ting B rd er
es o . Pl ate 1 04 .
1 66 Th e C e ti gr s n . Th e Akr oter ,
&c .

times to the present day They are mostly of perforated work and .
,

th e top has usually a varied mass hape Th e materials used are stone -
S .
,

lead wrought iron and in modern times z inc Similar ornaments

,
-
, , ,
.

are also found as Finals of entablatures and attics as well as on the ,

B alaustr d s of galleries
a o .

Cresting ornaments appear on G othic Al tars Shrines Chim , ,

n eyp c s &c leand in cast iron on our modern Stoves Raili gs &c
e ,
.
,
-
,
n ,
.

T h e Anti que made no use of this form although similar forms ,

occur as for example on the entablature of th well known monu

, , , e -

ment of L ysik t s On the other hand we must mention thosera e .

,

V lence lik e borders which are seen on the terracotta reliefs of the
a -

C mm a collection represented on figs 6 and 7 In most cases

na
, . .
,

these latter ornaments if reversed may be used as crestings , , .

P L ATE 1 04 . TH E CR E STI N G B OR D E R
1 . Gothic , (J acobsthal) .

2 . Modern G othic cast iron ,

-
.

3 . Modern French castle of Pierrefonds res tored by

, ,
V iollet-le
D u c, R
( g
a u en e t
) .

4 . Modern French Cour de Cassation Paris (R gu et) , , ,

a en .

5
6 —
.

7 .
Modern German by Gropius of B erlin (Arch Ski z zenbuch)
G eco Italic borders downward growth
ra
,

,
,

.
. .

THE AK RO TE R , &c .
(Pl a te s 1 0 5

kroter is the feature which serves as on ornamental finish

The A
to the apex of a gable A tique temples bear this decoration in a . n

great variety of materials stone terracotta painted plastic and : , , , ,

cast in metal Groups of figures g iffi s &c were sometimes used

.
,
r n ,
.
,

for this p pose ; but the usual featur s were slabs of Marble bearing
ur e ,

a palmette ornament the centr l decoration of which is sometimes a ,

a

mask (Plate 1 0 5
,
Smaller o rnaments of a S imilar kind are found
.

ranged along the lower roof line in front of the Imbrices ; and these ,

are termed A t fix n e es .

Th Middle Ages and the Renascence make no general use of

e

the A t fix but it occ s on Modern monument l buildings in the

n e ,
ur a

An tique style
corner Akroter w
.

Th e hich i lly found at the lower ends su su a

of the gable lines consists of h lf the mo tive of the central one ,

a ,

Plate
‘

( 1 0 5 .

PL ATE 1 05 . TH E AKR OTE R , A ND TH E ANTE FI X .

1. GI e ek Akroter,
painted temple of Wingless Victory , , hens
At .

. 2 . Greek Akroter painted Acropolis Athens , , ,

.
 FREE O RNAM E NTS .

Pl ate 1 05 . kroter an d the

Th e A ,
An tefix .
FREE ORNAMEN TS . 1 69

kroter
Th e A ,
&c . Pl ate 1 06 .
1 70 FREE ORN A ME N TS .

M i la n

N N H Z li T P AT

P l ate 1 07 . Th e S tele Cre t

s .
 Th e P erforate d Cresting . Th e Cro ss .

THE P E RF O RATED C RESTING .

(Pl a te

In modern wood b ldi gs the dressings intended to form an u n

, ,

ornamental finish to the construction are often perforated , .

Th Gable is decorated by a Finial ; smaller co m er ornaments

e -

are attached to the low r ends of the lines of the gable ; the pro e

j ecti g ends of the gable rafters are also provided with B arge boards
n - -
,

both for decorative e ffect and also no doubt to serve as a protection , , ,

against the weather The Finials are fashioned as Knobs of varied.

profile with a direction downwards Th oblique lines of the Gable

, . e

and the hori z ontal lines of the Roof are also covered with Barge
boards .

Th material requires a special treatment ; as the ornamentation

e

must be large and broad and have as many points of connecti on in ,

itself as possible .

Wooden ornaments of this kind are found on Pavilions w t hm s ,

a c en
’

Huts Farm houses of richer construction country Villas in the Swiss

,
-
,

cottage style &c ,

.

A o g architectural works which deal with wood b i ldings and

rn n u

especially with the decoration of them we may mention the works of :

H B ethke (Details fli dekorativen Holzbau) from which the majority

. r ,

of the figures on Plate 1 0 8 have been taken .

P L ATE 1 0 8 . TH E P E R F OR ATE D CR E STI N G .

1 . Top ornament of a gable by the archite ct Eisenlohr of Carls , ,

r e
uh
—
.

2 7 . Various Barge boards (Bethke ) -

, .

TH E CRO SS .
(Pl a te

ross (Latin c ux French c oia ) is the most important

Th e C r ,
r
"

symbol of Christian art It symbolises the person of Christ Ch ist .

,
r

i ity and Sacrifice

an Its decorative applications are innumerable d
.
,
an

of great variety .

Various f ndamental forms of the cross have been disti g shed

‘

u n ul

and are known by different names The Greek (or St George s) cross . .
’

consists of two arms of equal length bisecti g each other at right ,

n -

angles In the Latin cross th lower limb is lengthened These two

. e .

forms are those most often used In the St An drew s cross the . .
’

arms cross each other diagonally St Anthony s (the Egyptian or

-
. .
’

Old Testament Cross) is a Latin Cross without the upper limb .

Omitting from consideration the Crucifix which represents the

.

crucifixion of Christ we shall fi d the Cross in the utmost variety ,

n
FREE O RNAME NTS . .
1 73

Th e C r oss . Pl ate 1 09 .
 FREE O RNAMENTS .

Pl ate 1 10
. Th e Cro ss .
1 76 Th e Finial in Stone and in Metal , .

sideways but also regular ly to the front and back Crocket like d
, .
-
a

d iti s (comp plate 1 1 6 ) clothe the stem which usually takes th e

on .
,

form of an elongated four or eight sided shaft There may be one -

.

or more tiers of crockets .

The Finial serves to decorate Spires Pinnacles B ald chins

'

, ,
a ,

Tombs & c and is a specifically G othic ornament

,
.
, Th most beautiful . e

forms are furnished by F rench G othic from which most of the il '

lu st ations of our plate are t ken

r a .

PL A TE 111 . TH E FI N I AL : IN ST ON E .

1. Modern G othic .

2. Early G othic (Jacobsth l) ,

a .

3. French G othic (Vi ll t l Duc) ,

o e -
e- .

4. Early G othic cathedral Chartres , , ,

century , (Muster orn a

mente)
5 —6 Modern (Viollet l D c)
.

.
,
-
o- u .

7. Modern (B ose) ,
.

J
THE F INIAL IN METAL .
(Pl a te

In the artistic wrought iron work of th e Middle Ages the Re -

,

nascence d Modern times we find charming Finials in the shape

,
an ,

of idealised flowers These decorations are found on th tops of . e

B l t d
a a u s ra on th Gables over Doors on Brackets and Chandeliers
es, e , ,

on the supports of Rain spouts on Wall anchors &c -

,
-
,
.

Leaves volute like spirals bell flow e s and ears are arranged
,
-
,
-
r , ,

round a central axis of iron ; in many cases the centre is formed by

Spin dl e Shaped Spirals of wire
-
.

P L ATE 1 1 2 . TH E FIN I AL : IN ME TAL .

1 . C orner of a Mediaeval Grill Duc) , (V i ollet lo - -

.

2 . Part of a G rill To louse cathed al 1 5th century (Violl t le Du c)

,
u r , ,
e - -
.

3 . Termination of a F ountain Cluny m eum Paris 1 5 th cen t ry ,

us , ,
u ,

(L art pour
’
to u s) .

4 . Part of a Spanish Trellis Gate 1 4 th century (L art pour tous) , ,

’
.

5 . Part of a Chancel S creen mi nster Freiburg l 6 th century (Schau , , , ,

Wrought iron l 6 th c ntury (G i chard)

-
,
e ,
u .

Terminal B ruges 1 7 th century (Y s dy k Documents cl sses

, , ,
en c ,
a

de l art) ’

Modern wrought iron Ihne Stegm iill B erlin

,
-
,
er, .

Modern Post by Ende B oeckmann Berlin (G ewerbehalle)

, , , ,
.

Wrought iron Coronal L i m burg on th Lahn 1 7th cent ry

-
,
e ,
u ,

(Kache l Kunstgewerbli che

,
Vorbilder) .

Coronal modern Gate 0 Zaar Berlin

, ,
. ,
,
.
 FR EE ORNA MENTS . 1 77

Th e Fini l
a .

Me y e r, Hand b k
oo of Orn a m en t .
 FREE O RNAMENTS .

Pl ate 1 12
. Th e Fi ial
n ,
&c .
 FREE ORN AM ENTS .

Pl a t
e 1 13 . Th e Fi ial K b
n no ,
and Va se .
FREE O RNAMENTS .
‘
18 1

Th e P d t
en an Kn ob . Plat e 114 .
 Th e R osette .

TH E R O SETTE .
(Pl a t e

Rosette strictly so called is

The a t ificial Rose In a wi der
, ,
an r .

sense any ornament of a ci c l sh pe which radiates from a centre .

r u ar
'

a
, ,

may be termed a Rosette According to its execution and use the . :

Rosette m y be considere d either as a Free ornament or a Panel

a -
,

ornament In the fir st case it must always be plastic project pro

.
, ,

mi tly and have some resemblance to the Knob or Pendant

n en In .

th latter case it may be in low rel ief or be a fl t ornament

e , H ere a .

we have only to deal w ith the Rosette as a Free ornament -

.

Considering the Rosette from this point of view its most im :

portant application is as the B oss in th centre of Romanesque and e

G thic ribbed Vaultings ; and as the centre piece of Ceilings of which

o -
,

W fi d n umerous examples in the temples of the Antique the p laces

e n ,
a

of the Italian Renascence and the v ulted Cupolas of ecclesiastical ,

a

and secular architecture B esides thi s Rosettes are found on F r .

,
u

n it e G ates and D oors (the Italian Renascence makes the most lavish
ur ,

use of them in this capacity) d as the centre pieces of modern ,

an -

Ceilings &c In these cases however their quality as Free ornaments

,
.
, ,
-

is less prominent .

As regards the formal plan of Rosettes the Flower motive is the :

commonest ; geometrical motives are rarer and motives from figures ,

rarer still The arrangement is usually in a series of z ones ; the

.

growth is from the centre outwards ; and in the majority of cases is ,

radial that is at right angles to the bordering circle ; b t s ometimes

,
u

th e leaves are curved .

Th e R Os tte may have any number of divisions ; but 3 4 5 6

e , , , ,

8 1 0 1 2 or 1 6 divisions are the rule ; divisions into 7 9 1 1 & c

, , , , , ,
.
,

are as rare as di vision s exce ding the number 1 6 e .

The D i i sions may vary in the separate z ones ; but generally

v

only so that the same division s interlock that is to say the points , ,

of the leaves of O z one fall on the intervals between the leaves ne

of the next .

PL ATE 1 1 5 TH E ROS ET TE . .

1 Antique of four divisions

.
,
.

2 Roman of five divisions

.
,
.

3 Nat ralistic of six divisions

. u ,
.

4 Ro m anesque B oss of four divisions chapte r hall of the monas te ry

.
, ,
-

of Heiligenkreu z near Vienna 1 3 th century (Mus terornamente) , ,

.

E arly G othic B os s of three di visions Sainte Chapelle Paris 1 24 0

!
-
0 , , , ,
5
0 French of four divisions Louis XIII (1 6 1 0
, (Mus ter , ,

ornamente) .

1
4 Italian of five divisions the door of the baptistery Parma Re
0
, , , ,
~

nascence (Mus terornamente) ,

.

8 Modern French ceiling flow e

. stuc co ,
-
r, .
 F REE O RNAM ENTS .

Pl a te 116 . Th e Cr ck t an d the Garg yl

o e ,
o e .
 Th e Cr ck t an d the Gargoyl e
o e , . 1 85

THE CROCKE T , AND THE GARGO YL E .

(P l a te

rocket is the designation applied to those excrescences which

C
appear on the edges of Spires and Pinnacles and on the raking lines of , ,

Gables in the richer G othic styles Occurring at regular intervals

,
.
,

they form an ornamental interruption to the bald architecto ic lines n .

At first of a rather figs and they

‘

t li ti ch t ( 3 n a u ra s c a ra c e r .

evolved during the decay of the style a more artificial character as ,

su m i g b lbous forms (fig

n which have their own speci l peculiar
u . a

ities in England France and Germany , ,

.

Crocket ornamentation has more or less been copied h om

-
'

stone Architecture in Furnitu e Choir stalls &c Th arms of the r ,

-
,
. e

l tter (figs 6
a and the miserere seats are often foliated like a
.
-
,

Crocket .

Metal and partic larly wrought iron work frequently makes

,
u -
,

use of Crockets in forms suited to the nature of the mate ial

,
r ,

( figs 1 1 .

Contrary to th modern method by which the water that colle c tse ,

on the roofs of buildings is conveyed to earth through Pipes the ,

builders of the Middle Ages and the Renascence disch rged the rain a ,

clear of the wall by means of long projecting Spouts Th spout , . e

was u ed in the Antique style in the form of lion heads & I the
s ,
c . n .

ecclesiasti cal and monume t l architecture of the Middle Ages they n a

are termed Gargoyles ; and are mostly of stone In dwelling houses .

they are of Sheet metal ; and they are either architectonically decorated
-

(fig . or human animal or fantastic figures treated in a comic , , ,

manner the water flowing through the mouth or other orifices oi

,

the body .

C pi s material on the subject of crockets and gargoyles will be

O ou

found in R g t s M t i x t D ocuments de l A hit ct

a u en e
’
“
a er a u e
’

rc e u re
”
.

P L ATE TH E CR O CH E T, GAR G OYL E

—2
AND TH E .

1 . Front and side view of a plain Gothie Crocket Am iens -

cathedr l restored by Violl t l Duc (R g t)

a , e -
o- ,
a u en e .

3 . G othi c Crocket 1 4 th century , .

4 . Modern Gothic Crocket Paris (R g t) , ,

a u en e .

5 . Gothic Crocket Milan cathedral (R g t) ,

a u en e .

6 A m of a Stall S alisbury cathedral (R g et

)
—1 0
. r ,
a u en .
,

7 Arms of Stalls monastery Maulbron

—1 2
.
, ,
n .

11 . Wrought iron Gothic Augsburg -

, ,
.

13 . Gargoyle Violl t le Duc Eglise d E (R g

,
t) e - -
,
’
u, a u en e .

14 . Gargoyle bell tower St Sernin Toulouse restored by Violl t

,
-
,
.
, ,
e

l Duc (R g
e- t)
,
a u en e .

15 Gargoyle Meaux cathedral (R g et)

—1 7
.
, ,
a u en .

16 . Gargoyle St Eust che Paris (R g t)

,
. a , ,
a u en e .
1 86 Th e Decorate d Hinge , 850 .

TH E DECO RATED H INGE , &c .

(Pl a te

Middle Ages and after them the Renascence brought the

Th e
‘

, ,

developement of Wrought metal work to the highest state of perfection

'

-
.

Here we have to consider the different kinds of bands technic ally ,

know according to their shape as Hinge Strap &c

n, , , ,
.

Al though these bands w ere originally intended only to b ind to -

g ether the
’

derlying wood construction of gates doors caskets

un , , ,

chests &c the bald practical form was soon made decorative ; and
,
.
, ,

this the more readily that the G othic principle of wood construction ,

with its narrow stave like or matched strips of wood o ffered only ,

scanty Opportunities of a tistic decoration r .

Delicate series of lines designed as Free ornaments Start from ,

-
,

the Hinge and terminate as leaves and flowers Th heads of the . e

necessary rivets and screws themselves shaped as rosette s in the ,

richer examples give a pleasing relief G othic usually applies the

, .

extended Strap hinge (figs 7 -

while the Renascence in ac cord
,
.
,

ance with its principle of bordering in wood constructions pre fers the ,

shorter Butt hinge (figs 1 1 -

In the latter ep och the s rface . u

of the metal received fm t he decoration trough the arts of etching r ,

e ngravi ng niello work &c B ook mounts in particular o ffered a

,
-
,
.
-
, ,

wide field for the application of these arts , .

Modern times have with jus tice devo ted increased attention to
'

these objects ; and have restored them to the domain of art from which
va rious causes had excluded them for lmost a century a .

Th plate gives a Small selection from the 0 0 pious material to

e

be found in museums d publications an .

117 . TH E D E C OR ATE D H I N G E , &c .

Gothic hinge church door Viersen near Cologne 1 5th century

,
-
, ,
.

Plain te rminations of hinges Hefner Alte ck collection ,

-
ne ,

1 6 th cen tury .

Terminatio s of hinges Town hall Mii sten ,

-
,
n r .

Termination of hinge Prie dieu , Gelnhausen 1 5 th centu y ,

-
,
r ,

(Musterornamente ) .

G othic hing e D oor of a cabinet Town hall Zwolle

, ,
-
,
.

Gothic hinge .

Renascence hinge old Kaufhaus on the Limmat Zurich 16 1 8 , , ,

.

Renascence hinge Town hall Augsburg 1 7 th century (Mu ster , , , ,

ornamente) .

Re nas cence hinge D oor i Ettlingen United collectio s Carls ,

n ,
n ,

ruhe .

12 . D oor hinge German 1 5 8 0 Free imit tion by Prof Storck

-
, , ,
a .
,

(Zeichenvorlagen) .
 Th e T a elss . Th e Fringe and the Val , en c e .

TH E TASSE L .
(Pl a t e

chief contributions of textile art to the group of Free orn

The -
a ~

ments are Tassels Fringes and L aces Th two latter are current , ,
. e

edgings the first on the contrary are the termination of the lower
, , ,

end of cords or of shaped draperies Thus we find Tassels used on .

Girdles Bell pulls and Curta in holders ; as pendants from Flags

,
-
,
-
,

S tand ards V l c s Cushions Table covers Palls and Tent covers ;

,
a an e , ,
-
, ,
-

also on Pouches Hoods Caps Harness & c , , , ,

.

The Tassel consists of a tuft of thre a ds or cords hanging straight ,

down from a core of wood turned in various profiles and decorated , ,

with twisted threads Th e original may be assumed to have been .

the cord with a simple knot the knot being intended to keep ,

the cord from ravelling out Th Tassel is undoubtedly of grea t -

. e

antiquity Th relie fs found in Kho b d Ni i h and elsewhere

. e rsa a ,
n ve , ,

Show that the As syrians were great admirers of such kinds of trimming .

A d although such a lavish use does not occur again ; th ere would
n ,

probably be little difficulty in finding examples of ta ssels from ll a

periods of Art .

Not only form but also colour contributes to the e ffect of Tassels ,

so that the examples in our plate really only give half the e ffect .

A nexhaustive study of Tri m mi gs by J cob Falke will be found in n ,

a ,

Tei ich s B l atter fii Kunstgewerbe

’
r
“
1 8 75 r .

PL ATE 118 . TH E TA S SE L .

1 French lady s girdle 1 2th century (Viollet l Duc)

—3
.
, ,
e-

2 . Tassels Holbein (Tei ich)

, ,
r .

4 . Tassels Turkish harness 1 7 th century

,
U nit ed collections , ,

Carlsruhe .

5 Tassel old standard U nited collections Carlsruhe

,
-

, ,
.

6 . Tassel Tunisian pistol U nited collections Carlsruhe

, , ,
.

7 Leather tassel lady s bag G erman Renascence ’

—1 0
. .
, ,

8 . Modern tassels by A g Topfer (Gewerbehalle) ,

u .
‘

,
.

11 . Modern tassel by A S eder Munich ,

.
,
.

TH E F RINGE , AND TH E VAL ENCE .

(Pl a t e

If , at the end of a piece of material the weft threads (parallel ,

-

to the end) be drawn out the remaining warp threa ds will form a -
,
-

simple Fringe If we give the end greater security by knotting or

.
,

tieing the threads together in tufts we get the ordinary Fringe The ,
.

Fringe however is not always made of th material ; it is often

, ,
e

manufactured independently and sewed o to the edge of the material ,

.
-
n .

In this case the Fringe is combined with a woven heading band (gimp) -
.
FR EE O RN AMENTS . 189

a l
Th e T s se . Pl ate 1 18 .
 Th e Fri ge the Val ence an d the L ace Border
n , , .

Richer types of Fringes may be produced either by variety of

the edge so that tufts of unequal lengths form rhyth m ically alternating
,

groups (fig or by using several thick esses of F i g ; lyi g one

. n r n e
‘

behind the other (fig ,

.

Th e Fringe is always applied long when a pendant termination ,

is req i red In other cases as for example where the fringed ma

u .
, ,

t i l is to lie hori z ontally like small Table covers Napki s &c it is

er a ,
-
,
n ,
.
,

advisable to keep the fri ge hort n S .

Fringes have been in us from the very earliest periods ; but it e

is again the Orientals and especially the Assyrians who Show a pre , ,

ference for this form Fringes occur perpetually in various nation l . a

costumes and in the toilet of our modern ladies

,
.

Th Renascence adopted the Fringe as a trimming for f rniture

e u ,

and specially for chairs ; although not always with true artistic feeling .

Th Val nce is a hanging textile termination ; the lower edge is

e e

ornamentally c t and is often ornamented with cords tassels em

u , , ,

broidery &c The upper edge of the Valence is generally fixed to

, .

a moulding .

Valences occur as the interior f nishing of Windows on ur .

,

four post B eds Baldachins Canopies Tents Marquees &c ; of late

-
, , , , , .

years they have been used on Awnings and Outside blinds

, ,
-
.

PL ATE 119 TH E V AL E N C E .

1 . Tomb of the Incas A con Peru United c ollections Carlsr he ,

n , , ,
u .

2 . Indian Mexican pouch U nited collections Carlsruhe

-
, ,
.

3 Egyptian (Ebers) ,
.

4 . Renascence (Storck) ,
.

5 . Mediaeval maniple (T i i h) ,
e r c .

6 Turkish saddle cloth 1 6 9 0 U nited colle ctions C rlsruhe , , ,

a .

Renasce nce silver

—9
7 ,
.

8 . Modern designs by P ig ot ,
r n .

TH E L ACE B O RDE R .
(Pl a te

Of all products of the textile art Lace is the mos t interesting ,

.

There is something poetical about it like fl owers Th combination ,

. e

of the conventional treatment with those accidental features which

hand W O k confers upon the delicate light material gives them a
I
, ,

peculiar char m Who invented lace manufacture and in what year

.
, ,

cannot now be determined Lace is one of those thi gs which th . n e

Renascen ce has handed do w n to us without having inherited it from

the Antique The stimulus to the invention of lace and th basis of
.
,
e

its manufacture is probably to be found in the textile hand work of

,
-

the Middle Ages such as was practised particularly i c onvents for

, ,
n .

ecclesiastical purposes .
 FREE O R NAMENTS .

Pl ate 1 20 . Th e L ace B d
or er .
 Th e L ace Bord er . 1 93

ace belongs in most cases to the Free ornaments More rarely

L -
.

it is manufact ed as an Insertion with the character of a ribbon or

ur , ,

for independent use as a Shawl or Wrap Compared with Fringe th .

,
e

applications of Lace are freer and more varied and by no means co ,

n

fi ed to the character of a pendant termination Th reader may be

n . e

assum ed to be acqu inted with the various uses of lace a .

If we exclude the allied Crochet work as not strictly belonging -

to this section we shall find that the manufacture of Lace may be

,

divided into two groups (1 ) sewed or Point lace ; and (2) bobbin or :

Pillow lace The former method has chiefly been practised i Italy
. n ,

S pain Ireland and France ; the latter in England France the Nether
, , , ,

lands Schleswig Switzerland and Saxony Th chief centres of the

, , ,
. e

lace industry were d to some extent still are Venice Genoa Milan an : , , ,

Ragusa Devonshire B uckinghamshire Ireland Al encon Valenciennes

, , , , , ,

B russels Mechlin Binche Tondern An naberg &c

, , , , ,
.

As in other branches the cheap Machine made article has nowa ,

-

days reduced the manufacture of the dearer but far more valuable
Hand made lace to very modest limi ts S e Reports on Lace by
-
. e ,

Al an S Cole (Department of S cience and A t)

. r .

Am on g the numerous kinds of L ace for which no gener lly a re

cognised terminology as yet exists we have selected some principally , ,

of older date among which the best patter s are to be found

,
n

Point coupé (punto tagliato) Th linen grou d is cut out and ‘

. e n -

the edges worked with the needle .

Point tiré (punto a maglia quadra) Single compartments of . a

quadra gular knotted or woven net are fill d p

n e -
u .

Point tiré (punto tirato) Th threads of the l inen fabric are . e .

partially pulled out the others connected together and sewed -

,

round .

Point coupé (punto a reticella) Groups of threads str e tche d .

lengthwise and crosswise like a net e spun round d ,

ar an

connected .

Point noué (punto a groppo) Produced by plaiting and knotti g . n

the threads .

Point lace Th threads are sewed together following the pattern

. e , ,

and joined together by brides This is almost the only kind “ ”

.

of lace which c now b e found on ladi es work tables an

’
-
.

PL ATE 1 20 . TH E L A CE B OR D E R .

1. Venetian guipure old p attern book ,

-
.

2 Point noué end of the 1 5th century

—4 Old point
. .
,

—8 Modern pillow old patterns

3 .
,
.

5 .
, ,
.

9. Modern knotted with f i nge (Macramé lace)

, ,
r ,
.

M e ye r , H a n db oo k of Orn a m e n t .
1 94

S U P P O RT S .

those elements of ornamental art which exp ress the idea f

All o

supporting or bearing are here gathered into a special group to

,

which is given the name Supports “

Supports in the strict sense of the word are piers or columns

, , .

But it does not fall withi n the s 0 p of this work to treat these c e

forms from the architectural point of view or to enter into the det ils , a

and proportions of the s called Orders of Archi tecture All that is

o-
“ ”
.

required on thi s point may be gained from the works of archi tectural
specialists B 6tti h Tektom k der H llenen ; Mauch and Lohde D ie
: c er ,
’

e ,

A chitekton ischen O dnu ge ; R Phen e Spiers Th O d s of A chi

r r n n .
,
e r er r

tectur e ; Vignola ; D urm and others We wi ll therefore disregard the .

undecorated forms and discuss only the decorative detai ls of these

,

supports .

Like tree which consists of root trunk and crown Piers and
a , , ,

Columns necessarily have a base a shaft and a capital (Th Doric , ,

. e

Column is an exception as it has no base ) Th natural model . e

for the Pier and the Column is the trunk of a tree hewn into a
cylindrical or prism tic form Th motive of the channellings and
a . e -

fl ti g of the s haft of a support is to be found in the channels and

u n s

fl ti gs of E dog
u n ous Plants
n en e .

S upports which like piers and columns are intended to bear

, ,

a considerable weight usually have a strong cylindrical or prismatic

,

structure generally tapering tow rds the top ; the fundament l forms
,
a a

of the Candelabrum whi ch is meant to bear only an inconsiderable

,

weight li ke Lamps & are freer have more variety

, ,
c . d o ffer a
, , ,
an

wider field for decoration than the forms of the former group Th . e

Candelabrum is also divided into foot shaft and crown Th shaft , ,

. e ,
 SUPPO RTS .

Pl ate 1 21 . Th e Foliate d Shaft .

 Th e Flute d Shaft . Th e Ba e s . 197

TH E F LUTED SHAFT .
(Pl a t e

olumns Piers Candelabra and similar Supports frequently have

C , , ,

channellings or fl ti g Th object of these is to give animation to

u n s . e

the smooth shaft and to emphasize the expression of the principle of

,
-

weight bearing This latter is specially true of the channellings

-
.
.

In th Doric style the Flutings are shallow without any interval only
e
,

divided from each other by a sharp edge (figs 1 and Th Ionic ,

. e

and Corinthian shafts have deeper fl ti g (figs 3 and separated

,
u n s .

from each other by fillets formed of the untouched surface of the .

sh ft The channellings terminate upwards like small niches with

"

a .
,

semicirc lar or elliptical heads (fig

u L eaf like terminations like ,
.
-
,

that on fig 1 3 are rarer Th termination downwards is similar to

”

those shown on figs 6 —8

. .

. .

Th number of channelli gs on a shaft varies from 1 8 to 24

e n .

On smaller constructions such as Furniture B l st s &c the , ,

a au er ,
.
,

number is reduced ; but seldom less than 8 Th Channellings taper . e

proportionately with the Sh aft Pilast rs are also channelled to match . e

the Columns In strict A rchitecture rich and composite channellings

.
,

and fl ti gs are rather i jurious than otherwise (figs 7

u n but n .

on Candelabra and Mo ldings they often produce a good e ffect When

,
u .

applied to the Torus and the Cavetto the former (convex) should :

be decorated by Nurls ; and the latter (concave) sho ld have Flutes u .

PL ATE 1 22 . TH E F L UTE D SH AFT .

1 —2 Sections of Doric Fluting

—4
. .

3 . S ections of Ionic and Corinthi an Fluting .

5 6 . Construction of the terminations of Fluting on cylindrical

Shafts
—
.

7 11 . Composite Fluting with sections and termi nations , ,

.

12 . Part of an A tique Candelabr m with tapered Fluting

n u ,
.

13 . Termi ation of the Fluting monument of L y ik t

n Athens ,
s ra e s , .

(Th construction
e is clearly indicated on the drawings ) .

THE B ASE .
(Pl a te 1 23

It is unquestionably m ore b autiful when something in th e e

shape of a Base is interposed betw n the shaft of a column and ee

the substructure on which it rests than when s in the Doric style , ,

a ,

the column rises without any such base Bases suggested by the .

radical leaves of plants are com mon in Oriental styles Plate 1 24 ,

.
,

fig 1 gives an Egyptian example of this kin d Decorations of this

. .

sort are however oftener applied to the lower end of the sh ft than
, ,
a
1 98 SU PPO RTS .

P l ate 1 22
. Th e Flut d Shaft
e .
 SU PPORTS .

Pl ate 1 23 . Th e Ba e
s .
SUPPORTS . 201

Th e Base . Pl ate 1 24 .
 Th e Ba es . Th e Ornamente d Shaft .

8 . Romanesque St Remy Reims (R g t) ,

.
, ,
a u en e .

9 . Romanesque Cistercian monastery Maul bronn , , .

10 . Romanesque Abbey des D ames Caen (R g ,

“ ”
, ,
a u en et
) .

11 . Gothic church B rou As (R g t)

, ,
-
n, a u en e .

TH E ORNAME NTED SHAFT .

(Pl a t e s 1 25

sim plest most natural and perhaps the most beautiful de

Th e ,

c o tio ra of a Shaft is fl ti g beyond which the Antique very seldom

n u n ,

goes Wh ere it does it clothes the stem in naturalistic fashi on with

. :

plant forms (Plate 1 25

-
,
.

In the Byzantine Romanesque and Scandinavian styles we ofte , , : n

find the shaft covered wi th a geometrical network and ornamented i ,

n _

a co respondi ng style (Plate 1 25 2

r Th e Go thi c style prefers ,
.

to leave the slender shafts smooth .

Th Renascence is not satisfied with the Simple flute especially

e

on sm ll architectural work like Al ta rs Monuments &c Th craving

a , ,
. e

to give the Column a decoration commens urate with that of the other
parts of the architecture became irresistible It is raised on a pedestal ; .

th shaft is banded being divided into parts by projecting Cinct es

e ,
ur ,

generally two th lower at about one thi rd the upper at about two
,
e -
,

thi rds of the height On the lower part are suspended festoons .
,

weapons trophies cartouches &c the upper part is channelled or

, , ,
.
,

decorated with Artificial foliage (Plate 1 25 fin lly festoons of fruit . a ,

O drapery are suspended from the capita l

r .

Where the Columns are not large especially in Furniture the , ,

cylindrical shaft is replaced by the richer pro filing of a more candelabrum

like form (Plate 1 26 ,
Flat ornamentation is also used as well .
,

as plastic decoration by means of painting incrustation or inlaying , , , ,

(Plate 1 25 .

All these methods of application are more or less in agreement

with the object and principle of construction of the Column but th ,
e

same cannot be said of the Renascence and the following styles of the
Decadence whi ch build up their Columns of large and small drums
, ,

alternately ornamented and plain or even give th e Shaft a spiral ,

twist and decorate it wi th Spiral fl ti gs u n .

P L ATE 1 25 . TH E DE C ORATE D SH AFT .

1 . Italian Renascence Tomb in St Maria del Popolo Rome ,

a .
, ,

Sansovino .

2 . Roma esque n .

3 . Shaft church Tournus (R g

,
t) , ,
a u en e .

4 . Roman marble ,
.

5 . Column with int rsia decoration G erman Renascence (Hirth)

,
a , ,
.
 SUPPO R TS .

Pl ate 1 26 . Th e Profil e d Shaft .

 Th e Ornamente d Shaft . Th e Cap ital . 205

P LA TE 1 26 PR OF I L E D SH AF T
. TH E .

1 . C delabr m like column tester bed French Renascence

an u -
,
-
, .

2 . Lower part of a column Mayence cathedral ,

.

3 . L ower part of column Palais d Commerce Lyons (R g ,

u , ,
a u en et
) .

4 . Column diploma Modern , ,

.

5 . Column Modern (Gerlach) , ,

.

TH E CAPITAL .
(Pl a te s 1 27

upper termination of the column is the Capit l Th Capital

Th e a . e

forms the transition from the supporting Shaft to the superincumbent

Weight This transition may assume either geometrical or organic
.

forms Very frequently both systems are combined ; so that st ictly

.
,
r

speaking we c only say that one system or the other predominates

,
an .

Th Egyptian capital is suggested by the cinctured bundle of

e

Papyr s stems with b uds (Plate 1 27 4

u or with pened Papyrus .
,
O

or Lotus flowers (Plate 1 27 2 ,

.
,

Abnormal capitals are found in the Old Persian style Plate .

1 27 1 gives an ex m ple from Persepolis composed of the fore parts

.
,
a ,
-

of B lls u .

A examples of Orient l forms

s two Moorish capit ls from th e a : a

Alh ambra in Granada are given on figs 6 and 7 of the same plate . .

A ntique art adopts three general types of Capitals D oric Ioni c :

,

and Corinthian .

Th Doric Capital consists of the a b acus which is square in plan

e , ,

and the chi s which is circular Th transition to the shaft is fl

e no
,
. e e
'

ec

t d by hollow mouldings and astragals

e Th e G Doric Capit l was . r a eco - a

painted W here the sides of the abacus are decorated a Fret pattern
. :

is employed (Plate 1 27 Th chi is a member of conflict . e e n os

,

and is ornamented accordingly In the Rom an and Renascence styles .

plastic ornamentation takes th place of painting Th b and of leaves e . e

becomes an egg and dart ornament (Plate 1 27 -

Leaves pointing
-
.

upward are sometimes used (Plate 1 27 At the top of the abacus .

a small mouldi ng is used A necking generally decorated with .

,

rosettes is interposed between Capital and Shaft Similar rosettes

,
.

d ecorate the spaces on the under side of th abacus (Plate 1 27 e .

9
Ionic Capita l replaces the s quare abacus by a scroll rolled
Th e
in n both sides in great volutes Th intervals between the egg
o
, . e ,

b and and the scroll are m arked by palmettes A neck may be added ,
.

as in the Doric Capit l d it is frequently decorated with a pal a ,

an

mette ornament (Plate 1 28 4 Th side view f the scroll . e . o

shows plain p fili g as on Plate 1 28 1 decorated with leaves or

ro n s .
,

scales in the richer examples Th Ionic Capital has two faces d . e ,

an
 Th e Cap ital .

two si des For this reason it is of only limited application as

.
, ,

when the capital is applied to the corner colum n of two adjacent

sides of a b i lding it is impossible to avoid a bad e ffect from th
u , e

two r entering volutes on th inner faces

e e .

Th fundamental form of the Corinthian C pita l is the calix

e a .

Th edecoration may be designed on two methods Firstly a row of .

leaves or two rows arranged lter ately one above the other clothe
,
a n
,

the lower cylindrical part of the capital and plain broad waterleaves
form the transition to the square abacus To this class belongs the
,

capital of the Tower of the Winds in Athens and a capit l found ,

a

on the island of Melos which is shown on Plate 1 28 7 O secondly ,

. . r, :

volutes rise from th e rows of leaves d unite in pairs under the an

corners of th abacus which are then extended so that the sides are
e , ,

rendered concave in plan Th centre of each sides of the abacus is . e

decorated with a palmette or rosette (Plate 1 28 8 .

Th e f sion of the Ionic u d Corinthian capitals produced the an

Composite capital ; whose appearance is more interesting than beautif l u

(Plate 1 28 .

Early Ch istian and to a certain extent B yz anti ne and Roma

r , , ,

ne sq ueart models the forms of capital on those of the Antique

,
.

Th Corinthian Capit l is the one mostly followed

e Th details are
a . e

made correspondingly simpler and ru der (Plate 1 29 6 B ut .

along side of these reminiscences of the Antique new and independent ,

forms appe r Th ntagonism between the cylindrical under part

a . e a

an d the square upper termination is adjusted by geometrical o str c c n u

tions Thus originated the Cushion and the Tr pe ziform Capit l

. a a .

Th Cushion capital is specifically Romanesque A half sphere is cut

'

e .

by planes below and on the four sides Its simplest form is given .

on Plate 1 29 1 Th e decoration is sometimes geometrical (Plate 1 29

. . .

2 and and sometimes contains foliage and figures (Plate 1 29 .

Th Double cushion Capital is a va iant of the Cushion c apita l (Plate

e -
r

1 29 . Th e T apeziform capit l is specifically B yzantine

r In this a .

style the cylindric l shaft is continued to the square abacus which

: a ,

causes each side of the C pital to assume a Trapeziform shape (Plate a

Very often these Capitals are richly decorated with figures

.

Th arrangement of clustered shafts so pop lar in the Mid dle

e ,
u

Ages led to the Coupled capital which appears sometimes as con

,
-
,

joined capitals (Plate 1 29 and sometimes as the juxtaposition of .

two ordi nary capitals with a conjoined abacus .

In th e Gothic style particularly in its later pe iod the abacus ,

r ,

becomes octagonal Crocket like knots of leaves are loosely attached

.
-

to the calix formed core Th vigourous proje tions of these leaf

-
. e c

ornaments give the Capital the appearance of an inverted bell (bell

capita ls Plate ,

Th e Renascence adopts the Doric and Ionic Capita ls and more ,

 SUPPO RTS .

Pl ate 1 27 . Th e Cap ital .

 SUPP ORTS .

Th e Cap ital . Pl ate 1 28 .

Me y er , H and b k
oo of Orn a m e n t .
 SU PPO RTS .

P l at e 1 29 . Th e Cap ital .
 SU PP OR TS .

Pl ate 131 . Th e Pil a t r Pa el

s e n .
 Th e Cap ital . Th e Pil a ter Pa l
s ne . 21 3

12 R ma esque Cushion capital monastery L ippoldsberg

—1 4
. o n -
, ,
.

13 . L ate Gothic triforium of the choir minster Freiburg

, ,
.

P L A TE 1 3 0 .A AL TH E C PI T .

1 Renascence drawing by Holb ein (Guichard)

—3
.
, ,

2 . Renascence designs by Hein ich V igth, (Hirth) r o err , .

4 . Composite Itali an ,
.

5 . Renascence Pala zo S crofa Ferra a Itali n

,
z ,
r ,
a .

6 . Renascence Tomb in Sta Maria del Popolo Rome by S

,
.
, ,
an

sovino .

7 . Renascence Italian Palazzo Zorzi Venice

, , ,
.

8 . Modern municipal baths C rlsruhe Architect Durm

, ,
a
,
.

9 . Modern French Vaude ille theatre Paris A chitect Magne,

v , ,
r .

TH E P IL ASTE R P AN EL .
(Pl a t e

In many cases the Pilaster or wall pier shaft is devoid of orna -

ment U nlike the colum n the Pilaster does

. as a r le taper p ,
n ot , u ,
u

wards ; and if the Pila ter is ornamented with fl ti g the tapering s u n

is never permissible Th Pila ter frequently has cinctu es generally . e s r ,

two the lower at

,
the upp r at of its height Th ornament l e . e a

decoration when pres nt takes the form of an elongated su k panel

,
e , ,
n

bordered by a m o l ding Th ornamentation may be of three kinds u . e

firstly an ascending plant motive may be used rising sym metrically

:
,

or in the form of a w avy line from cali ces vases & animal and ,
-

,
c .
,

human figures being not infrequent accessories ; secondly the decora ,

tion may consist of festoons of flowers fruits trophies shi elds & , , , ,
c .
,

varied by knots and ribbons the points of suspension b i g tt s ,

e n
‘
r ose e ,

rings lion heads &c ; thi rdly the panel may be decorated with flat
, ,
.
,

strapwork as in the Elizabethan manner

,
.

Of these three kinds of decoration the first is the most use d ;

and the most suitable Few Antique ex m ples have come dow n to . a

us ; the Middle Ages make scarcely any of th Pilaster ; but use e

the Renascence is much richer in such examples S talls Altars .

, ,

S epulchral monuments are scarcely to be found wi thout Pil s ters

-
a .

Plate 1 3 1 o ffers a small selection from the pi material ; ll th c0 ou s a e

panels show the first of the three kinds of decoration .

P L ATE 1 3 1 . TH E PI L A STE R P ANE L

1 Italian Re ascence
—
. n .

2 5 Italian Renascence St Maria dei Miracoli Veni c

—
.
,
a .
,
e .

6 7 Italian Renascence by Benedet to da Majano

—9
. .
,

8 . Modern Panels in the style of the Italian Renascence

,
.
 Th e Pil a ter Cap ital s .

TH E PILASTE R CAPITAL .

(Pl a t e s 1 3 2

Generally speaking the structure of th Capital of the pilaster

,
e

follows that of the Column ; and to a certain extent translates the

'

, ,

form s of the latter from the round to the flat Thi s observation is .

true in the Renascence period ; but not in the Antique .

In Pil ster capitals in the Doric style one or more le f or egg

a -
a

and dart mouldings run nder the abacus and are covered at th
-
u , e

corners with palmettes or leaves Beneath this proper part of the .

Capit l a neck more or less high is usually found decorated with

a
,

rosettes or wi th other ornaments (Plate 1 3 2 On modern Capitals .

of thi s class the neck may even be fluted (Plate 1 3 4 not infr . a

quently the centre of the Capit l is still f rther decorated by the a u

ad dition of masks symbols &c (Plate 1 3 4 7 d , ,

. . an

Whi le the Renascence adopted the form of the Ionic Capital

wi th sca cely any change for its p ilasters (Plate 1 3 4
r the Antique .

possessed a speci l form of pilaster Capita l of this order (Plate 1 3 2

a .

Th most num erous

e varied and beautiful Capitals of pilasters
,

a re in the Corinthian order Th profile d general a rangement are . e an r

th same as with the colum ns ; generally however the pilaster is

e , ,

broad er in proportion to its height Th lower part is encircled by . e

A tificial leaves whi ch sometimes d w indle to the two corner leaves

r

supporting th volutes Th volutes are of the most varied de ip

e . e scr

tions sometimes replaced by cornucopias dolphins chi meras and

, , , ,

other fig es (Plates 1 3 2 8 and 1 3 3

ur Leaf ornaments vases . .
-
, ,

garlands calices of flowers & are arranged at the centres (Plate 1 3 2

, ,
c .
,
.

4 also masks (Plate 1 3 3 4 5 and Neckings are rare on , ,

Corinthi an capitals (Plate 1 3 3 Th egg and dart mouldi gs . e - -

n ,

whi ch run along the bottom of Antique examples (Plate 1 3 2 4 .

are remi niscences of the Doric style so that these forms may also ,

be rega ded as a kind of transition Capital

r .

P L ATE 1 3 2 . TH E P I L AS TE R CA PI TAL .

l .Greek Doric anta Erechtheum Athens

-
, ,
.

2 .Greek Ionic anta -

.

3 Greek Corinthia
4 —6 Roman Corinthian (B ottich )
.
-
n .

.
-
,
er .

7 .Roman Corinthian Pantheon Rome -

, ,
.

8 .Roman Corinthian Temple of Mars Ultor Rome

-
, ,

PL A TE 133 . TH E P I L A S TE R CAPITAL .

1 . Corinthian Italian Renascence Court of

, ,
th e S cala dei Giganti ,

Venice (Wiener B hii tt )

, au e .
Pl ate 1 33 ,
 SU PP ORTS .
21 7

Th e Pil a t r Cap ital

s e . Pl ate 1 34 .
 Th e Pil a ter Cap ita l
s . Th e Can d el abra B a e s .

orinthian Italian Renascence St Maria dei Miracoli Venice

C , ,
a .
, .

Corinthia Italian Renas cence Certosa Florence n, , ,

.

Corinthian Italian Renascence S cuola di S Marco Veni e

, , an , c
,
by Pietro Lombardo
5 —6 Corin thi an Italian Renascence
.

. Chapel of the Palaz zo Vecch io

, , ,

Florence (Mu terornamente) ,

s .

Corinthian Italian Renascence ,

.

Corinthian French Re nascence Tomb of L ouis XII St De is

, , ,
. n .

134 . TH E PI L A STE R CAPITAL .

Corinthi n Italian Renascence Portal of S Michele Venice

a
, ,
an
,
.

Corinthian Italian Renascence Palace of the Doges Ve i ce

, , ,
n .

Ionic French Renascence (L i evre)

, ,
.

Wrought iron castle at Athis Mons French 1 7 th century

-
,
-
, , .

Wrought iron by Jean B erain French 1 7 th century (R g e et)

-
, , , ,
a u n .

Modern Doric Archi tects Kayser and Grossheim ,

v . .

Modern D oric new Opera House Paris Architect G rnier , , ,

a .

Modern Ionic Rue Dieu P ris Architect S dill , ,

a ,
e e .

Modern Corinthi an atelier of a painter P ris Sc lptor B l h , ,

a ,
u oc e .

THE CANDELABRUM F ooT .

(P la t e

lighting the Candelab m played an im portant part in the

For ,
ru

domest c and religious life of the Ancients In the House they

i .
,

mostly employed slender delicate bron z e C d l b ; and for Religio ,

an e e ra n,

the great State candelabra of marble Th Candelabrum like the

-
. e ,

colum consists of three parts the base the shaft and the capital
n ,
: , ,
.

To ffo d th necessary steadiness the base of the Candelabr m

a r e ,
u

is pla ned on com paratively large scale and divided into three legs
n a , ,

whi ch stretch out towards the points of an equilateral triangle For

-
,
.

the foot the claw of an animal and in particular the claw of the
, ,

Lion is used Not infrequently th claws rest on balls or discs

,
. e

(Plate 1 3 5 Th transition
. to the shaft is designed with a double
e

cali x th upper leaves of whi ch rise and encircle the shaft and the
,
e ,

lower leaves descend and mask the junction of the th ee legs r

(Plate 1 3 5 1 and A .delicate

'

anthemion may be perceived

between each pair of feet on richer examples (Plate 1 3 5 2 and .

In exceptional cases the leg appears to grow from the mouth of an

animal (Plate 1 3 5 Occasionally a circ lar profiled and decorated
. u ,

disc is used instead of the double calyx and anthemion S ometimes .

,

too the shaft is prolonged downwards beneath the disc in the form
,

of a knob but does not touch the ground

,
.
220 SU PP ORTS .

Pl ate 135 . Th e Ca d el ab um Ba e
n r s .
 SU PP ORTS .
221

Th e Ca del ab
n ru m haft
S . Pl ate 1 36 .
 Th e Ca de l abrum Cap ital
n . Th e B a la u ste r .

TH E CANDEL ABRUM CAPITAL .

(Pl a t e

Capital of a Candelabrum has a plate or c p like form

Th e u -
,

according as it is destined to receive a lamp or a candle The t0 ps , .

of the Antique bronze Candelabra as a rule are profiled like the , ,

so called Krater (figs

.

-
1 .

Th e pro files and ornamentation already given may be

, ,
re

garded as st ndards Th insertion of real capitals or of figures as

a . e
, ,

bearers (fig 6) is rarer Th e marble Candelabra of the Antique

. .

us ually term inate in a plate or table and this is also the

(fig .

case with the Re nascence Candelabra intended to receive candles “

These were not placed in a cyli ndrical socket but stuck on a c c

nic l pricket
a .

On the decoration of Candelabra the reader may compare the

plates dealing with this subject in Division III (Group of Ute sils) , n .

PL ATE 137 . TH E CAN D E L A E R UM CAPIT AL

—6
.

1 . Antique Museum Naples

, ,
.

7 . Roman .

8 . Renascence drawing in the, Uffizi, Florence .

TH E B ALAUSTER .
(Pl a t e

are small squat columns of circ lar or s quare p l n

B a la u ster s u a .

S ometimes they are only symmetrical around their axis sometimes ,

however they are also symmetrical in an upward and dow ward di c n re

tion In most cases their co structi on i s that of the candelabrum

. n .

They may be divided into base shaft and capital , ,

.

Ranged side by side in a row b l t are employed by the

- -
,
a a u s e rs

Renascence and modern art in Parapets Balconies Attics and Stair , , ,

cases When the B l st s are placed on a Stair case the bases

. a au er -
:

and capitals are either slanting or the hori z ontals of the B l st s ,

a au er

follow the slanting lines of the stair case Th latt er method was -
. e

adopted in the Decadence of the Renascence but is unjustifiable ; d ,

an

can in any case only be adopted with B l st s of a square or

, ,
a au er

oblong plan A rich variety may be obtained by the

. of square us e

and cyli drical forms in the same B l t (fig

n Th B l t a a u s er . e a a u s er

is occasionally used as a support for Stalls and on F itm e R ,

u rn
'

. a

g u e t s D ocuments
ne t
’
M t i“
x contains a large num ber of B e a er a u a

la t s ; from which we have selected some exam ples

us er .
 SU PPO RTS .

Pl ate 1 38 . Th e Ba la u ster .
 The B a la u ster . Th e T erm inu s. 225

P L ATE 1 3 8 . TH E BA L A U STR E .

1 . quare plan Italian Renascence St Maria della S lute

S , ,
a . a
,
Venice .

2 .A system of squa e B l st Palazz o Pesaro Venice r a au ers, ,

.

3 .Circular plan Modern It lian ,

a .

4 Wood Italian Renascence stalls in St Mari Novella Flo

, ,
a. a. ,

rence .

5 Modern French Architect Roux Paris

6 —7 S quare wooden (Bethke
. .
, ,

Der decor tive :

“
a

8 —9 Modern terracotta
.
,

,
. .

THE TERMINUS .
(Pl a te

erminus is a pilaster like support the f ndament l form

Th e T -
,
u a

of which is characterized by tapering downwar ds in a manner

.

re

calling an inve ted Obelisk Th name is derived from the fact that
r . e

Similiar const uctions were used in the Antique as milestones and to

r

mark the Termi nations of fields & Th Terminus consists of the ,

c . e

profiled base not infrequently supported on a special pedestal (figs 3

,
.

and the shaft tapering downwards and usually ornamented with

festoons (figs 3 4 5 and the capital whi ch is often
.
, , , ,
re ~

placed by a bust or half fig (figs 4 5 In this latter -

u re .
, ,

c se it assumes the appearance of a caryatid ; and as the bust is

a
, ,

that of He mes (th G od of letters) this application is often termed

r e ,

a Hermes Standing isolated it serves as a Pedest l for busts and

“ ”
.
,
a

lamps as a Post for railings and in gardens and terraces Th last

, ,
. e

was exceedi gly popular in the Rb o period Joined to the wall

n coc .
,

th Terminus often takes the place of the pilaster This is especially

e .

t ue of the f rniture and small architect ral constructions of the

r u u

Renascence period It is also not uncommon on Utens ils g ti

.
,
e . . r

pods handles of pokers seals &c

, , ,
.

P L ATE 1 3 9 . TH E TE R M I N U S .

1 . Upper part antique silver treasure of Hildesheim Berlin

, , ,

Museum (obviously from a Roman tripod)

,
.

2 . Stone Terminu s b u st I talian Renascence Villa Massimi Rome , , , ,

( g
Ra u e n et
) .

3 . Stone Terminus bust German Renascence mantel piece town , ,

-
,

hall L iib ck
,
e .

4 . Stone Termi nus bust German Renascence Otto Heinrich buil d , ,

ing Heidelberg Castle

,
.

5 . Ston Terminus bust G e man Renascence monument c hu rch

e ,
r , ,

of the castle Pforzheim ,

.

M ey e r , H a n dboo k of Orn a m e n t .
 SUPPO RTS .

P l ate 1 39 . Th e T erm inu

s .
228 SU PPO RTS .

Pl ate 1 40 .
Th e Parap et .
 SU PPORTS .
229

Th e R ail i g P t
n os . Pl ate 1 41 .
230 Th e R l ai i g Po t n s . Th e F rniture
u L eg .

te ria l most often us ed ; but l tely a return h s been made to a a

the more plastic wrought iron Th ornamentation depends on -

. e

the material selected Wrought iron Posts are decorated with.

scrolls and tendrils while cast iron uprights are decorated in

,

bas relief
-
.

If the Railing post h s to sta d on a hori z ontal plane it is d

-
a n
,
a

visable to construct the foot in the manner shown in figs 3 4 .

, ,

and 5 ; if it is to be affixed to the Sides of th treads of a staircase e

,

arrangements similar to those in figs 2 7 and 8 are necessary Where .

, , , .

the upper end has to support the hand ail independent termi natio s -
r , n ,

like figs 2 and 5 may be adopted Spherical heads m y be applied

.
, . a

to all angles (fig .

PL ATE 141 . TH E R AI L I N G P OST .

1 . Modern Post cast metal ,

-
,
Ar chitect v Leins .
,
S tuttg rta ,
w erbeh a lle) .

2 . Modern P ost ca st metal ,

-
,
Ar chitect v Hoven Frankfurt .
,

w erbeha lle) .

3 . Modern Post wrought iron (G ewerbehalle) -

, .

4 . cast metal -
.

5 . architects Gropius and S chmieden .

6 Plain wooden Post

—8
. .

7 . Modern Posts cast metal Ar chi tect v Hoven Frankf rt

,
-
, .
,
u .

TH E F URNITURE LEG .
(Pl a t e

Legs f wood furniture may be divided into tw o classes

The O

accordi g to their height Tables and chairs have high Legs ; low
n .

Legs or Feet serve as supports for all kinds of cabinet and box like -

arti cles .

Th e general plan is that Of a b l uste like body of re voluti on a a r -

a s turned on the la the Angular forms however are also used.

, ,
.

High Legs are frequently decorated with carved ornaments ; low

Legs are usually left pl in ; and this would seem to be in ac cordance
a

with their character .

Met l F eet r sometimes used for s m all pieces of furniture like

a a e

caskets .

Where the Legs have to sta nd on th fl oor it is advisable to e :

taper them down w ards (figs 5 w here they have to stand O . n

raised platform s and seldom requi re to be moved it is bette r to :

:

f rnish them with a pedestal (fig

u It h s lately become fashion . a

able to apply me tal casters to pianos heavy chairs couches &c , , ,

.
 SU PPORTS .

Pl ate 1 42
. Th e Furniture L eg .
 SU PPO RTS . 233

ra p e ph ron
Th e T zo o . Pl ate 1 43 .
 SU PPO RTS .

Pl ate 1 44 . rap ezoph r n

Th e T o o .
 Th e
‘
Con ol e s .

used ben ath mouldings and in corners of doors between the jamb s
e ,

and the lintel Th example on Plate 1 4 6 1 1 m y be taken as

. e . a

representative of this kind of support A Oth class of Supports . n er

exhi bits a central core tapered downwards like Pendants with a

-
, ,

polygonal or round plan (Plate 1 4 7 1 and Thi s latter form is

'

also used in G othic art as a B racket for the Statues of the saints ,

which we re applied to piers and the arches of portals .

Th e R c remodels the last named console in its own way

en a s en se -
,

but recu s by preference to the A tique form (Plate 1 4 6

r some n .

times reversi g the volutes (Plate 1 4 6 1

n and gi vi ng the front .

a richer and more independent ornamentation (Plate 1 4 6 Th . e

combination of several smaller consoles to form a Composite c m -

o

sole is shown on Plate 1 4 6 fig 5 Just as the Pendant consoles

,
. . .
-

Of the G othic style imitate the lyx it l S O too does th Rena '

p ca ca a ,
e

scen e
s remodel the D oric Ionic and Corinthian capitals for Con oles , ,
s

(Plate 1 4 7 4 In .wood architec t re we meet with Consoles u

,

which have the form of richly decorated struts (Plate 1 4 6 -

.

Th e Barocco style which followed the Renascence also made , ,

essential additions to the richness Of the forms Th strict line of . e

the volute is abando ed and frequently broken by straight li es n n

(Plate 1 4 6 7 T h. C onsole is shaped in front vi ew like a pen e -

dant Tria gle or typographical Tail piece (Plate 1 4 7 3 and

n ,
A -
. n

other invention f this period is the Triglyph console (Plate 1 4 7

o -
.

Th Rococo period abandons the traditional standards and sacri

e ,

fi construction to picturesq e license Shell work and

c es ymm u .
-
,
un s e

t i l scrolls serve as supports

r ca ,
.

Modern art recasts the elements of former styles without adding ,

anything essentially new less we regard as a novelty the custo m ,

un

of placing busts clocks and k i k ks on independent Consoles

, ,
n c na c ,

w hich are used as Br ckets a .

Finally we m y mention that in almost every style Consoles in

: a ,

the various forms have been used as the Keystones of d oor and
window lintels in which case they are ge erally speaki g
,
t ,
n n ,
no

Supports as they have nothing to support

,
.

It should b considered inadmissible to apply distorted Consoles i e

e . .

thos e which have vertical ides th ough they are on the r king sofits
.
S a

of pediments as was done in the Late ROm period and in imitation

,
an ,

thereof by the R enascence in some examples .

Examples of all periods will be found in R g t work ; and

, ,
a u en e
’
s

an exhaustive essay on the Console by Dr P F Krell in the Ge -

. . .

wer beh lle 1 8 7 0 No 1 0

a , ,
. .

PL ATE 145 TH E CON S OLE

—
. .

1 2 Front and si de view Greek North door Erechtheum A thens

—4 Front and side view R man Vatica
.
.
, , , ,

3 . . o ,
n .
 SU PPORTS . 23 7

Th e Co ol
ns e . Pl ate 1 45 .
 SU PPORTS .

Pl ate 1 46 . Th e Con ol e
s .
 P O RTS
SU P .

Pl ate 1 48 . Th e Br cket
a .
 Th e Con ol e s . Th e Bracket . 24 1

5 —6 Roman Front and ide view temple

.
,
S ,
Of J upiter Stator Rome ,

Vatican
7 —8 Roman F ront and side view Vatican
.

.
.
, ,

1 46 . TH E CON S OL E .

Renas cence Side views Vatic n , ,

a .

Renascence H et l d Ass t Toulouse (R ,

e
’
e za , ,
a
gu e n et ) .

Renascence Wooden French H Ot l d A , , , e

’

ssezet, T o louse u , (R a
gu e n et
) .

Renascence Istrian limestone Venetian Hamburg Museum , , , ,

.

Renascence Marble Italian St Maria de Miracoli Venic e

, , ,
a .
’

, ,

(Gropius ) .

Modern French Architect Roux Paris , , ,

.

1, 1)

Me di aeval church , ,
A this France ,
.

PL ATE 1 47 . TH E CON S OL E .

1 . Romanesque Noyon cathedral 1 2th century (R g t) , , ,

a u en e .

2 . Gothic St Pierre sous Vez elay (G ewerbehalle)

,
.
,
.

Renascence French castle Blois

—
3 .
, , ,
.

5 Renas cence G erman new Castle Baden Baden (Gmelin)

.
, , ,
-
, .

6 . Renascence G erman Heidelberg castle , ,

.

7 . Ren scence Triglyph console L ate French

a ,
-
,
.

8 . Modern French library Louvre Ar chitect L efu l (R gu e t)

, , , ,
e ,
a ne .

9 . Modern French (R g e t) , ,
a u ne .

10 . Modern French New casino Lyons Architect Porte (R g e t)

, , , , ,
a u ne .

THE B RACKE T .
(Pl a t e

special class of Supports is formed by those wrought iron

A -

bearers which the Middle Ages the Renascence and Modern times , , ,

have produced in th shape of B rackets The u ses of B rackets are e .

very various 9 g in suppo ting Shop signs Conduit pipes Gargoyles

, . . r -
,
-
, ,

Candles Lamps Hats Coats &c

, , , ,
.

In form they vary with the style and i chness of the work
, r

manship S quare flat and round iron enriched by chasing and other
.
, ,

meth ods Of decoration are used They are frequently fastened to the , .

wall by the aid of ribbon e strips of metal which may themsel e s -

, v
be decor ted wi th scrolls and curls
a .

Th e plate shows a number of such supports f ancien t d mo ,

O an
d ern date destined for a variety of purposes
, .

M ey er, H an d b oo k of Orn a m e n t .
 Th e Bracke t . Th e Caryati d , and the Atl ante .

PL ATE 148 TH E BR A C KE T
1—
. .

2 . Part of Reading desk S B enedetto near Mantua Italian R -

,
.
, , e

nascence (Gewerbehalle) ,
.

3 . Wrought iron Sign Regensburg Germ an Renascence (Mu ter

-
, , , ,
s

ornamente) .

4 . Wrought iron bearer of conduit pipe Kloster Lichten thal near

- -
,

B aden German Renascence (Gmelin)

, ,
.

5 . Wrought iron bearer of water stoup sep lchral cross in ceme

- -
,
u

t y Kirch z arten German Renascence (S chauinsland)

6—
er , , ,
.

7 . Wrought iron suppo t s for Gargoyles German Renascence

-
r , , .

8 . Wrought iron Sign Modern Architect Crecelius Main z

-
, , , ,
.

9 . Modern wrought iron bracket (Badische G ewerbe z eitung) -

, .

THE CARYATID , AND TH E ATL ANTE .

(Pl a te s 1 4 9 and

freest and th richest motive for supports is the Hum n

Th e e ,
a

figur e As early as Egyptian and Persian architecture we find human

.
,

figures as bearers of beams and roofs .

Th Greek and Roman styles also m ake use of this m o tive

e Th . e

moder a m es for such supports are derived from the A tique Accord
n n n .

ing to Gree k myt hology Atlas supports the vault of heaven at the ,

ends of the arth Hence is derived the name Atlantes for these
e .
“ ”

m ale s pporters They are lso sometimes termed Tel amons “ ”

u . Th a . e

name Cary tids for femal e supporting figures is derived fro m the
“
a
”
, ,

town f Cary in the Peloponnesus Accordi g to another version the

'

o as . n

C y tids
ar a imitations of the virgins who d anced in the temple at
a re

Caryas at the feast of Diana According to Vitruvius their intro

v

.
,

duction into archite cture is owi g to the fact that ladies of Caryas n
,

as a punishment for the Support they rendered to th Persians were e ,

carried into captiv ty a nd compelled to serve as carriers of b dens

i

ur .

Th Caryatids are termed Canephorae (basket bearers) when capitals

e
“
,

in shape like a basket re interposed between their heads and the a

superincumbent burde Amo g well known exam ples in the An tique n . n -

are the Atlante s in the temple of J upiter at Ag ig t m and the r en u ,

Caryatids of the Erechtheum at Athens .

T h e Middle Ages made little use of Atlantes and Caryatids ; the

Re ascence and the follo w ing style s o the contrary used them freely
n ,
n ,
.

Atlantes and Caryatids occu isolated and connected with walls ; r ,

and in both high and bas relief Sometimes the whole length of th -
. e

figure is employed sometimes only the upper half in conjunction wi th

.

3.Console (Plate 1 4 9 4 or w ith terminus like bases (Plate 1 5 0 .

-
.

4 Co m posite bearers in the form of double Caryatids are als o

a popular motive as sh own by the example on Plate 1 5 0 from the
, ,

Louvr e at Paris .
 SU PPO RTS .

Pl ate 1 50 . Th e Caryati d ,
&c .
 Th e Caryatid , th e A tl a te
n , &c . 24 5

PL ATE 149 . TH E CAR Y ATI D , THE ATL AN TE , &c .

1 . Greek Caryatid Erechtheum , ,

At hens , (Vorbilder flir Fabrikanten
und Handwerker) .

2 . A tique Caryatid Villa Mattei

n after Piranesi (Vorbilder fur
, , ,

Fabrikanten und Handwerker) .

3 Modern French Atlante house in Paris Sculptor Caillé (R

, , ,
a

n et
)
—7 Mode n Front and side views of Half fig
gu e .

4 . r ,
-
u re Co soles Ziegler
n ,

and Weber ,
arlsruhe
C .

Modern Double Caryatid Louvre Paris (B aldus)

1
2 — 3 .
,

Modern Caryatids Conservatoire des arts t métiers Pa is

, ,
, , ,

e
.

,
r
,

S culptor E Robert (R g t)
—
.
,
a u en e .

Modern Caryatids Director C Hammer Nuremberg

—
4 5 .
, ,
.
, .

6 7 . Modern Caryatids Director C Hammer Nuremberg

, ,
.
, .
 EN CLO S ED O RNA M ENT .

(P ANE L S )

hat Meth od of treatment which h s for its object to deco te

T ,
a ra

a plane su rface and to cover it with ornament &c by means of

, ,
.
,

p ainting inlaying
,
engraving etc h ing & ,
we term fl t decoration , ,
c .
,
a .

This falls into two classes Firstly the or ament may be de . n

signed for a definite bounded space such as an oblong according to

, , ,

artisti c rules so that it fits exactly into this Space alone in whi ch
,
:

ca se it is a disconti uo us or Panel ornament Or secondly th “ ”

n .
, ,
e

o nament may exte nd itself in every direction repeati g its de tails

r ,
n

without regard to any definite boundary in which case it is a co : n

s or D iaper ornament such as a wall paper

”
ti
n u ou
“
,
-
.

T rning our attention first to discontinuous or Panel ornament

u -

we shall fi d in addition to objects whose boundaries are arbitrary

n ,

and to be fixed at will th at we have principally to co s ider the ,

n

following shapes the Square the other regular polygons the Circle
: , , ,

th e Oblong the Ellipse the Lunette th e various forms of the S pan

, , ,

rail th
,
Lo z enge and the Triangle
e .

G eometrical natural and artificial elements either singly or

, , ,

combined are us ed ,
Th e characte r of th ornament m y be Natu ra
. e a

listic or it may be Ar tificial

,
and adapt d to some pre arra g ed ,
e -
n

leading lines of the Shape Thi s book does not treat of examples of
-
.

th e former character Th ose of the latter character .i e A rtifici l ,

. . a

o nament
r will depend on the attitude f the Panel with regard to
,
O

the Horizo n .
248 Th e S quare Pane l .

A nother kind of S qu re decor tion is that in which it is sub a a

di i ded into separ te Spaces each Of whi ch receives an independent

v a ,

ornam ent tion Plates 9 and 1 0 of the Handbook give a number of

a .

such divisions of S quares ; a similar mode Of decoration will be

found on Plate 1 5 1 fig 8 Plate 1 5 3 figs 6 and 7 and elsewhere ,
.
, ,
.
, .

Th decoration of th S quare in an upright attitude wi th sym metry

e e
,

to one axis belongs to the same category as the Oblong ; and we

,

may therefore refer to what will be said below with reference to

thi s latter figure .

S qua re panel are to be found in ll styles ; we have taken some a

striking examples from the coffer ceilings of the Antique and th -

e

Re nascence from the pavement tiles of the Middle Ag es

,
d from -
,
an

th metal work of the Renascence and Modern times

e -
.

PL ATE 1 51 . T
H E S Q UA RE P AN E L .

1 . Greek ra i scus ofl e of ceiling Propylaea Athens

,
U n ,
c
'

r , ,
.

2 . Roman bas relief found during the rectification Of the

,
-
,
Ti ber
near the Farnesina Rome in 1 8 7 9 Mus eo Tiberino , , ,
.

3 As syrian pavement Ko yu nj ik (Owen Jones)

—5
.
,
u ,
.

4 . Greek Ocfl s Of ceilings Propylaea Athens

,
er , ,
.

6 . Athens .

7 Parth enon .

8 Roman mosaic pavement Pompeii (Owen Jones)

, , ,
.

9 By z antine bas relief S Marco Venice (Owen J ones)

,
-
,
an , ,
.

1 52 . TH E S Q UARE P A N E L .

D ecoration Of a book l 0th century Library of the Duke Of

, , ,

D evonshire (R ci et) ,
a n .

2 . S candinavian bas relief Celtic stone cross churchyard , Meigle -

, , ,

Angus (Owen J ones) ,

.

3 . B as relief tomb Of Pierre le Vénérable Cluny museum

-
,
“
, ,

1 2th century (L art pour tous)

’
.
,

Mediaeval tiles (Owen Jones R ci t , , ,

a ne

Ti les Cistercian monastery Bebenhausen

, ,
.

Moorish Tiles .

G o thic tiles B loxham church England 1 5th century

, ,
‘
, ,
.

TE 1 53 . TH E S Q UA RE P ANE L
l and 3 Inlaid work
.
,
14 th or 1 5th century ,
Sa u va geot collectio n,

(R a cin et
) .

Arabian mosaic (Prisse d A e e ) ,

’
v nn s .

Moorish Alhambra 1 4 th century

, ,
.

Arabian wood door 1 6 th century (L rt pour tous)

'

, ,
a .
,
 Th e S qua e Pane l r . Th e S tar hap e Pane l
-
s . 24 9

6 . Renascence I ntarsia German (Hirth Formenschatz)

, , ,
.

7 . Modern .

8 9 . Renascence Intarsia St Maria gloriosa ai Erari Venice

, ,
a .
, ,

1 5th century (Musterornamente) ,

.

1 54 . TH E S QU ARE PAN E L .

Renascence Motive from a Robe in the Sacristy St Croce

, ,
a .
,

Florence Italian,
.

Renascence Tiles Collection Of the Count d Y

, (
,
R ci t)
’
v on ,
a ne .

Renascence Moti v e after Peter F lOt e G erman

,
n r, .

Renascence Mosaic flooring cathedral Spoleto (Jacobsthal

, , , ,

the centre altered) .

Renascence Intarsia stalls Certosa near Pa i a Italian

, , ,
v ,
.

Renascence Majoli ca Tiles St Caterina Siena Italian

, ,
a .
, ,
.

Renascence Intarsia door of the Cambio Perugia by Antonio

, , , ,

Mercatello 1 5 00 Italian
—1 0
.
, ,

8 . Renascence D oor of the Madon a di Galliera Bologna Italian

,
n , , ,

(M u sterornamente ) .

PL ATE 1 55 . TH E S QU AR E P AN EL .

l and 3 . Wrought iron ,

French 1 7 th cent ry (L art pour tous)
,
u ,
’
.

2 and 4 . W ought ron

r 1
,
G erman Renascence (Hi th Formens chatz) ,
r , .

W ou ghtfi ron Oxford 1 7 1 3 (H t pour tous)

—
5 . r -
1 , , ,
ar .

6 7 . Wrought ron -
1 ,
Modern .

8 and 1 0 . Wrought iron -

,
Modern cemetery Carl ruhe , ,
s .

9 . Wrought iron -
,
by Georg Klai Salzburg 1 7 th century n,
,
.

THE STAR SHAPE P ANEL .

(Pl a t e

decoration of polygonal Stars is generally based on di t

Th e ra a

ing axes Exceptions in favor f symm etry to one or two axes are
.
,
O ,

comparatively scarce (fig .

Where there is S b division i to independent panels accord

no u -
n ,

ing to Plates 1 1 and 1 2 f th e H andbook (fig the ornament O .

follows the natu al lines of di vision furnished by the diagonals In

r .

this case the number of the single simi lar triangles f division ,
O

d p ends on the number Of sides (fig

o .

Decorated Star shaped panels are extremely co m mon in the Arabian

and Moorish styles where the ornam ent is often of such a character
,

that it would very well suit a sim ple polygon and o ly fills out ,
n

accidentally (so to peak) the star angles (fig 4 and

S s .
,
 ENCL OSED O RNAMEN T .

Pl ate 1 51 . Th e S quare Pa e l
n .
 C
EN L OS ED ORNAMENT .

P l ate 1 53 . Th e S q a
u re P ane l .
 C O D O RNAME NT
EN L SE . 25 3

Th e S quare Panel . Pl ate 1 54 .

 E NC L O SED ORN AM N TE .

Pl ate 1 55 . Th e S quare Pa el
n .
25 6 Th e S tar shap e Pane l
-
. Th e Circul ar Pane l .

P L ATE 1 56 . TH E STAR
APE PANE L -
SH

1 Mural painting S Francesco A ssisi (B essemer)

, .
, ,
.

2 Decoration of Arabic koran 1 7 th century (Prisse d Ave ) , ,

’
n n es .

Arabian architecture (Prisse d Av es)

’

3
— , enn .

A rabian ceiling painti gs (Prisse d A es)

’

4 5 . n , v en n .

6 Etched ornament armour National Museum Munich 1 6 th ce

, , , ,
n

tu ry (G ewerbehalle)
7 —8 .
,

A rabian ceiling painting s 1 8 th century (Prisse d A v es)

.

, ,
’

en n .

THE CIRCUL AR P ANE L .

(P l a te s 1 5 7

Circle may be regarded as a polygon Of an infi ite n mber

The n u

of sides As it is impossible to take this infinite number into account

.
,

it is usual when working on radial axes to divide the Circle into

,

3 4 5 6 8 1 0 1 2 or 1 6
, ,
simi lar parts as indicat ed in the
, , , , , , ,

figures .

Another principle Of frequent application is that f division into O

Z ones ; each ring like band being orname ted independently -

This n .

principle predominates in the so called archaic styles 9 g on E truscan -

,
. .

and Assyrian shields (Plate 1 5 7 2 4 and This principle is ex .

, ,

celle tly adapted to th

n decoration Of dishes and plates the profiling e ,

of which natu rally points to a z onal division Th centre of the . e

Circle which is sometimes decorate d by a rosette m y also be filled

, ,
a

by some feature which is symme trical to one axis or is sym un

m t i c l (Plate 1 5 7
e I a Th latter mode Of decoration has also been
. e

a dopted although in comparatively rarer cases for the decoration of

, ,
‘

the Circle as a whole .

G eometrical sub division of the circle by the insertion Of poly-

,

g ons or arcs
,
is common not only in G othic tracery
,
which is specially , ,

dependent on these processes but in every other style (com p th ,

. e

tracery panels 7 and 8 on Plate 1 5 8 and the niello or aments 7 ,

n

and 8 on Plate In many cases the cir cular panel is decorated ,

by an ornament which is merely an enlarged Rosette or Cieling

flo w er so that no clear line
,
be drawn between the two classes ca n ,

(c ompare what has been said of the Rosette on p .

PL ATE 1 57 . TH E CI R CU L AR P ANE L
1 . A ssyrian pavement Nimrud (Owen Jones)
, , ,
.

2 . A ssyrian shield Kh o s b d (Owen J ones) ,

r a a ,
.

8 . Old Frankish panel S c m t ri m Rhei ms ,

a ra en a u ,
.

4 5 . Greek paintings O Vases (Lau)

,
n ,
.
 Th e Circul r Panel a . 25 7

6 . Celtic stone cross Churchyard , ,

St . Vigeans ,
A ngus (Owen ,

Jones)
—8
.

7 . Paintings on Greek Vas es (Lau) , ,

.

P L ATE 1 5 8 . TH E CIR CU L AR PAN E L .

1 . Romanesque manuscript , ,
12 th century (R ci et) ,
a n .

2 . Modern Early G othic , , (U ngewitter Sta d t a nd , L a nd

kirchen) .

Byz antine St S ofia Constantinople 6th century

,
a .
, , .

Mediaeval stone slab 1 4 th century Museum Rouen (R cin e ) , , , ,

a t .

D itto Laon cathedral (R ci t)

, ,
a ne .

D itto wrought iron key handle

,
- -
.

Gothic Boss 1 6th century St Benoit Paris (R ci et)

, ,
.
, ,
a n .

Gothic old cabinet United collections Carlsruhe

, , , .

"

a nd 11 . Gothic Chip carving old cabinet (Gewerbehalle)

,
-
, , .

O . Mediaeval glass painting S oissons cathedral (R ci et) -

, ,
a n .

1 59 . TH E CI R C U L AR P AN E L .

Arabian flat ornament ,

Mosque Ka on a m -
cd -
din , (Prisse
d Av en n es)
’

Romanesque m inster B asel , ,

.

A abian bas relief door Cairo 14 th century (Prisse d Av enn es)

’
r -
, , , ,
.

As N O . 1 .

Arabian bas relief l 6th century (L art pour tous) -

, ,
’
.

Arabian Sunk decoration metal plaque (Prisse d A es)

’

, , , v enn .

Niello Baltasar Silvius l 6 th century (Ys dy k)

, , ,
en c .

Marble mosaic fl oor S Vitale Ravenna (H s m ) , ,

.
, ,
es e er .

Romanesque portal S Laurence S egovia 1 2th cent y , ,

.
, , ur .

Arabian Decoration of koran 1 6 th cent ry (Prisse d A e )

’
u v n n eS .
, , ,

PL ATE 1 60 . TH E CI R C U L AR PA N E L
1 . Renascence Bas relief V d m i i tomb SS Giovanni e
, ,
en ra n ,
.

P aolo Venice It lian (Meurer)

, ,
a ,
.

2 and 4 . Renascence Majolica Tiles St Caterina Siena Italian

, ,
a .
, ,
.

Renascence Wrought iron panel S S alvator Prague Germ

,
-
,
an , ,
a n,

(Gewerbehalle) .

Renascence Church Kamenz German (Gewerbehalle) , , , ,

.

Renascence Peter F lOt German ,

n er , .

Modern Centre of a Silver plaque by Ihne and St gm fill

, ,
e er

Of Berlin (Gewerbehalle ) ,
.

Modern ceili g of staircase vi lla Croissy Seine et Oise

,
n , , .

French (Ce Daly) ,

sa r .

M eye r , H a n d b oo k Of Orn a m e n t .
 C O ED
EN L S ORNA MEN T .

Pl ate 1 57 . Th e Circul ar Panel .

 C O E O RNAME NT
EN L S D .

Pl ate 1 59 . Th e Circul ar Panel .

E N CL OSED O RNAME NT . 26 1

Th e Cir ul ar Pa el
c n . Pl at e 1 60 .
 Th e Oblong Panel .

TH E OBL O N G P ANE L .
(Pl a t e s 1 6 1 1

shape Of the Oblong is particularly adapted to receive both

Th e
a o
and a mon axial treatment ; and as it is by far the most f
bi a xia l -
re

quently used shape numerous examples Of the two treatments are to

-
:

be found in all styles .

Wh en the Oblong is not sub divided (as shown on Plates 1 3 to -

the natural axes around which the ornament is grouped are , ,

for the bi axi al treatment the two diameters which join the centres
-
, ,

of the opposite sides These lines divide the figure into 4 smaller .

oblongs e ch Of which receives an identic l decoration (com p

a a
—
.
,

Plate 1 6 1 figs 1 3 and Plate 1 6 2 figs 1

,
. T use the , ,
. o

diagonals as lines of sym metry as is the rule with the square pro , ,

d uces an unfavourable e ffect ; because the 8 triangles thus formed ,

although similar to each other do not present the same a gle to the ,
n

centre (comp Plate 1 6 1 This panel di ffers from the usual r l e

. . u ,

as the organic growth f the ornament is not from the centre out O

wards but from the 4 angles inwards

,
.

Th strict Greek palmette ornamentation which has such an

e ,

excellent e ffect in the S quare is less s i table for the Oblong (Plate ,
u

1 6 1 figs 1 and 2) than the freer decorations of the Roman period

,
.

(Plate 1 6 1 3 ) and the Renascence

.
(Plate 1 6 2 1 .

On vertical surfaces the attitude of the Oblong panel may be :

eithe r fig wise or landscape wise Examples of the former

“
u re -
”
,
“ -

attitude are figs 2 and 3 ; and of the latter . figs 1 and 5 O a r e, . n

Plate 1 6 4 Th vertical line through the centre is the axis of these

. e .

Th ornament is seldom geometrical ; organic or artificial motives a

e re

mostly used Th mon axial treatment is most properly employed

. e -

where it is applied in a really vertical plane e g Pilasters (comp ,

. . on .

shafts of pilasters on Walls Doors e poly axial treat

'

p 225
.
, ) & c Th , , ,
.
-

ment is best adapted for the decoration of hori z ontal planes such as ,

Floors Ceilings & , ,

c .

Copious material is furnished by the i laid work has relie fs and n -

,
-
,

metal work of the Renascence

-
,
.

PL ATE 1 61 TH E OB L ON G P AN E L
—
. .

1 2 .
Greek Painted ,
cofl ers
'

Of ceilings , Propylaea ,
A thens , (Owen
J ones) .

3 . Roman .

4 .
Roman under Side of the architrave Temple of V Sp i
,
-
,
e ar an, Rome .

5 .
Renascence Church Kamenz G erman (Gewerbehalle)
, , , ,
.

P L ATE 1 6 2 . TH E OB L ON G P AN E L
1 . Renascence Intarsia Emmet . . .
.

2 . Renascence Pala z zo vecchio Mantua Italian (Jacobsthal)

, , , ,
.
 C O D
EN L SE ORNA ME NT .

Pl ate 1 62
. Th e Obl ong P el
an .
 C O E
EN L S D ORNA MENT . 265

Th e O bl ng Panel
o . Pl ate 1 63 .
 26 6 E NC L O SED O RNAME NT .

5 Pl ate 1 64 . Th e Ob long Pa l
ne .
26 8 Th e E llip tic Panel . Th e L un tte an d the
e , Sp a n r a il Pan l e s .

4 -
7 . R nascence Book cover blocks Germanisches Museum N m
e ,
-
, ,
ur e

berg German (Musterornamente)

.
, .

8 . R enascence Pavement tomb of P rincess Johanna Elisabeth

, , ,

Stiftskirche Stuttgart , .

THE L UNE TTE, AN D THE SP AN RAIL P ANEL S .

(Pl a t e s 1 6 6

emic rcle scarcely admits of any entirely satisfactory sub

The S i
division best method is to describe a circle in the semicircle
Th e .

so that the circle touches the centre of the semicircle above and the
centre of its chord below ; this arrangement is especially useful when
a medallion or a clock is to be placed in it There are two methods .

of decorating the Lunette either an upright panel ornament is de : -

signed symm etrical to one axis an arrangement which is the best as , ,

the semicircle in the majority Of cases is used on vertical planes

, ,

( Plate 1 6 7 1 and or the S emicircle

. is divided like a fan into a , ,

number of sectors which receive an identical decoration an arra ge

, ,
n

ment which is chiefly adopte d for D oor heads (Plate 1 6 6 I -

. n

such cases a central semicircle is us ually i s erted ; and the small n

panel thus formed is decorated independently The bject of this

, , . O

is to obviate the inelegant and difficult accumulation of radii at the

centre .

In consequence of an Optical illusion the semicircle gives the ,

impression of being really less than the half of the whole circle ; and
for this reason it is sometimes stilted that is the centre of the c “ ”
,
ar

does not lie on the springing line but is shifted a little higher -
,
.

Th name sp is given to the spaces of various shape ”

il
e
“
a n ra

which remain after circular shapes are taken away from quadrang lar -
u

ones The commonest figure of this kind is the Triang loid which
. u
,

is formed on either side of a semicircle when this latter is desc ibed r

in an oblong Frame Th same shape results when a circle is inscribed. e

i a square which frequently occurs in the decoration Of ceilings S ome

n ,
.

times the decoration of the Triang loid consists of a ro sette in its u

centre ; or laurel palm and oak sprays circular wreaths and waving
, , , ,

ribbons trophies figures in relief and Similar motives in a more or less

, , , ,

n aturalistic style are employed In severer decoration the axis of

,
.
,

symmetry is the line of bisection of the right angle Th motives are . e

sometimes geometrical (Plate 1 6 6 5 but more frequently organic .

(Plate 1 6 7 4 and among. artificial forms varieties Of strapwork

, ,

are used (Plate 1 6 7 6 .

When a series of arcs has a co mmon bounding straight line the ,

Span il is Shaped as shown by fig 4 Plate 1 6 6

ra This figure is th .
,
. e
 C
E N L OSE D O RNAMEN T . 269

Th e E llip ti Pa l
c ne .
270 EN L OSC ED O RNAMENT .

Pl ate
.
1 66 . Th e L u n ette ,
and th e Sp a n ra il Pa l
ne s .
27 2 Th e L unette , a nd the Sp a n ra il Pane l s . Various Pane l s.

same as two conjoined T i g l ids It has a vertical central axis r an u o .

.

A other well known shape results when two smaller Semicircles

n -

are taken away from a larger

-
as when for i s tance two round headed , ,
n -
,

w i dow n lights are enclosed by a common arch Finally we may

n .

mention the Quadrant which is not infrequently used in the angles ,

Of ceilings (figures 7 and 8 of Plate

P L ATE 1 6 6 . TH E LUNETTE , AND TH E SP AN RA IL P ANE L S .

1 .Roman (V lli my) ,

u a .

2 .Italian Renascence (G ewerbehalle) , .

Arabian (Prisse d A
’
3 . s) ,
ven n e .

4 Early G othi c Sp il Stone Church England a nr a

5 —6 A abian mosaic Sp
.
, ,
.

il (Prisse d Av e
—
’
. r , ) a n ra ,
n n es .

7 8 Modern . .

P L ATE 1 6 7 LU N E TTE AN D TH E SP ANR AIL P AN EL

. TH E , .

1 . Renas cence intarsia St Maria in Organo Verona Italian

, ,
a.
, ,
.

2 . Wrought iron Grill -

.

3 . Renascence W o gth iron Grill G erman ,

r u -
,
.

4 . Ren scence plinth of a col m St Antonio Padua (Meurer)

a ,
u n ,
.
, ,
.

5 Modern Vaude vi lle theatre Paris (R g t)

—9
.
, , ,
a u en e .

6 . Rena scence by V edem de Vries ,

r an .

TH E L O ZE N GE P ANE L .
(Pl a t e

Lo z enge
Th e decorative art includes the Rhombus and the
In ,

S quare when one of its diagonals is vertical Th L ozenge is trea ted . e

either as an upright panel sym met ical to one axis (figs 2 4 and ,
r .
, ,

or the two diagonals are the axes of symmetry for a bi axial -

pattern (figs 1 and In the former cas e the ornament consists of

.
, ,

two ; and in the latter case of four similar parts Th Lo z enge is ,

. e

not Often employed Occasionally it finds a place as a panel in .

Lattices D oors Dadoes Ceilings &

, , , ,
c .

P L ATE 1 6 8 LOZE N GE P AN E L
. TH E .

1 D oor NC dli g church 1 7 th century

—3
.
,
r n en ,
.

2 Grill Townhall W ii b g German Renascence

—
.
, ,
rz ur ,
.

4 5 . Modern decorative painting .

VARI O US P ANELS .
(Pl a te s 1 6 9

Plate 1 6 9 and 1 7 0 give number incident Panel shapes a. Of al -

,

Of which there is a great variety Th principle Of decoration must . e

 EN CL O SED O RNAMEN T . 27 3

Th e L oz ge Pan l
en e .

Me y er, H and bo k
o Of Orn a m e n t .
 E NCL OSED O RN AMENT .

Pl ate 1 69 . Vari ou s Pan l

e s .
 Variou Pane ls s .

be adapted to each case ; and hould follow the analogy of the p in S r

cipl s enunciated above

e Thus for example reg lar polygons with.
, ,
u

convex or concave Sides (Plate 1 7 0 1 and are treated similarly .

to polygons with straight sides .

Figures like those on Plate 1 6 9 7 and 8 are decorated in the .

,

manner of an Oblong or an Ell pse The ornament of Plate 1 6 9 1 i . .

,

recalls the decoration of the Lunette .

Th Trapezoid is tr eated either as an upright panel the centr l

e ,
a

axis being perpendicular to the two parallels ; or the ornamentation

approaches that of a bi axial Oblong panel ; but it will be somewhat -

modified to fit the angles (Plate 1 7 0 4 and

,
This latte r ci . r ~

c m st
u ce has also to be taken
an into consideration in the case of a
right ng led Triangle of unequal sides when the line of bisecti on of
-
a ,

the right angle is used as the axis of symmetry (Plate 1 7 0

-
an .

unsymm etrical arrangement is best in this case see figures 7 to 9 on ,

th e sam e plate This latter free style of design which is not bound
.
,

by axial lines may also be recommended for the Raking Parallelo

,

grams which occ on st i rcases ur a .

P L ATE 1 6 9 . AN E L S VAR I OU S P .

1 . Wrought iron Grill Tow h all Villingen late German R

-
,
n , ,
e

nascence
—3
.

2 . B l t de of staircase Frankfort on the Main G erman 1 6 th

a a u s ra , ,

ce nt y (G ewerbehalle)
4 —5
ur ,
.

. Grill P lpit steps Thann G erm an 1 6th cent ry (Gewerbe

,
u -
, ,
u ,

halle) .

6 . Grill Padua Italian Renascence

, ,
.

7 . D etail of Lattice late German Renascence ,

.

8 . Grill late Germ n Renascence

,
a .

P L ATE 1 7 0 VARI OU S PAN E L S

. .

1 . Trefoil tracery G othic (J c bsth l) , ,

a o a .

2 . Mural painting Swedish Romanesque (R ci et) , , ,

a n .

Louvre Paris
3
—
.
.
,

4 5 . Marble i laid work Pulpit Cathedral Savona Italian Ren scence

n , , , ,
a ,

M eurer)
— ( .

6 9 . Triangular panels Stalls of the L aurentian Libra y Floren ce

,
r , ,

ascribed to Michel Angelo .

 27 7

RE P EA TIN G O RN A M ENT .

(D A I PER S ) .

It is the essence of repeated ornament that it m y be ex

, ,
a

tended o all sides at discretion the component parts of the design

n ,

i( e the pattern) admitting of uninterrupted repetition Th ele

. . . e

ments are either geometrical organic or as in the majority of cases , , , ,

geometrical are combined with organic elements sometimes with the ,

addition of figures and artificial accessories Diaper ornament has .

either a poly axial or a bi axial character In the former case th e

- -
.
,

decoration expands reg larly on all Sides ; the basis is a system of inter
u

secti g axes of symmetry as shown in the square or triangular Nets on

n
,

Plate 1 In the second case the decoration consists of growth in an p

.
,
u

ward direction the repetition on each side being secured by turning

,
“

the pattern over symmetrically or by juxtaposition (in the usual sense

”
,

of the word) Here also combination frequently occurs to this

.
, ,

extent that many patterns have a poly axial basis while single panels -

and medallions have upright decoration .

Growth in a downward di rection or in an oblique upward di ,

rection & must be class ed as exceptions to the r le

, c .
,
u .

When Diaper patterns are applied to circumscribed surfaces e ,

.

g on Walls they are either t fl abruptly as in Wall papers or

. : cu -
o
'

,
-
,

are stopped Short of the limits and a B order is applied There is

-
,
.

seldom much diffic lty in the case of geometrical patterns ; but with
u

Organic designs the ides Of the upright patterns us ually terminate

S

at th axis of symmetry
e .

Diaper ornament is applied to many purposes Mosaic Parquetry .

, ,
Marquetry using geometrical patterns ; the Text ile Wall paper and
, ,
-
,
 Th e S qua e Diap er Circl e Diap er
r , ,
&c .

Wall painting crafts using the organic elements ; and Floor cover
- -

ings Glass painting I laying and similar Met l decorations using

,
-
,
n ,
a -
,

both The treatment of large Grills sometimes demands a repeated

.

p a ttern that m y be expanded at will ; so that we may add this

,
a

b ranch to th others e .

THE S Q UARE DIAPE R .

(P AR Q U E TRY ) (Pl a t e

Parquetry is the term applied to the overlaying of flooring with

mosaic of hard woods Th patterns are almost exclusively geo . e

metrical ; the basis is the quadrangular or triangular Net Th single . e

parts are first put together to form square or regular hexagonal

figures which are then tongued and grooved and fix ed to the boards
, ,
.

Th Plate Shows a number of modern Parquet patterns figures 2 8

e -
:
, ,

9 and 1 0 being based on the triang lar ; and the others on the qua u

d g l
ra n N t Parquet
u ar patterns which
e are.So designed that the floor -

has the e ffect of projections and hollows are inadmi ssible because ,

they are unsuited to a Floor which is intended to be walked on , ,

and should therefore be flat in design as well as in reality

, ,
.

P L A TE 1 7 1 . TH E S QU AR E D I A PE R , &c .

1 —1 0 . Modern Parquet patterns -

.

TH E CIRCL E DIAPE R .
(M O SAI C ) .
(Pl a te

Mosaic (op us musi um) is in its wider sense the designing d v , ,

an

inlaying of pieces of stone wood glass leather straw & to make , , , , ,

c .
,

a picture or pattern More strictly Mosaic means pictures and . :

patterns composed of pieces of stone pott ry pearl and glass the ,

e , , ,

last being coloured or underlaid with metal foil -

.

There are two principal classes of such Mosaic

. Th Op us tesse . e

la t m is co mposed of small pieces

u mostly cubes held together by , ,

being inlaid in kind of cement Th Op us s ectile is composed of

. a . e

little slabs varying i shape according to the bject to be p

,
n
-
O re re

sented Mosaic work is very ancient ; and is mentioned as early as

.

the B ook f Esther A large number of Ro m an mosaic pavements in

O .
,

opus t l tu m have been preser v ed to us Early Christian art also

esse a ,
.

decorated walls and piers with geometrical mos ic (op u s G ec ic m) a r an u ,

numerous examples of which are to be found in Ravenna Palermo ‘

, ,

Venice and elsewhere All kinds of mosaic have been practised in

,
.
,

Italy down to the present day less it is true for the decorati on of , , ,

Walls and pavements than for Ornaments Pictures Table tops & , ,
-
,
c .
,
 PEATI NG
RE ORN A MENT .

Pl ate 1 72
. Th e Circl Diap
e er , &c .
 Th e Circl e Diap er Scal e Diap er , , &c .

In the Arabian and the Moorish styles incrustations of Mosaics in ,

stone and gla z ed terracotta were a popular method of wall decoration -

.

Th et of mosaic has never acquired a firm footing in northern

ar

c ountri
s
e

PL ATE 1 72 . TH E CI R C L E D I APE R , &c .

1 . Mosaic cathedral Monreale Sicily

, , ,
.

2 A rabian mosaic stucco on stone (Prisse d A es)

’
.
, , v en n .

3 . Roman mosaic .

4 . Marble mosaic windows cathedral Florence (H ss m e )

, , , ,
e e r .

5 . Geometrical pattern St Croce Florence ,

a .
,
.

6 . Marble mosaic S Vitale Ravenna (H s m )

,
an , ,
es e er .

7 . Modern tesselated mosaic S orrento ,

.

8 and 10 . Moorish mosaic A mba ssadors Hall Alhambra Granada,

’

, , ,

(Owen Jones) .

Arabian mosaic stucco on stone (Prisse d A S)

’

, ,
v en n e .

THE S CAL E DIAPE R, & c .

(E NAME L ) (Pl a t e

W here
surfaces of metal utensils and ves els are to receive
th e s

a flat decoration this is usually e ffected by engraving etchi g dam ,

n ,

ask e i g enamel or niello work

en n ,
In the process of Engraving the
,
.
,

decoration is engraved by means of the graving tool and the hollows -

,

in some cases filled up with coloured lacquer & c In Etching the ,

.
,

metallic surface is protected against the action of the etching fl id -

u

by being coated with a film so that the design is sunk where the ,

protecting film is removed by the Artist In Damaskeening the pre .

,

cion s metals are fastened O iron and steel by being hammered into n ,

engraved hollows which have been undercut with a rough ned ground e .

Th processes of Enamelling are very various In the C loison process

e .

bent bands or fillets of metal (cloisons) are soldered to the metal -

on

ground and the hollows or cells thus formed are filled with p l
,
u ve

i d glass paste (glass coloured with metallic oxides) which are then
r se

vitrified by heat In the su k or champ levé process the hollows

. n
“ -
:

in the metallic ground are pr oduced by the graver or by casti g ,

n

and subsequent chasing and are then filled with enamel Niello ,
.

resembles black enamel the enamel paste being replaced by a om

: c

position of metal and sulphur .

Enamel work (sunk work) was known in Antique times Th -

. e

Cologne enamel was celebrat d in the Middle Ages Cloison enamel e .

has been practised in the East in China and in Japan from the , , ,

earliest tim es Th SO called L imoges enamel is painted on a plain

. e -
”

metal ground without any previous cloisons or y sunk fi lds for

. an -
e
 PEATING
RE OR NAM EN T .

Pl at e 1 73 . Th e Sc al e D iap er ,
&c .
 R EPE ATIN G ORN A MEN T .

Pl ate 1 74 . Th e Circl Dia p e

e r, &c .
REP EATlN G ORN A MENT .

ircl
Th e C e iap
D e r, &c . Pl ate 1 75 .
 Th e Circl e Dia p er , &c Variou Diap er s s .

1 2th centuries painting begins followed by Glas s painting strictly

, ,
-

so - called the design being outlined in brown paint ; flashed glass &c
,
,
.

followed later .

A fter passi ng through a period of decadence ; and almost vanishing

during the last two centuries ; Glass painting has of late ye rs again -
, a ,

become the bject of great attention and especially that branch which
O
, ,

leaving strict painting on one ide produces its most s triking e ffects S
,
with coloured glass and leaden cames The vi gorous outlines .
,

produced by the le d setti g enhance the brilliancy of the colours

a -
n
, ,

and prevent the unpleasant ptical e ffect produced by the blending of O

contiguous tints .

We have here t o deal only with the ornamental decoration 1 0

s f c
nr a by painting or mosaic Th best examples are to be found
es . e

in the transition period from the Romanesqu e to the Gothic style in

the churches of Germany France and England the three countries , , ,

which may be regarded as the true home Of stained glass .

PL ATE 175 TH E CIR CL E DIA PE R, &c

—1 0 Various patterns Romanesque and Early Gothic (Ow n Jones
. .

1 .
,
e
,

Ra cin et, and others) .

1 and 9 . Chartres cathedral .

2 and 3 . Bourges cathedral .

6 . S ois sons cathedral .

—
I

VARIO US DIAP ER S .
(M URAL P AI N TI N G ) (Pl a t e s .
176 17

models d prec sors of Mural decoration are to be looked

Th e an ur -

for in ha gings of carpets and textiles Th Egyptian style o ffers

n . e

the arlist known examples of the decoration of surfaces by means of

c

wall p ainting Th scheme is generally a Mea der or Similar pattern

-
. e n ,

varied by rosettes & (Plate 1 7 7 l and Th P om p j

,
c artists
. . e e an

used fi gures and architectural r presentations in perspective instead e

of Diaper patterns Early Christian t used mos i cs which were

. ar a ,

gradually driven out by wall painti g during the Romanesque and

- ~ -
n ,

Gothic periods Churches and public buildings are again the first
.

edifices whose interiors were decorated by tapestry paintings as we “

m y term this style of decoration in view

a f the mutual relation O

between it and textile art With respect of the principles of design .

we may refer the reader to the general introduction page 27 7 and

to the plates 1 7 6 5—
, ,

4 177 Th use of Wall papers in Modern times h s . e -

a

greatly narrowed the sphere of Mural painting its principal task :

being now confined to th d ti Of P blic Buildings e ecora on _ .

u .
 P
R E EAT N I G O RNAMEN T .

Pl at e 1 77 . V iu
ar o s D iap ers .
 Variou Dia p er s s .

PL ATE 176 V ARIOU S D I APE R S

—
. .

1 2 . Painti g old cabinet Brandenburg beginning of the 1 5th

n ,
'

, ,

century (Musterornamente) ,
.

3 Painting St Croce Florence Italian Renascence a

—5
.
, , ,
. .

4 . Painting consistory church As sisi 1 3 th century (B essemer)

, , , ,
.

6 and 1 0 . Modern French church painting ,

.

7 . Painting castle Of Trausnitz L andshut end Of 1 6 th century

, , , ,

(G ewerbehalle ) .

Painting P la zzo del Podesta Florence 1 4 th century (Muster

,
a , , ,

ornamente) .

P L ATE 1 7 7 . V AR I OU S D I APE R S .

1 . A ncient Egyptian meander ,

.

2 A ncient Egyti ceiling painting (R i t)

—5
. an , a c ne .
,

A rabian paintings K itb y mosque (Prisse d A e s)

’

3 .
,
a e ,
v nn e .

6 . A rabia mural painting mosque Of Ibrahim Ag Cairo (H

n ,
a , ,
e ssem er
) .

VARIO US DIAPE RS .
(W E AVING ) .
(Pl a te s 1 78 —17

artistic decoration of Textile fabrics goes back to the very

Th e
e arliest times ; and is of a most varied character After the decoration .

of animal Skins by sewing and embroidering came the creation of

, ,

patterns in plaited Mats by the use of material of various colo rs ; u

and this again was followed by the different products of Weaving ,

variegated by the use of coloured yarns by Embroidery by Print , ,

ing 8 0 It is due to the perishability of the material that scarcely

,
5 .

any products Of the loom of the lder epochs a to be found in our O re

muse m s ; and that we can only infer their patterns from descriptions
u

and pictu es All the richer on the other ha d is the choice Offered
r .
,
n ,

by the Renascence the Middle Ages and the E St , ,

a .

It W ould go beyond th m om of this book to give a detailed

.
e

historical and tech i cal description of Textile indus try ; and we refer
n

the reader to the special works and monographs on this subject *

.

Usually the mode of decoration depends on the object and varies with ,

the artistic conceptions of the di fferent styles By th side of purely . e

geometrical patterns (Plate 1 7 9 1 and we find organic el ements in a .

g eometrical framing (Plate 1 7 8 1 and 2 Plate 1 7 9 B y the side of .

, ,

poly axial arrangements (Plate 1 7 9 1 2 and

-
there are others with .
,

mon axial features (Plate 1 7 8 1 and

-
By the side of symmetrical .

“
turn over patterns (Plate 1 7 8
-
we have others u symmetrical . n

(Plate 1 7 8 By the side Of Artificial fl owers and rosette s powdered

.

Otto v . S chorn, “
Die Textilk n t u s
”
. L eip zig .

M eye r, H and b oo k of Orn a m e n t .

 Variou Diap ers s .

over the ground (Plate 1 7 9 there occur natural elements like .

the curious Japanese design on Plate 1 7 9 fig 7 ; and s on Th ,

. o . e

gre t principle of style in the standard examples of ll periods is the

a ,
a
,

avoidance of representations of relief or of perspective views of archi ,

tecture which co ntradict the nature of th flat surface Important

,
e .

is also the proper distribution of the masses so that distracting line s ,

or empty Sp s m y be avoided Of equal im portance wi th the design

a ce a .

18 the Colour but the plan of this work compels us to leave it out
,

of considerati on .

Next to th fabrication of Textiles for ecclesias tical vestments

e

and secul r garments the most important manufacture is that of Car

a :

pets and of Tapestries for use on walls as curtains porti eres & c
, , , ,
.

Of the introduction of the latter into painting we have already ,

spoken on Plate 1 7 6 Here we will only refer to the tapestried

,
.
‘

backgrounds comm on in pictures of the 1 4 th to the 1 6 th century

, ,

examples of which are to be seen in figs 3 and 4 of Plate 1 7 8 . .

Woollen and silk tapestry were followed by sheets of Stamped leather -

,

an Arabian invention which in its turn was followed by the modern ,

Wall paper at first in painted single Sheets and afterwards in th

-
, ,
e

printed Rolls now so common That we do not devote a special

'

chapter of our work to this important product of modern art is d ,

ue

to the fact that a difference between Mural painting and Textile pat
terns really only exi sts in the mode of m anuf cture there bei g a ,
n no

essential distinction in respect Of D esign Modern Wall papers have .

-
,

on the average breadth of 21 ins on which th e pattern is arra ged

,
a .
,
n

once or oftener according to the si z e of the design Th repeating

,
'

. e

of the pattern in an upward direction is partly due to technical c '

on

siderations In printing by hand from a wooden block the length of

.
,

the repeati g pattern va ies from 21 ins to 3 0 ins

n r . .

PL ATE 17 8 . V AR I OU S D I A PE R S .

1 and Med i aevaltextile (G ewerbehalle) ,

.

2 . Textile 1 2th century original in silk and gold ; found in a

, ,

tomb in the Abbey of St Germain des Prés Paris (R ci t) .

, ,
a ne .

Patterned gold ground of altar shrine monastery of Heil ,

bronn end of 1 5th century (Gewerbehalle)

, ,
.

Patter ed gold groun d of altar shrine church of St Egidius

n ,
.
,

B thf ld (G ewerbehalle)
ar e ,
.

F rench silk tapestry 1 5 th century (L art pour to us )

’
.
, ,

PL ATE 1 79 . V AR I OU S D I A PE RS .

1 . B ishop s robe acristy St Croce Florence

’

,
S ,
a .
,
.

2 . Pillow pattern tomb St G eorge s Tiibi ge , ,

.
'

,
n n, German Renascence ,

(G ewerbehalle ) .
 REP EATING O RN AMENT .

Pl ate 1 79 . Various Diap er

s .
R EPEATIN G O RNAMENT . 29 3

Va i u Gri ll Diap er
r o s s . Pl ate 1 80 .
 Va i u Diap er
r o s s .

L ace 1 6 th century G erman by Hans Siebmacher

, , , .

S tamped leather book cover 1 7 th century (Gewerbehalle)

-
,
-
, , .

Textile German Renascence (Musterornamente )

, ,
.

Carpet Rottweil German Renascence (Gewerbehalle)

, , , .

Modern Japanese silk (L art pour tous) ,

’

Painted gold ground St Lorenz o Rottweil end of the 1 5th ,

.
, ,

century (Mus terornamente) .

Carpet Stiftskirche C m b g beginning of the i 7 th cent ry

, ,
o ur , u ,

(Musterornamente ) .

Textile Venetian picture 1 5 6 0 B erlin Museum (G ewerbehalle)

, , , , .

VARIO US GRILL DIAPERS .

(Pl a t e

Wrought iron Grills may also be treated s Diapers ; d Railings

-
a an

and Gratings are ften treated as shown by the figures in the Plate
O .

Th skeleton is formed by bars interlaced on the basis of th q d

e e ua ra n

gular or lo enge Net ; the compartments being filled either c

z ,
on

ti sly
n u ou or at reg lar intervals with recurring or amental accessories
,
u
,
n

(figs 1 .2 5
,
and ,

Another system places a repeating scroll like ornament between -

pa allel bars (fig

r Th e straight lines of the Skeleton may also be
.

replaced by cu ved bars (fig r .

Th material is square round and flat iron bars ;

e ither si gly , ,
e n ,

or in combination B oth the Middle Ages and the Renascence have

.
,

transmitted numerous ex mples in this branch ; a selection is given a

in the Plate .

P L AT E 1 8 0 . VARI OUS GRIL L DI APE R S .

L ate Gothic choir screen minister C onstance 1 5th century

,
-
, , ,
.

0
1 German Renascence .

0
0 Italian Renascence .

3
4 Modern by Ende and B OCkm
,
Berlin (G ewerbehalle) ann, ,
.

1
9 G erman 1 7 th century
,
.

5
9 G erman Renascence .
 29 6

P R E P A T ORY R E MAR KS .

Thethird di i sion of the Handbook is entitled D ecorated

v
“

Objects ”
It is i w d d firstly to Show in what manner and O
. n n e , ,
n

wha t p i cipl S D ecorati on is appli ed to Objects (thus complement

I n e ,

ing the Work of the second division) ; and secondly it will pas s ,
a

little beyond th strict limits of Aisthetics and enter on the sphere

e ,

of Tectonics in order to present a vi ew of the construction profiling

, ,

and general plan of Objects of art e g Vases Utensils Furniture &c

,
. .
, , ,
.

These considerati ons and the wish to be as comprehensive a s

,

possible have necessitated the inclusion of some Objects which are

,

not deco ted This inclu sion will increase the bulk of the Book ;
ra .

but th selection of bjects will be restricted a s much as possible

e O , ,

to th ose which illustrate the Principles of Decoration .

 29 7

V A S E S .

Vases with which this division Opens are one of the most interest
, ,
‘

ing and important Of its groups Gottfried Semper who h s treated .

,
a

Keramics brilliantly in his epoch making work Der Stil says in -

“ ”
,

the intro duction to the chapter on this subject Th products of :

“
e

Keramic art were held in unusually high esteem by all peoples and
in all periods They had attained a religious symbolical significance
.

long before the times of monumental edifices which latter indeed , , ,

were greatly influenced by the former ; directly in that Kerami c ,

works served for the construction and ornamentation of the monu

ments ; indirectly because architecture took up principles of beauty
,

and style and even finish ed forms which had already been developed i n

Keram ic work and had first been fixed by the art potters of pre
,

architect ral u They are the ldest and most eloquent docu O

ments f history Show us the pottery which a nation has produced

O .
,
“

and we can in general tell what manner of nation it was and what
height Of c lture it had attained Professor Gmelin who in hi s
u , ,

essay Die U rformen und Gest ltungsprinzipien der TCpf i and in

:
“
a er e
”

his work Die Elemente der G fa bild i has attempted with

:
“
e ss n er e
”
,

much success to popularise S m p s theories says A bit of Dar

'
’
“ '

e er ,
:

w i i m is here unfolded in th sphere of industry the way in which

n s e :

the development of man has been influenced by climate the chara ter ,
c

of the soil food & finds its parallel i K m i i the formation

.

'

, ,
c .
,
n er a cs n

of vessels as conditioned by the joint causes of aim material and

,

'

, ,

techni que
 Va e s s .

How f Pottery goes back to prehistoric times is proved by

ar ,

the calculations made from the alluvial d posits of the Nile valley e ,

and the geological conditions on the coasts of Scandinavia which give ,

us the respectable age Of 1 0 000 to 1 2 0 00 years for the pottery

discovered in those Spots Th circumstance that besides satisfying . e ,

the needs of daily life Pottery was used in religious and f neral ,
u

rites more especially the custom of placi g vessels in the grave of

,
n

the departed of enclosing the ashes of the dead in urns before com
,

mitting them to the earth h s at any rate preserved to s certain

’
“

,
a u

kinds of pottery of which otherwise only sherds and fragments had

, , ,

remained .

B y Keramics we understand not only earthen ware but the design -

,

and making of vessels in general Next to the various clays glass d .

, ,
an

metals which have the first claim on our attention stone wood and
, , , ,

ivory along with other less common materials are the su bstances
, ,

generally used Each Of these Materials imparts its own character

.
'

to the vessels made of it ; the corresponding technique will limit or

modify the Form A metal vessel requires form and decorati on diffe
.

rent from one of gl ss or porcelain ; the pro file of a clay vase cannot
a

be made in marble without much modification On the other hand the .

Purpose for which the vessel is intended wi ll influence the choice of

, ,

the Material ; that a reciprocal interaction arises which stim lates

SO ,
u

to the study of Keramics and makes it charming and instructive ,

.

That the majority of the exam ples in this group of potte ry have
been take from the Antique is due to the fact that this epoch o ffers
n ,

a general pictu e complete in itself; and that it is chiefly in the

r

Greek style that the above mentioned reciprocal inter ction reg larity -
a ,
u

of form d tectonic principle are on the avera e most clearly ex

,
an
,
g
,

pressed That on the other h nd we have brought the constructions

.
,
a ,

of other countries and periods into suitable connexion with th An tique e ,

arises from o wish to meet the wants and requirements of our time
ur

in a greater degree than c be done by monographs of Greek Keramics an

alone such as we possess in a large number Of Special wocks

,
*
.

In view of the immense importance of A tique Keramics and of

,
n

Clay as a material i general it m y be well to o ffer here a few n : a

general rem rks O this subjec t reserving our bservations O other

a n ,
O n

materials and styles till the elucidation of the plates in question .

Pottery is gene lly made on the potter s wheel In Egypt I dia and
ra
’
.
,
n ,

o g such work who e ize get p d text render them suitabl e

Am n s s s ,
-
u , an
for school and e ducationa l purp ose we m y m ention s, a

Th L a u : die griechis chen

. Va sen , ihr F ormen a nd D ecora tions system .

44 T afel n mit einer histori chen Einl eitu g un d s n erlau tern d e m T ext
v on Dr Br nn un d Dr Krell L eip zig E A See m ann
. u . . : . . .

A Ge ick g i hi h K nmik 4 0 Tafel n mit Ei l eit ng

: r ec sc e era . n u un d Be
hreibu g v on Ad olf F tw a gl Berli Ern t Wa m uth
.

sc n ur n er . n : s s .
 Va e s . Fun dam ental Va e F rm s
-
o s .

with fantastic winged creatures lions panthers geese Sphinxes , , , , ,

mostly arranged in zones Th intervening spaces between the . e

,

animals are filled wi th rosettes flowers &c Th Zonal deco

, , , . e

ration is ften replaced by S cales (compare Plate 1 9 4

O , .

3 Th B la ck F ig e s tyle : clay reddish yellow

. e coloured with ur -
,

oxide of iron ; decoration black pure white being used for the ,

carnations of female figures horses & The conception of , , c .

the figures is frequently archaic drawn in uncoloured com ,

p tm t bordered b y or amental bands Th lines Of

ar en s n . e

drapery &c are scratched through the black colour to

,
.
,

the clay .

4 Th e R ed F igur e style : clay red very smooth the entire vessel

.
, :
,

with the exception of the ornaments and fig es coated black ; ur ,

the black sometimes having a greenish shimmer White only .

occasionally found for grey hair and the like The tendency , .

to simplification is predo mi nant in respect f both ornament O

and figures ; us ually with only one fig e or with simple ur

groups of figures ; outlines are painted i with the pencil -

n .

5 The P i ted s tyle: clay as in No 4 ; the vessels frequently

. a n .

of colossal size (they are then not intended for practical use ,

as may be inferred from their having no bottom) ; the nume

O s red fig res on the black ground are placed one over the
r u u

other with the additi on of architectural decoration technically

,
:

the decoration is executed in a careless manner ; dark red ,

white yellow and gold are also used ; luxuriant brushwork

, ,

ornament patterns in perspective and painted reliefs are

,
‘

, ,

common .

Th su ccession of these styles in time is generally that of the

e , ,

above order ; but they often blend with each other without any de
finite demarcation forming composite styles and varieties We find
,
.
,

for instance certain drug pots which have polychrome painting on a

,
-

white background and so on ,

.

F UNDAME NTAL VASE F O RMS -

.

(Pl a te

Vases as a rule are composed of

,
mb of simple forms or ,
a nu er

parts These are usually the foot the body and the neck ; to which
.
, ,
'

a handle a lid and a spout may also be added The most impor
'

, , ,
.

t t p t is the Body
an .
ar In the majority of cases it determines the .

fundamental form of the vessel Th natural models fo vessels are . e r

.

the hollow hand the egg the husks of fruits (gourds nuts) th
, , , ,
e

horns of animals the skins of animals and similar objects These

, .
,
.

have as a matter of fact been used in all ages as models for more
, , ,
 Th e Fu d am e ta l Va e F rm
n n s -
o s . 301

or less direct imitation ; and were undoubtedly used by mankind in

the lowest stages of civilisation instead of artificial vessels Certain ,
.

stereotyped form s recur again and again first among them (due to the :

use of the potter s wheel) the form of the called body of revolution
’

so - .

A attempt is made on Plate 1 8 1 t give a general view of the com

n
, ,
o

mo est fundamental forms with their n mes Th Sphere the Cylinder

n ,
a . e , ,

and the Hyperboloid are the Simplest f these Th Sphere is altered

, O . e ,

by equally flattening or extending to the Spheroid or the Ellipsoid , ,

.

If these bodies be t away at both ends we have the erect and the
cu -
: ,

recumbent vessel Unequal flattening and extending produce form

. s

which we may term Echinus Cake Egg and Top forms ; or if the , , , ,

length much exceeds the breadth : Wedge Spindle and Drop forms , ,
.

If only the top be c t into we have either the Dish or the Cup u -
: ,

form Conical Bag and Cam pus forms may be derived from the
.
, ,

Cylinder In a similar way the Hyperboloid also leads to new forms

. .

If the height of the vessel be a high m ltiple of the diameter we u ,

get sl nder taperi g form s in the reverse case we have dishes and
e ,
n : ,

plates .

Th Egg is the commonest form in Pottery

e Cylindrical and .

Conical forms i e such bodies as have a d lOpibl surface are

,
. . eve e ,

best adap ted for Sheet metal work -

.

Math matical curves

e g arcs of circles are not strictly d ,
9 . .
,
a

hered to in the profiles Vessels w hich are not m ade on the wheel
-
.
, ,

often exhibit arbitrary forms which cannot be grouped in the scheme

of the P late In the Chinese and Japanese styles for example pris
.
, ,

matic form s are v ery common (compare Plate 1 8 7 human and .

animal shapes are found in the Antique as forms Of vessels (com , ,

pare Plate 1 9 4 .

Th Various junctions of the Body with the Neck or the Foot

e , , ,

will produce a series of new forms Th of Double curvature in . e us e -

the profile will also produce new forms the Sim plest of which are the ,

Bell and the Pear Th s called Gourd pots the Pilgrim bottles &c
, . e o -
“ -
”
,
-
,
.
,

also form special and rarer groups of forms Here too may be .
,

mentioned duplex vessels formed by the juxtaposition f two vessels on O

a common foot or by uniting them with a comm on handle These

,
.

form s are found sporadically in Prehistoric and all subse quent periods .

regards the Feet of vessels we have first to remark that in

As :

the earliest times footless and three footed vessels are b y no means -

rare Th former were su k in the earth the latter wo ld stand on

. e n ,
u

an uneven surface Th usual form of foot presupposes a level stand

. e

i g surface and therefore some degree of civilisation

n Int ermediate .
,

between th absence of a foot and the high foot is the Ring foot a
e ,
-
,
30 2 Fund am enta l Va e F orm s
-
s .

torus or profiled circ lar ring forming the lower end of the vesselu
, .

It e vidently arose from the early custom of placing footless vessels

in hyperboloid Rings which were afterwards incorporated with the ,

vessel itself Th decoration of the foot is generally subordinate to

. e

that of the body ; and consists of simple motives channellings &c , ,

.

Th Neck receives a cylindrical co ica l

e or hyperboloid form ,
n , ,

according to the object of the vesse l A experience showed that . s

pouring out is best done through a narrow Opening and filling through
-

a wide one f nnel shaped necks intended to meet both requirements

: u -
, ,

arose A good decoration of the neck is to surro nd it at its narro

. u

west part with a neutral band fro m which the motive of decoration ,

may be developed up w ards and downwards .

Th upper margin or Mouth is either bent outwards or inwards

e
,

or is straight ; the latter especially when the vessel was intended to

be closed by a Stopper Pouring out is facilitated if the vessel be .
-

provided with a Spout or curved L ip as is the case with some , ,

‘

mugs and cans Th decoration of the Mouth when round is usually

. e , ,

a beading or row of leaves curving downwards and outwards Th . e

curved L ip depends for its e ffect on the line of its curve or lik , ,
e

the Spout is deco ated by m sks scallops &

,
r a , ,
c .

Th Lid generally fits into

e o to or over the upper margin ,
u- , ,
.

It may be raised by means of a knob h0 0 p or ri ng ; and if it does , ,

not lie loose on the mouth is fastened by a hinge or by cords and , ,

chains (Censer) Antique lids have sometimes the form of little vessels
.
'

or dishes .

Th Handle varies in size position and number according to

e , , ,

the use and size of the vessel Th points of attachment f the

’

.
. e o _

vertical handle lie in a vertical plane ; those of the horizontal handle

are in a horizontal plane side by side ; and those of the h 0 p handle are 0

Opposite each other in a vertical p l ane Th e tic l handle is most . e v r a

used Th ho izon t l handle is specially intended for lifting ; the ve

. e r a r

tical for tilting the vessel when pouring out Vertical h dl -

. an es a re

most suitable for tall vessels ; and horizontal handles for flat ones .

Other forms are produced by m bi tio s when a vertical handle ‘

co na n, a

is added to the centre of a hori z ontal one As a rope was origin lly . a

used instead of a handle the latter frequently takes that form (com , ,

pare Plate 1 8 2 If the vessel be intended for pouring out the

.
-
:

handle sho ld be so attached that the pouring out may be done with
u -

equal ease whether the vessel be f ll or nearly empty u .

tte m
A pts have often been made to classify vessels according to thei r

uses ; but definite divisions cannot be made as many vessels may serve ,

for a number of purposes whi ch gives rise to combination s and inter ,

 VASE S .

Th e m ost u su a l fu n d a m en ta l form s of v essel s

and th eir n a m es .

p la te sh a pe d

dis h s ha pe d
e a r - sh a
p pe d

re c u m b e n t

s
p h e ro id c
ake sh a p ed

c yli n d r i c a l hy p l
e rb o o id

Inv e rted cone v

top -sha ped In e rted egg e lliosold e
gg
- s ha
ped

e re c t ca sk

be ll sh a pd e

cu p -
sh a p e d

wedge-s ha ped splndle-s ha ped drop-sha ped

Pl ate 181 . Chart of Fun d amental Va e Form s s .

 VASE S .

Th e Am ph ra
o .

Me y e r, H an d b o ok of Orn a m en t .
 Th e Am p hora . Th e Urn .

high foot With or without cover Material clay more rarely glass
. . : , ,

or other materials Size very variable ac cording to u e . :

,
s .

P L ATE 182 . TH E A M PH OR A .

1 Egyptian with cover Theb es Th tm s m

, , ,
u e .

2 . Egyptian with cover Thebes XX dynasty

, , , .

3 . Small four sided with L atin inscription found in Egypt

-
, , ,

unpainted clay United collections Carlsruhe , ,

.

A ssyrian wi th rope handle clay , ,

.

Roman unpainted red clay United collecti ons Carlsruhe

, , ,
.

Roman unpainted yellow clay found near A quileia in 1 8 7 7

, , ,

U nited collections Carlsruhe ,

.

7 Roman glass with stopper Rouen Museum (Deville)

, , , , ,
.

8 . Roman iridescent glass found at Pompeii

, ,
.

9 Ancient Attic painted clay ( called Diota) Munich (Lau)

—
.
, ,
so - , ,
.

10 11 . Clay painted in polych ome with band shaped handles so

,
r ,
-
,

called Alexandrian style (Lau and J cobsth l) ,

a a .

Antique black painted clay (Gropius)

, ,
.

Antique state amphora white marble with swan handles , , ,

“
Vase of th Athenian S osibios Louvre Paris e ,
.

Modern French state amphora by Li enard , ,

.

Faun with amphora from the painted neck 0 1 an Antiqu ,

e

D rinking horn (compare P late 20 2 5

-
,
.

THE U RN .
(Pl a t e

is met with not only in the A tique and all subsequent

Th e U rn -
,
n

styles b t in early times everywhere and specially in Prehistoric

,
u

styles Apart from other purposes the U was frequently used i

.
,
rn n

f neral rites as a repository for the ashes of the dead as a coffin

u , , ,

and so on It has an erect body profiled like an inverted egg o

.
,
r

spindle Th neck is comparatively wide and low the mouth straight

. e ,

or curved outwards usually closed by a cover Either without feet ,

.
,

or wi th a low round foot Without handles or wi th two s m all hori .

,

t l handles
zon a attached to the greatest prominence of the body
,
.

Material clay Gener lly of considerable si z e

: . a .

P L ATE 1 8 3 m U RN . .

1 .
E gyp tian rubbing an U (Menard et S g
,
ot) rn , a u va e .

2 .Prehi storic Gallic (B ) , ,

ose .

3 Grey clay ornamentation in relief U nited collections Carlsruh e

—
.
, , ,

4 5 G reek painted clay Munich

.
, ,
.

6 .Majolica 1 5th century Italian , ,

.
 Th e Urn . Th e Kra ter . Th e Ba i and Di h
s n , s .

7 — 8 . Slavic ,found in the district of the Elbe and Oder .

9 . Modern Faience Bombay (Gewerbehalle) , ,

.

10 . Majolica 1 6 th century Italian (Storck)

, , ,
.

11 . G erman c t crystal small with high foot l 6 th century Na

,
u
, , ,

ti l Museum Munich (Kunsthandwerk)

on a , ,
.

THE KRATER (Pl a t e

Krater is Antique vase chiefly used for mixing water

The an ,

and wine (wine was not dru k unmi xed) ; and perhaps also for ablu n

tions Although we meet with it as early as Egyptian t imes it is

.
,

not found in A tique Keram ic art until its later periods As a state n .

vessel the Krater has pro b ab ly been more highly developed th n any
,
a

other form Modern art employs the Krater preferentially as a garden

.

vase for plants A characteristic of the Krater is its great wi dth .

at the top Th body is e ither a hemispherical dish (fig . e .

or has a wide cup shaped neck (figs 7 and

“
Where the ,
-
,
.

junction is formed without a sho lder : we have the bell shaped Krater u -

(figs 3 and Th .Foot is frequently small ; and so arranged that it e

st nds on an independent base (fig

a Tw sometimes four or . o, ,

more horizontal or vertical handles or hints of them Th principal

, ,
. e

materials were clay marble and metal Kraters are usually of co , ,

. n

sid bl size
er a e .

PL ATE 1 84 . THE KR ATER .

1 Egyptian with lotus cups ,

.

2 Egyptian Thebes XVIII dynasty

—4
.
, ,

3 . Greek Munich (Lau) , ,

.

5 Greek with columnar handles Munich (Lau)

, , , .

6 . Greek wi th volute handles (Lau)

, ,
.

7 . A ntique U ffi i Florence (Gropius),

z , ,
.

8 . A ntique marble with fo r handles found at Ostia

, ,
u , ,

d tly C opied from a metal original

en .

Ditto found at Ti v oli England

, ,
.

A ntique state Vase marble the decoration of the neck

, , , ,
c on

sisting of figures or rich scroll ornament is omitted , .

11 A ssyrian
—1 3
. .

12 Antique for ladies toilet Greek vase paintings

’
-
. .
, ,

TH E B ASIN , AN D DISH .
(Pl a t e

B asins and Dishes are vessels of such common use that they
, , ,

are found everywhere and in all periods in which the Keramic art ,
 VASE S . 3 09

Th e Krater . Pl ate 1 84 .
 Th e Ba in and Di h
s , s .

has been practised Their uses are manifold ; their form is indicated
.

by their names Dishes are the de p e Plates the sh llow e vessels

: e r ,
a r .

They occur without foot and with a round or high foot Th e last , .

was Specially adopted for the Greek Kylix Han dles are wanting or .
,

occur singly or in pairs horizontal vertical as h 0 p h ndles and so

, , , ,
0 a
,

on Material and size various Th decoration of Dishes is generally

.
,
: . e

on the exterior ; and of Plates is generally on the inner or upper

face In the latter case the border and the centre are ornamented
. :

separately b eing divided from each other by a neutral undecorated

, ,

zone (figs 1 3,
To paint the entire surface with figures
. dis ,

regarding the di i sion f border and centre would be contrary to

v o ,

correct Style .

P L A TE 1 8 5 . TH E B ASI N , AN D TH E DI S H .

1 Egyptian Dish with hoop handles Metal (Menard et S , g ot) , ,

a u va e .

Egyptian Dish with erect handles Metal (Menard t S , g ot) , ,

e a u va e .

Greek Dish yellow clay painted brown and red G eo

, , ,

metrical style U nited collections Carlsruhe , ,

.

Vie w from above of the handles of the a b ove ,

.

Greek D ish yellow clay ornamented with horn like ex

, ,

c s painted red
re cen ce
s Geometrical s tyle U nited collections
, , , ,

Carlsruhe .

Greek Dish with high foot (Kylix) yellow clay decoratio

, , ,
n

b rown Geometrical style Munich the interior is decorate d

, , ,

with the ornament shown on Plate 1 5 7 4 . .

Ditto .

Greek flat Dish with ring foot Munich (Lau)

, , , ,
.

Antique footless Dish (Jacobsthal) ,

.

Antique small D ish with low foot silver treasure Hildes

, , , ,

heim .

A ntique metal Dish with high volute handles (M enard et

, , ,

Sa u va ge ot) .

Roman glass Dish with pierced handle ring Found in Nor

, , ,

m andy (Deville)
—1 4
.
,

13 Majolica Dish view d section Italian Renascence

—1 6
an ,
.
,
.

15 . Modern glass Plates with scalloped border ,

.

17 . Modern Soup tureen with cover -

,
.

18 . Modern French metal Dish with vertical handle and three ,

feet (Julienne)
,
.

Modern Spanish small Dish of variegated gla z ed clay , , ,

Malaga U nited collections Carlsruhe

, ,
.

Modern Co ffee bowl with hori z ontal handles -

,
.

II dl of No 20 vi ewed from above

an e .
.
.
 3 12 Th e A mpull a , A l ab a tron s , &c . Th e Fl wer Va e
o -
s , &c .

THE AMP UL L A, AL AB ASTRON, &c .

(Pl a te

mpulla is a dim inutiv Am phora often in black painted

Th e A
clay adorned Wi th impressed ornament (figs 4 —
e ,

, 7
Th Phiale . e

is a slender vessel wi thout handles with elongated body and , , ,

long narrow neck of clay or glass (figs 1 Th Alabastron

,
. e
‘
has a bag like or cylindrical body no foot a very narrow neck with
-
, ,

a Sho lder a large plate like mouth and li ttle ear Shaped handles
u ,
-
,
-

(figs 1 3
. This vessel was intended for the reception of O ils
and unguents ; it was made of alabaster o striped glass whence
“

r
,
,

its name The Lach ymat ory so called from its tear like profile
. r ,
- -
,
’

Or from its purpose is a glass vessel of the forms shown in figs , , .

1 1 and 1 2 Not less frequent are little bag forms like the
.

handleless vessels given in figs 6 9 and 1 0 Like those already .

, ,
.

named they were intended for toilet or religious purposes

,
.

l P L A TE 1 8 6 . TH E AM PU LL A , AL AB AS TR ON , & c .

1 . Egyptian Phiale with cover Th tm s I II , ,

u e .

2 . Antique Phiale painted clay Munich (Lau) , , ,

.

3 . Antique glass Phiale (St k lb g) ,

ac e er .

Antique glass Amp lla striped bright blue and yellow u , .

A tique Ampulla
n black painted clay with impressed orn ,

am ents Athens U nited collections Carlsruhe

, , ,
.

6 Ditto Athens
—1 0
,
. .

7 . Antique Small Vessels painted clay U nited collections Carls

, , , ,

ruhe
—
.

11 12 . A tique glas s Lachrymatories

n Mus eum Nuremberg and , , ,

U nited collections Carlsruhe ,

.

A tique Alabastron
n veined glass imi tating oriental ala , ,

baster .

A tique Al abastron milk white glass with brown stripes

n
,
-
, ,

Camp na collection (L art pour tous)

’
a ,
.

Vase white iridescent glass Campana collection (L art

, , ,
’

pour tous) .

Modern Japan se Small Vase with mask handles Landes e , , ,

gewerbehalle Carlsr he ,
u .

Old G erman Small stoneware Vase ,

.

THE FL OWE R -
VASE , &c .
(P la te

Flower vase is the name given to vessels intended to receive and

-
“

support bouque ts of livi ng or dried fl owers Various as the forms of .

these vessels may be in other respects their purpose requires that they ,
 VA S E S .

mp ll a the
Th e A u ,
Al ab a tron
s ,
&c . Pl ate 1 86 .
 VASES .

Pl ate 18 7 . Th e Flower Va e
-
s ,
&c .
 Va e f rm for Variou P rp o e
s -
o s s u s s .

to be Salt cellars though we have no definite e i dence that thi s

-
, v

was so .

Th S alt cellar usually takes the form of a dish or bowl some

e -
,

times of a little trough tub Th materi l is glazed l y glass . Or . e a c a , ,

porcelain metal &c Th Renascence period created Salt cellars of

, ,
. e -

rich de ign the most celebrated is the famous one by Cellini

s : .

With the increased use of writing the Inkstand has undergone ,

an immense number of changes of form Th wooden Inkstand with .

. e ,

glass lining was in use for a lo g time till it was rendered bsolete
, ,
n , O

by vess ls of clay and glass What is required of a good Inkstand

e
'

is: it sho ld not fall over easily and if it does should not Spill ;
u -
,

the evaporation must be reduced to minimum ; the height of the a

contents must be easy to reg late T f lfil all these requirements u . O u

num rous inventions have been made some of which we wi ll notice

e ,

here In fig 1 0 the centre of gravity lies in the foot and this with
. .
, ,

the form of the glass prevents falling over or pilling I fig 1 2 the ,

-
,
S . n .

level of the ink c be reg lated by an India rubber stopper Th funnel an u -

. e

shaped tube in which the ink rises is convenient for dipping the pen ;
and it reduces the evaporation Fig 1 3 shows an Inkstand wi th . .

mping bottom and revolving cover which may be adjusted to the , ,

varyi ng level of the ink Th form of fig 1 4 is intended to prevent . e .

falling over to reduce evaporation, and to m aint in the level uniform

-
,
a

for a long tim ; a res lt which is attained notwithst nding the sim
e u ,
a

p licity .

Oil and Vinegar Cruets are usually small bottles with a sho lder u .

They are generally placed in pairs in a frame (fig 7 a direct union ,

.

of the two as in fig 6 is rare ,

.
,
.

Th Pepper b ox has of late years taken the form of the pepper

e -

mi ll or grinder (fig otherwise it is associated with th Salt cellar . e -

,

and receives the same form Th Inkstand and the S and box were . e -

also often associated together ; but Blotting paper renders the latter -

unnecessary .

P L ATE 1 8 8 . V A SE -
FORM S F OR V A RI O US P UR P OS E S .

1 alt cellar, Renascence (Formenschatz)

. S -
,
.

w Salt cellar German l 6 th century

-
, ,
.

n
c Majolica Salt cellar Italian Renascence (T i ich) -
, ,
e r .

n
a
Spice frame glass 1 8 th century -
, ,
.

c
n
Modern Cruet fram e -
.

o
s
Modern Cruets coloured glass Antique model , ,
.

q Modern Cr et frame u -
.

o
o Modern Peppe rmill .

o
c Old Inkstand wood ,
.

1 0 Modern Inkstand
.
-
.

1 1 Inkstand Glazed clay

.
,
.
 VASES .

V a se - f
orm s for Vari ou s Pu p
r os e s . Pl ate 1 88 .
 Va e f s -
orm s for Variou Purp e s os s .

12 . Modern Inkstand with dj tible stopper ,

a us .

13 . Modern glass Inkstand with mping bottom and revolving cover , .

14 . Modern glass Inkstand .

15 . Old horn Inkstand for the pocket ; after unscrewing the foot ,

piece the metal pin may be forced into th e Table t p

,
-
o .

16 . Modern Inkstand .

17 . Modern Inkstand .

THE JAR , TH E GI ST, &c .

(Pl a te

Jars and Pots are small recept cles of spheroid or cylindric l a a

form for solid granular or pasty substances Th lid is either

, , ,
. e

loose or affixed by hinges ; and is an essential part of the vessel

, .

Th materials are clay porcelain glass wood metal i v ory &c

e , , , , , , .

Besides the small clay Pots and Boxes which are com mon in the
A ntique we must also mention the Cist This is a metal vessel of
: .

cylindrical form and considerable size which was used for religious
, ,

rites and for the reception of jewelry rolls &c Th style is co

, , ,
. e n

e ti
v n l there were three claws for the feet ; and the exterior of
on a :

the cylinder was decorated with incised figures and f rnished with ,
u

rings to which chains were attached for the transportation of the ,

vessel Th lid is slightly domed ; and the handle usually consis ts of

. e

two wrestlers grasping each other b y the sho lders (fig u .

PL ATE 1 8 9 TH E JAR TH E CI ST &c .

, ,
.

1 A ntique yellow clay painted brown and red this is the so called
.
, , ,
-

Dodwell vase celebrated as the fi st discovered of the vases in

“ ”
r -

imitation of the Asiatic style dug p near Corinth ,

-
u .

2 Antique yellow clay painted red and brown U nited collec tions
.
, .
, , ,

Carlsruhe .

3 Antique with small Kylix as lid yellow clay painted brown and
.
, , ,

red imitating th Asi tic style Munich (Lau)

,
e
'

a , ,
.

l
h A ntique black clay
-
,
.

A ntique painted clay belongs to the later period of the red

i
O , ,

figure style metal ring Berlin Museum , , ,

.

l Antique bronze Cist Louvre Paris (L art pour tous)

’

, , ,
.

< Moder Japanese lac quered gold and black the lid forms a dish
n , , ,

La desgewerbehalle Carlsruhe
n ,
.

8 Old Persian repoussé copper the decorati on is too small to b

.
, ,
e

given (Kunsthandwerk) ,
.

9 Modern S nu ff box b irc h bark

.
-
,
.

1 0 Modern Tobacco j
. Norwegian carved in wood L andesgewerbe -
ar , , ,

halle Carlsruhe ,
.

1 1 Metal box w ith collapsible Drinking cup Modern

.
,
-
,
.
3 20 Th e Font and the Holy Water Stoup
,
-
. Th e Hy dria .

THE F ON T , AND THE H OLY -

WATER STO UP .
(Pl a te

Holy wate plays an important part in many rites f the Roman

-
r O

Catholic Church It is kept in Holy water Stoups These are bowls

.
-
.
,

either free or attached to walls In the former case the form gene a lly
,
.
,
r

approaches that of the Krater ; in the latter case the edge projects as ,

a h lf or three quarter circle from the surface of the wall ; and the
a -

stoup is supporte d on a pilaster column or console For use in , , .

houses the Stoup takes th form of a suspended dish as shown by

: e ,

fig 1 1 Th decoration is mostly symbolic e g crosses monograms

. . e ,
. .
, ,

cherub heads &c Most of the examples are taken from the work by
-
,
.

R g e t which contains a large selection of these objects

a u ne ,
.

P L ATE 1 9 0 .

1 . Romanesque minster Weissenburg (R g t) , , ,

a u en e .

2 Rom nesque Church of the Crucifix Compi egne (R g e t)

a , , ,
a u ne .

Romanesque church Picardy (R g t) , , ,

a u en e .

4 . Romanesque chu ch Charleville (R g t) ,

r , ,
a u en e .

5 . 1 2th century (Violl t le Duc) ,

e - -
.

l 6 th century Church Mas d A il Ari ege (R g t)

’

6 .
, ,
z
, ,
a u en e .

7 . 1 7 th century Church Cormontreuil (R g t) , , ,

a u en e .

8 . Church Picardy (R gii t), ,

a en e .

9 . Modern church Couthuin Belgium Architect Halkin (R g e t)

, , , , ,
a u ne .

10 . l 6 th century Chapel Of the castle Mello France (R g ,

t) , , ,
a u en e .

11 . 1 7 th century beaten silver Royal Museum Stuttgart (Kunst

, , , ,

handwerk) .

TH E H YDRIA .
(Pl a t e

Hydria as its name implies is the water pot It is the

Th e , ,
-

v essel which the maidens took to the spring ; filled with w ater ; and
t hen bore home on their heads It was carried when empty in a .
,

hori z ontal ; and when full in a vertical attitude Of all vases it is ,

. :

the most perfect in form ; its aim being so well expressed in its con
struction It must be easy to carry convenient to fill and empty
’

.
, , ,

and to hold as much fluid as possible ; it therefore has a vertical

body of the hape of an inverted egg (this form places the centre
S

of gravity t the top which facilitates transportation in a vertical

a ,

a ttitude) ; on which a funnel shaped neck is placed It has three ,

-
.

handles two are horizontal di metrically Opposite to each other at

: ,
a
 VASE S .

Th e F nt and the H ly Water Stoup

o ,
o -
.

Me y er, H and b o ok Of Orn a m en t .

 Th e Hydria . Th e Bucket , &c .

the greatest protuberance Of the body which served to raise the vessel ,

when full ; the third is vertical placed on one side of the eck , n
,

which served to carry th vessel when empty to ste dy it when full e

,
a

and when pouring out Th foot is always small Th neck has a -

. e . e

sho lder or blends in a curve with the body A special kind of the
u , .

latter treatment is the Kalpis (fig Th smaller slenderer Hy drias . e , ,

which were not intended to be carried on the head are termed ,

Hand hydrias Th material is clay

-
. e .

P L ATE 1 9 1 . TH E H YD RI A .

1 . Greek (Ja cobstha l)

, .

2 . Greek Of the Kalpis form body smooth black painted with

, , , ,

red figures on the sho lder u .

3 . Greek painted black reddish brown and white on the clay

, ,

ground Campana collection Louvre Paris (L art pour tous)

, , , ,
’

the decoration is of the highest class the shou lder is decorated ,

by an ivy band which is omitted in this figure but given

, ,

on Plate 3 2 4 . .

4 5 . G c Italic Hand hy d ias unpainted clay U nited collections

ra e o - -
r
, , ,

Carlsruhe
—8
.

6 . Greek Vase paintings showing the mode of carryi ng and usi g

-
,
n

th Hydria
e .

TH E B UCKE T, &c .
(Pl a t e

We have seen that the Hydria gives beautif l expression to the u

idea of pouring out ; the B ucket on the other hand is disti ly a

-

, ,
nc

dipper and the Funnel a filler

,
.

Th Bucke t is f Specifically Egyptian origin ; with it water w

e O as

drawn from the Nile ; and hence the drop like form with the centre -
,

of gravity low down Two such Buckets were carried on a yoke . .

Th form serving to prevent pilli g (figs 1

e Th Assyrian S n
,
. e

Bucket generally terminates below in a lion mask from which the ,

bag shaped neck rises (fig

-
In the Gra co Italic style we find ,
. c -
,

footless Buckets resem bling an inverted egg (fig others with a .

ri n g foot are however not uncommon (figs 7 8 9 and

,
Inst ad, ,
.
, ,
e

of one hOOp handle there were sometimes two (figs 7 and .

Th ecclesiastical art of the Middle ages gave its portable Holy

e

water Stoups the form of buckets modifying the shape Of the latter ,

t
o fit them for this purpose (figs 1 3 S ometimes the Bucket .
,

is fur ished with a spout or a nozzle (fig

n ,
.

Th Funnel as a rule takes the shape of an inverted cone with

e , , ,

or wi thout a tubular continuation ; the handle is vertical (figs 20

. .
,
 The B u ck e t, & c
‘

. Th e S p oo n, &c .

hoop shaped (fig

-
or two hori z ontal double (fig A Water
. .

ing pot is shown in fig 1 9 the hole at the top is intended to let . :

the wate r flow when Opened or to stop the flow by atmospheric pres ,

s re when clos ed by the finger

u .

Metal as the more durable m aterial is generally used for B uckets

, ,

and Funnels clay glass &c are less common : , ,

.
,
.

P L ATE 192 . TH E B U CKE T, &c .

1 Egyptian Thebes T tm III , ,

u es .

Egyptian bronze ,
.

5 Egyptian Bucket like Vessel without handle -

,
.

6 A ssy ian with cord handle

r
—
.
,

7 11 . G co Italic bronze of various forms

ra e -
, ,
.

12 . A ntique with hoop handle red clay painted black U nited

, , , ,

collections in Carlsruhe the eye in the uppermost z one , ,

which is found in Greek Keramics has been explained as a ,

protective against the evil eye “ ”

—1 4
.

13 . Mediaeval beaten copper 1 5th century (Vi ll t l Duc)

, , ,
o e -
e- .

15 Modern Italian clay with h Op handle and nozzle (Gropius) O -

—
.
, , ,

16 17 . Modern Coal vases sheet metal square and round -

,
-
,
.

18 . A tique clay Funnel

n .

I9 . M ediaeval Vessel for watering the ground clay (Vi ll t l , , ,

o e -
e

D u e) .

Modern Funnel for watering the ground sheet metal , ,

-
.

G eneral form of the modern sheet metal Funnel -

.

TH E SPOO N , AN D TH E L ADL E .
(Pl a t e

poons and Pater e form a Special class of dippers As the

S a .

Table Spoon strictly s called will come up for discussion among the
-
,
o- ,

utensils we have he e to consider o ly the larger spoon shaped

,
r n -

vessels and the Pater (handled dishes) used for religious and other ae

purposes Th natural model of the Spoon is the hollow hand

. e ,

whence th pherical elliptical or oval dish shape with an attached

e S , ,
-
,

handle Th latter usually lies in the plane of the rim but it may
. e ,

also form an obtuse angle with it or as in the case of the antique , ,

Simpulum (fig a right angle Egyp tian Spoons which are

.
-
.
,

richly decorated often possess a cover rotating round a pin (compare

,

the projections on the dish fig the Spoon then becomes a kind ,

.

of pot or recept cle A foot is of course superfluo on the ordinary a . us

Spoon ; but the P te with handles not infrequently have a ring a r ee

foot to enable them to stand (figs 7 The Spoon and the .

Paterae may also be f rnished with a Special spout or lip (fig u .

 VASE S .

Th e Bucket, & c .
Pl te
a 1 92
.
 Th e Sp oon & c ,
.
—Th ‘
e P roch oii s, & c .

a rule the Dish is plain or is slightly decorated by

As : ,

engraving the interior (fig Th decoration is gener lly confined

,
. e a

to the rim and the handle or its points of junction The m aterial , .

is usually wood bone or metal Th Size varies wi th th use

, ,
. e e .

P L AT E 1 9 3 . TII E S P OON , AN D TH E L AD L E .

1 —4 Egyptian Spoons plainly or richly finished

.
, , p artly painted .

5 . A ssyrian Spoon like Vessel -

.

6 . Antique bronz e Pater with lip a, .

7, 9, 1 0 . Antique bronze P t seen from the side from abovea er ee , , ,

and below .

8 Antique terracotta Patera

—1 2
. .

11 . Antique Simpula .

13 . Antique Spoon like Vessel bronze United collections , , ,

Carlsruhe .

A tique cooking Ves e l like

n handled dish (Menard et s
,
a
,

S a u va geot) .

c . P our er s .

THE PR OOH oUs , TH E Oi NocH oE, THE OL PE , &c .

(Pl a te

We commence the series of pourers with the antique forms of

the P h iis Oinocho e O lpe 8 0 As the defi i tion of these appella
r oc o , , ,
5 . n

tions is not yet finally settled it will be best tO l the various :

‘

e a ve

intermediate forms entirely unnamed The vessels were used partly .

for secular p artly for religio purposes Thus the P och iis is the
,
us . r o

sacrificial vessel from whi ch the libations of wine were poured out -
,

into the Patera Th Oinocho e is believed to have been a secular

. e

win e j g ; and the Olpe to have been a receptacle for oil &c
u ,
.

All these vessels have thi s in common that the mouth is wavy : ,

elongated to a channel on one Side or pinched i at the sides to ,

-
n ,

form a large spout and facilitate the p o i g o t Th Older vessels ur n o

u . e ,

in partic lar show great boldness in thus making the form of the
u ,

mouth di fl t to th circular plan which is a res lt of the u s of

'

er en e u e

the Potter s wheel ; but in the lat r times there was a return to the
’
-
e

simpler and more beautiful shape Th P o hoiis and the Oi och el . e r c n o

generally have an upright body in shap e like an egg Th Olpe ,

. e

invariably has a c ke or bag shaped b ody a form whi ch is occa

a -
,

sio lly found in the P

na h oii Th e ve rtical handle is raised abo ve r oc s .

the vessel and is attached in a bold weep to the side pposite the s O

lip Th foot is usually ri ng shaped Bron z e and clay are employed

. e -
.
 Th e P rOch ou s, & c . Th e L ekytho s, &c .

as materials Th P och iis and Oinocho e are generally vessels of

. e r o , ,

considerable size while the Olpe is smaller ,

.

PL ATE 194 . TH E P R O OH OUS , TH E OI N OOH OE , THE OL PE , &c .

1 . Greek P ochoiis archaic form and ornamentation painted

r , ,

clay .

Greek P ochoiis geometrical style red clay painted black

r , , , .

Greek Cyprian Vessel geometrical style yellow clay painted , , ,

brown Munich (Lau)

, ,
.

Greek Oinocho e As iatic style yellow painted clay (S emper)

, , , ,
.

Antique small Vessel yellow clay painted black U i ted , , ,

n

collectio s Carls uh e n ,
r .

Antique small Vessel clay painted black engraved orna , , ,

ment U i ted collections Carlsr h e

— ,
n ,
u .

7 9 . Greek Vessels painted clay ,

.

10 Greek bronze Vessel collection of Herr von Pulsky Pesth , ,

.

11 G Italic bronze Vessel

ra e co - .

P ch ii s in th form of a female head Museum Rome

—1 4
12
’

ro o e ,
.
,

13 . Anti que Olpe painted clay ,

.

15 . A tique bronze Olpe Mu seum Rome

n ,
.

THE L E KYTHO S , &c .

(Pl a t e

Lekyt hos is a small antique pourer employed sometimes in

Th e ,

the toilet as a receptacle for Oils and unguents and sometimes in ,

f neral rites to be pl ced with the deceased in the grave Th

u ,
a . e

form is generally elongated cylindrical or Spindle shaped more rarely ,

-
,

b ag like or spherical Th foot is a plain ring foot the neck long

.

-
. e ,

and narrow with a shoulder Th handle rises from the body up to . e

the upper end of th neck AS regards form and decoration these

'

e .
‘

pretty vessels form special groups Th slender forms are the lder . e O ,

the Spherical and depressed the later Upright palmettes as show .

,
n

in fig 1 are a characteristic dec oration Th materi l is clay

.
,
. e a .

PL ATE 195 TH E LE KYTH OS &c

—
. .
,

1 3 Greek red clay painted black United collections Carlsr he

—6
u .
, ,
.
, ,

4 . Greek ,
red clay painted black ,
.

7 Greek ,
painted black and white later period ,
.

8 Greek ,
Attic style .

9 . D itto .

1 01 -
12 . Greek red clay painted bl ck U it d c ll ctio C ls h
, ,
a , _
n e o e n s, ,
ar ru e .

13 . Greek red clay painted black and white Munich (Lau)

, , , ,
.
 VASE S . 3 29

Th eP r och ou s , th e Oin h
oc oe , the Olp e ,
&c . Pla te 1 94 .
 Th e L ekytho s . Th e L ip -
s p out Pitcher .

Greek Aryballos (perfume vase) U i ted collections Carls ,

n ,

r heu .

Greek Aryballos painted black United collections Carlsr he , , ,

u .

Greek Perf me vase with hoop handle p ai nted bla ck

,
’

u -
, , ,

U nited collections Carlsruhe ,

.

Greek Lekyt hos later period United collections Carlsruhe , , ,

.

THE L IP -
PO UT P ITCHER
S .
(Pl a te s 1 9 6

want of some uniform nomen clatur e makes itself felt not

Th e
o nly in the case of antique vessels but also with such colloquial ,

expressions as pitcher jug pot c bottle &c which

“ ”
,
“ ”
,
“ ”
,
“
an
”
,
“ ”
,
.
,

include a great variety of forms so that what one calls pitchers and ,

pots another calls jugs and cans To maintain at least some kind .

of system in this handbook we cla s all vessels with vertical handles ,

s ,

(unless they belong to some special category) as Pitchers if they ,

“ ”

have the usu l mouth with a lip ; and as Pots if they ha ve pipe
a
“ ” '

like spout .

Th material and size of the Pitcher vary greatly accor di ng to

e , ,

its purpose and period Th principal representatives

“

th ewers . e ar e e ,

an d jugs of glass clay stoneware and metal

, , , ,
.

PL ATE 1 9 6 TH E LIP SPOUT P I TOH ER

. .

1 Egyptian
. with saucer recalling our modern ewers and basins
, , .

N Antique iridescent glass G ermanisches Mu seum Nuremberg , ,

.

A tique glass found in T ouville la Rivi ere Normandy (De vi lle)

D
C n
,
r - -
, , .

Q A ntique glass found near Mainz U nited collectio s Carlsruhe , ,

n ,
.

Roman glass from a grave at Bingerbruck Wiesbaden Museum

X
O
, , ,
.

A tique blue glass Louvre (Deville )

E
O n
, , ,
.

Q Like No 5 . .

W A tique yellowish green glass G ermanisches Muse m Nuremberg

n
, ,
u , .

Like No 4
D
Q . .

O A tique glass found in Rouen 3 d century A D Rouen Museum

;
a n
, , ,
. .
, ,

(Deville ) .

1 1 Antique ring shape unpainted clay United collec tions Carlsruhe

'

-
.
, ,
.
,

1 2 Roman Al emannic red clay found in Kaf rth l near Mannheim

'

-
.
, ,
e a ,

United collections Carlsruhe , .

1 3 Antique bronze with cover fou d at Saumur (Menard t

’
.
, ,
n , e

Sa u va ge ot) .

14 A ncient merican grey clay time of th e Incas excavated at

A , , ,

T rujil o in Peru (the round compartment of the body is fan

l ,

t a stica lly
M

adorned wi th figures) U nited coll cti ons Carlsruhe ,

e ,
.
 VASE S .

Pl ate 196 . Th e Lip -

s p out P itcher
’

.
 VASE S .
333

Th e L ip -
s p t Pitcher
ou .
Pl ate 19 7 .
 Th e L ip -
s pout Pitcher . Th e Pip e p out P -
s ot .

15 . Old G erman B ohemian gl ss ,

a .

16 . Modern Hungarian glaz ed clay Landesgewerbeh lle , ,

a ,
Ca rls ruhe .

PL ATE 197 . THE LIP P

S OUT P I TOH E R .

1 . Italian Faience glazed in colours l 6 th century the bl ue

, , ,

lilies on a gold ground are the coat of Julius III Cluny .

,

Museum Paris (L art pour tous)

, ,
’
.

G erman by Hans Holbein 1 6 th century (Hirth Forme

, , , ,
n

Old G erman stoneware with disc h p d b dy

, ,
'

-
s a e o .

German Renascence p ewter (Hirth Formenschatz)

— , , ,
.

5 6 . Old G erman stoneware the decoration is omitted

, ,
.

7 Modern stonewa e with tin cover by Di Kachel r , ,

r . .

8 Modern majolica Carlsruh e

—1 0
. .
,

9 Moder stoneware n,
—1 2
. .

11 . Modern green and blue glass

,
.

TH E P IPE SP O UT P OT -
.
(P l a te

al eady remarked we g oup here all those one handled pourers

As r ,
r -

which possess a separate spout or mouth Here too material size and .
, , ,

form are very various Distinct categories e formed by the St t . ar a e

jugs of met l such as were in use at the period Of th Italian

a
,
e

Re ascence (fig
n the Oriental metal Jugs the Venetian small glass
.
,

Jugs milk coffee tea and watering Pots &c Where a spout occurs
, , , ,
. :

it is generally attached at the lower part or mi ddle of the body m ore ,

rarely towards the top ; and usually reaches to the level of the mouth .

Th Spout generally t pers in an upward direction ; its orifice is some

e a

times mask or a widened mouth piece ; in the cas e of the Watering

a -

pot it is f rnished with a rose Th handle is verti cal or a h Op

u . e ,
O .

Noteworthy is the long stump handle of some modern Coffee pots (fig - -
.

Th vessels of this group frequently have a lid

e .

198 . TH E P I PE -
S OUT P P OT .

Italian Renasc ence State jug metal design by Polidoro , , ,

Caravaggio Uffi i Florence ,

z
,
.

Japanese enamelled metal Louvre (L rt pour tous)

, , ,
’
a .

Ara b ian metal 1 6 th ce ntury Cluny Museum Paris (L art

’

, , , , ,

pour tous) .

Venetian glass l 6 th century (Hirth and L art pour tous)

, , ,
’

Modern Oriental ungla z ed clay f om Jerus lem United , ,

r a ,

colle ctions Carlsruh e , .

 Th e P ip e p ut Pot -
s o . Th e Bottle .

Oriental Te pot painted china a -

,
.

Milk ewer painted faience 1 8 th century U nited coll ections

-
, , , ,

Carlsruhe .

9 Modern Co ffee pot -

.

10 . Modern T kettle metal hoop handle with wooden gu a rd

ea -
, , , .

11 Modern Watering pots sheet metal -

, .

THE B O TTL E .
(Pl a te s 1 9 9

Bottle has a sphe ic l elongated or bag body ; and an

Th e r a , ,

e longated narrow neck whi ch usually expands lik e a f nnel towards

, , u

its upper extremity and is sometimes closed by a stopper ,

B ottles .

have either a ri g foot or no foot at all high feet are exceptional

n
,
.

Handles are seldom atta ched ; where this is done they appear pai rs ,
In .

I
n the case of Pocket fl sks whi ch are u sually of a di sc or watch
-
a
,

shape th e handle serves to attach the fl sks to a cord or belt Th

,
a . e

m aterial is chiefly glass ; but clay and metal are also used Th . e

B ottle form has been Specially c ltivated in the East in Persia China u , , ,

J apan & A natu al model is frequently found in the C labash

,
c . r a ,

whi ch is itself Often used as a Vessel .

TE 199 . TH E B OTTL E .

Egyptian front and side view ,

.

A tique small watch shaped Perfum e bottle blue and whi te

n ,
- -
,

glass with handles for suspension li ke a hunting fl ask C m

, ,
-
,
a

pana collection (L art pour tous) ,

’
.

A ntique glass wi th handles for suspension (De ville)

, , ,
.

Antique Perfume bo ttle transparent emerald green glass

,
-
,
.

Antique Campana collection (L art pour tous)

'
.
, ,

A tique two handled iridescent glass Cam pana collection

n ,
-
, , ,

(L art pour
’
tous ) .

Antique iridescent glass United collections Carlsr h e

, , ,
u .

Antique iridescent glass U nited collections Carlsr h e

, , ,
u .

0 ld G erman glass from th e Spess t (Friedrich Die Alt

, ,
ar , ,

deutschen Glaser) .

Modern cut glass Dresden (G ewerbehalle)

, , ,
.

Modern green glass with ring stopper

, ,
.

Modern yello wi sh green glass

,
.

Modern Florentine flask covered with bast

,
“
.

L ATE 200 . TH E BOTTL E .

Egyptian without foot two Ope handles for Suspension

, ,
r .

A ntique red unpainted clay U ited collec tions Carlsruhe

, , ,
n ,
.
 VASE S .
3 37

Th e Bottl e .

Me y e r, H an d bo k
o of Orn a m e n t .
 VASES .

Pl at e 200 . Th e B ttl e
o .
 Drinki g V el n e ss s. Th e Kyl ix the K a tha
, n r os , &c .

fo ms of vessels in general are applicable to drinking vessels in

r ,

partic l ar u

Notwithstanding this we will attempt to classify the forms of ,

drinking vessels This will be done partly according to style placing .

, ,
th ecomm onest antique forms on one Plate specifically Old German ,

forms on another and the drinking vessels of our own time on a thi rd , .

P artly too we will place on other Plates definite groups which have
, , , ,

either an identical f ndamental form or a common object regar dless u

,

of their belonging to the same or to different styles e g D rinking ,

. .

hor s and Rhyt ons Cups and B eakers Ch lices and Goblets State Cups
n
, ,
a
,
-
,

Rummers , Mugs and Tankards ,

.

THE KY LIX , TH E KANTHARO S &c , .

(Pl a t e

Drinking vessels f clay and the precious metals, played the chief O
,

p art in A ntique times while glass which was employed for other , ,

purposes was only occasionally u ed

,
s .

A very common form is the two handled dish or Kylix with a ,

low or high foot Both th form and the name of th e later Calyx . e

and our Chalice are derived from Kylix When formed of clay the .
,

Kylix is a plain shallow dish ornamented on the under side some , ,

times with figures O the inner side and with two horizontal handles u ,

( figs 1 . I n metal the f rm becomes richer th handles are

=

,
o ,
e

elongated d b ld in curvature (figs 3 an . o er .

Th fu dame tal form of the Kanth ros is that of th deep dish

e n n a e

o K a te
r rwi th two vertical handles
r, Th decoration is o ly external ; . e . n

the simplic ity in clay (fig pa ses into rich ess when metal is em . s n

ployed (figs 6 B acchic attributes the vine ivy the thyrsos

.
, , , ,

masks &c from the decoration

, .
,
. .

Th Ky thos a dipper and drinking vessel at once is a dish

e a ,
.
,

w ith the handle elongated vertically d sometimes replaced by a .

.
an

straight handle whi h gives the vessel somewhat of the pp ,

c of c a e a r en e

a spoon (figs 8 9 .
, ,

Th e Skyphos is a dish with two horizontal han dles (figs .

the K th o (fig
. o is th military drinking vessel a vessel w ith
n . e ,
“

a bro d rim bent inward out of which one could o ly dri k

a s ,
n n

by bending the neck right back ; but it w s convenient for dipping a

wa ter from brooks and the i curved rim caught the impurities of
:
,
n -

the w ter so tha t they rem ined behind both in dipping and drinking
a a
”
,

We might further addu ce the Deinos the drinking vessel of .

Hercules th e M phikyp llo a double beaker mentioned by Homer

,
e n, .
,

th Kalathos and others B ut the examples selected above m y

e ,
.
a
 VASE S . 341

Th e Kylix the K anthar

, os , &c . Plate 201 .
 Th e Kylix , th e K antharos , &c . Th e R hyt n o .

PL ATE 20 1 . TH E KY L I x , TH E KA N THA R OS ,
&c .

1 . A ntique Kylix painted clay Mus eum Naples , , ,

.

2 . Th e same vessel viewed from below

.
, .

3 . Greek Kylix bronze found in sarcophagus at Cephalonia (St k l

, , ,
ac e
berg) .

4 . Greek Kylix bron z e found in Ithaca , , .

5 . Antique Kantharos black painted clay U nited collections Carls , , ,

r he
u .

6 . Antique Kylix beaten silver Hildesheim treasure Museum Berlin

, , , ,
.

7 . Antique Kantharos beaten silver found at Berthouville near , ,

Bernay Biblioth eque Nationale Paris

, ,
.

8 . A ntique Kyathos black painted clay U nited collections Carls uhe

, , ,
r .

9 . Antique Kyathos painted clay U nited collections Carlsruh e , , ,

.

10 . Antique Skyphos meta l (M enard t S v g ot) , , e au a e .

11 . A ntique S kyphos painted clay ,

.

12 . A ntique Kotho painted clay U nited collections Carlsruhe

n,
, ,
.

TH E RHY TON . Pl
( a te
custom Of using the H o s of animals as drinking
The p rim mva l ,
rn .

vessels led to the Drinking Horn Th Antique is not alone in

,

,
-
. e

creating in the Rhyton a special kind of these vessels in the Middle

, ,
:

ages and in Modern times in England and G ermany Drinking horns , ,

-

are well known In view of the varied and Often complicated forms
.

of these latter we shall confine Ourselves to presenting some Antique

,

examples .

Th form of the Rhyton was that of an animal s head with

e
’

the addition of a handl e As a r le it has no foot ; and cannot be . u ,

set down When pierced at the lower end it could be dr nk from

.
,
u

in the manner shown in fig 1 1 Stags asses swine ultures & . .

, , ,
v ,
c .

were utilised as models whence the Special names El ph Onos ,

a os , ,

K pros G yp s &c
e ,
r ,
.

S ometimes the human head was used (fig Th vessel is ,

. e

modelled naturalistically ; and rec eives a painted decoration on the

neck alone Th material is clay. e .

20 2 .

A ntique (T g l ph ) with a ram h ad

,
ra e a os e .

Antique with a human head ,

.

Antique (K p ) with a swine head

,
a r os .

A ntique (El ph os) with a stag head (Semper)

,
a ,
.

Antique (Hipp t gel ph os) on one side a ram

,
o ra a ,

an ass head .
 VASE S .

Pl ate 203 . Th e Cup an d the Beak r

, e .
Th e R hyt n o . Th e Cup and the Beaker , . Th e Chalice , an d the Gobl et . 345

7 A ntique (G yps) with vulture head r

—9
.
,
.

8 . Antique drinking horn with lion mask as Spout -

,
.

10 . Antique State Rhyton marble Vatican Museum Rome , , ,

.

11 . Picture from an Antique Vase showing the manne of drink ,

r

ing from the Rhyton .

THE CUP , AN D TH E B EAKE R .

(Pl a t e

rinking vessels of these forms are of very general occurrence

D .

They may be he mi Spherical cylindrical like an inverted cone or of-

, , ,

a mi xed shape ; without foot with a ring foot or supported on , ,

balls ; without a handle or with one two or more handles Th , , ,

. e

use of the Cup restricts it to a certain si z e ; the mate ial is metal r ,

glass clay stoneware & Richly decorated Cups have come down
, , ,
c .
-

to us from the Antique and the Renascence ,

.

PL ATE 203 TH E CUP AND TH E B E AKER .

,
.

1 Assyrian from a relief

.
, .

2 As yrian painted clay

. s , .

3 Antique silver parcel gilt fou d on Ithaca

.
, , ,
n .

k Antique Kalathos found in Athens

I
-
,
.

Antique clay painted black U nited collectio s Carlsruhe

Y
O , n .
, , ,

O A ntique red clay painted black U nited collections Carlsruhe

O
.
, , , ,

N A tique beaten ilver found in Pompeii now in Naples

I

n , S .
, ,

C
D Antique originally decorated in sunk enamel Hildesheim treasure
, , ,

Berlin Museum ,
.

9 Antique beaten silver Hildesheim treasure Berlin Museum

.
, , , ,
.

1 0 A tique green glass found in Normandy (Deville)

. n
, , ,
.

1 1 Antique glass (Deville )

.
, ,
.

1 2 Old German glass

.
,
.

1 3 Venetian glass British Museum

.
, ,
.

1 4 Old German stoneware

.
,
.

1 5 Old German stoneware

.
,
.

1 6 Germ a n Renascence Metal with bosses and ball foot

.
, ,
.

TH E CHALI OE , AN D TH E GOBLE T .
(Pl a te

hese are deep vessels of the form of half an egg w ithout

T ,

handle and with a high foot Th form was chiefly used in the Middle
,
. e

Ages and Renascence ; for both secular and religious purposes For
,
.

the former purpose the material is glass or metal and the size is , ,
 VASE S .

Plate 204 .
Th e Calice an d the
,
bl t
Go e .
 V AS E S .

Pl ate 205 . Th e Hanap .

 Th e H a apn . Th e R Om er or Rum m er . 349

4 —5 German l 6 th and 1 7 th centuries

. chased silver treasure of
, , ,

Regensburg (Musterornamente)
6—8 Old Ge rman glass 1 7 th century
,
.

. .
, ,

TH E ROMER OR RUMMER .
(Pl a t e

Rummer the glass p a xcellen ce for Rhenish wine is th

Th e , r e ,
e

most important representative f the Old German drinking glasses O ,

and is altogether one of the handsomest forms of vess els C Friedrich .

in his work D ie A ltdeuts chen Glaser the study of whi ch we warmly

” “
,

recommend states that the fragments of antique glass were worked p

,
-
u

again into fine glass ware ; and that this ware was called Romanum -
“

i trum or R om i m i t um That led to the designation R om ii

” “ ” “ ”
v ar u v r . ar

which then became ROm and Rum mer Th original form f “

er
” “
e o

the Rummer is somewhat cylindrical (fig inste ad of a foot it .

has a ring at th bottom At a later period a low foot was added e .

,

upon which the body began to be divided into members (figs 2 and .
,

Th high foot eventually led to th e goblet form (figs 1 0

e .
,

and Rummers in which the contents reach to the bottom belong , ,

to the 2 d half Of the 1 6th century ; R m mers with Spun foot the
n u ,

wine reaching to the middle piece are to be ascribed to the 1 7 th -

,

century ; while R m mers with an independent middle piece are the u -

product of the 1 8 th century All three forms have been revived in .

late years Th colour of the Rumm er is green or yellowi sh brow ;

. e -
n

for esthetic reasons and not be cause it was impossible to manufactur

a ,
e

clear glass Th middle piece is Often divided from the p b y a ribbed

. e -
cu

band and ornamented with bosses In later times the cup was decorated .

wi th cut or painted ornament (figs 5 and Such modern .

,

examples as Rummers with whi te feet and pink cups are aberrations
, ,

of taste Th Rummer is generally of moderate si z e ; but examples of

. e

large siz e are sometimes met with -

.

PL ATE 20 6 . TH E RUMM E R .

1 —4 Older forms (Friedrich)

—6
. .
,

5 . White and light green engraved ornaments Bavarian G -

, ,
e

werbemuseum Nuremberg (Friedrich)

—
.
, ,

7 8 . Modern copies .

9 Old form without foot (Fried ich)

1 0—
. r .
, ,

11 . Modern forms .

12 . Wooden vessel resembling a Rummer lacquered black from , ,

Borneo United collections Carlsruhe

'

.
, ,
 VASE S .

Pl ate 206 . Th e R Om er or u
R mm er .
 Variou Gl a e s ss s .

VARIO U S GL ASSE S .
(Pl a t e

a selection of other Old German drinking

Th e P la te _
con ta in s

vessels What manifold varieties of drinking glasses existed in the

.
,

l 6 th century for inst nce m y be seen in Fi ch t romance Gar ’

“
,
,
a ,
a s ar s

g an t and Pantagruel which is sociologically so interesting In th

oa
”
, . e

eight chapter entitled a conversation on drinking he says D

,
“ ”
,
:
“
a

s ta chen die F oca l a n/

si c eyn a n d er f di e P r ns t, d a flogen die mn hele,

d a s ti beten di e R emer cken, d a r a nm t m a n di e dickelba cher, d a sofien

'

j e zw een n n d zw een a ns depp leten , die m a n c a n eyn a n der bricht, j a

a ns ges tifleten Kr ngen , d a s titrz t ma n die P ott, d a s chw a ng ma n
den Gn tr nfi, d a trabet m a n d en An gs ter, d a riss a n d w idth m a n d en
“ '

Wein a ns P a tten, a ns Kelchen, N ap fien, Gonen ; H o/ fbecher n : Ta ssen :

Tr in kscha len : P fa fien ma sen : S ta uf en n on hohen s ta nfien : Ki tten f

Ka lten : Ka nn ten : KOp fien : Kn a r tgen : S ckla n chen : P ip en : a sen :

f ’

H e len : L a mp eten : a en : N ilsseln : S eydeln : Killkess eln, M d lter lin :

M elkgelten , Sp itzma s en , Z olcken , Ka nn en , S chn an lzenma s , S chopp en
”
kann lein , S totzen : D a kla n gen die Glaser, da fnn ckelten die Kr a usen .

We here o er a few forms some of them named in the above

ff ,
d escrip
tion of Fisch a rt s
’
.

Th ename ngster is applied to a high arrow necked drinking

A n -

bottle from the atin

( L a nnarrow
gus tus ,
neck which rises out
) Th e ,
.

of a spherical b bous body ften consisted of

,
u l ,
O or more tubes2,
3,
wound round one another frequently bent to one side and broadening ,

at the top into a c p li ke mouth (fig These glasses belong

u -
.

to the category of Puz zle glasses to extract the wine from which was -

a matter Of an gui sh S m p s bservation is very true for such

“ "
. e er
’

puz zle glasses it would really seem as if fashion and the toper s
-
:
“ ’

humor of the competitors in drinking bouts with Obstacles had sp e ,

-
,
’

ci lly invented form

a of vessels which demanded a most uncomfortable
s

and ingenious mode of drinking .

”

Th G t olf (g tte k t f perhaps f om the Latin gn ttn rn i m)

u r u er e r , u ro , r n ,

seems to have been a imilar glass with a straight neck (figs 6 S .

TS
and 9
he p ech ter
(presumably from S pessart) is a tall narrow , ,
cy

lin dr ica l glass with a low foot decorated wi th bosses scrolls , , ,

&c .

(figs . 4,
(peg t nkard )
Th e P a ssgla s resembles the Sp cht but is divi d-
ed a e er ,

by rings into equal divisions which served as a scale in drinki g bouts n .

It often bears painted figures in criptions &c (figs 2 ,

s .
,
.
,

Th form of the cabbage stalk glass in s fficiently indicated by

e -
u

the name (fig .

Th Tum mler and H dt m m l

e (tumbler ) glasses without an u er a re

fe t which totter when set down ; and if laid on their side at once
e ,
 Vari u o s Gl as e s s . Th e Mug . 3 53

resume a vertical position (figs 1 4 as also glasses like that .

,

shown in fig 1 3 which must first be drunk empty before they c

.
,
an

be set down .

T those times also belong d Puzzle glasses from which the

o e : -

liquor had to be sucked out at the end of the handle (fig .

ve ssels in the shape of ladies (figs 1 1 and of fantastic .

animals .

It would carry us too far to enter upon the details of manu

facture we therefore refer the reader Once more to C Friedrich s
:
”
.
’

“
Altdeu ts che Glas er .

PL ATE 20 7 . VARI OU S DRIN KIN G VE S S E L S .

1 Green cabbage stalk Glass Germanisches Museum Nuremberg

—3
-
.
, ,
.

2 Old German Peg tankards painted

4 —5
-
.
,
.

. Old German Sp cht e er s .

6 . K t lf (Angster) 1 6 th century Bavarian G ewerbemuseum

u ro
, , ,

Nuremberg
—8
.

7 . Old German A g t s No 8 in the Bavarian G ewerbe n s er ,

.

museum N emberg ,
ur .

9 . K t lf (Angster) with winding neck

u ro .

10 Puzzle mug (Friedrich) -

—
. .
,

11 12 . Old German Glasses in the form of ladies No 1 2 in the , ,

.

Bavarian Gewerbemuseum Nu emberg ,

r .

Large Tumbler 1 8 th century with metal handle ; in the

, ,

original a figure of Mercury stands on the ball Bavarian ,

Gewerbemuseum Nuremberg ,
.

Painted glass Tumbler (Friedrich) ,

.

Hungarian coronation Glass painted ,

.

TH E MU G .
(Pl a te

In ccordance with its pu pose the form of the Mug is essen

a r ,

ti lly di fferent from that of other drinking vessels

a Th body usually . e

has a cylind ical form and is without a foot or with o ly a ring

r , ,
n

foot A movable lid of m etal mostly tin is attached by a hinge

.
, ,

to the vertical handle in order to keep the liq i d as fresh as possible ,

u ,

in view of the great surface of evaporation For the same reason .

the mat rial is preferably stoneware That glass has of late years
e .

been p ferred to stoneware is due to the fact that the liquid is

r
e ,
.

visible and more easily inve tigated in glass vessels ; and that these s

a re more easily cleaned Compared with the wine glass the Mug .
-
,

will always have a greater circumference and show a more robust ,

treatment Th hi nge must be so attached that when the lid is wid

. e e

open it forms an obtuse angle with the rim

,
.

M eyer , H a n d b o o k of Orn a m en t .
 VASE S .

Pl ate 208 . Th e M u g .
 VA S E S
.

Pl ate 209 . ankard

Th e T .
 V A SE S .

M de
o rn Dri ki g Gl a
n n sses . Pl ate 21 0 .
 Mo d ern Drinki g Gl a es n ss .

more or less skill and intelligence It is to be hoped that the .

general revival of Appli ed A t will lead to the attainment of high r

class res lts in this b anch also

u r .

PL ATE 21 0 . M ODE RN D RI N KI N G GL AS SE S
—
.

1 1 1 Various modern Glasses for water wine and beer of white

.
, , ,

and colo ed glass ur .

Pl ates 191 —210 present som e 50 di ff rent cl a se of v es els in nearly

e s s s
500 p im m
s ec But e v en thi p i materia l was f from p ermitting
s . s cO ou s ar

e v ery form to b e taken into con i d eration Th fir t pl ace was acc rde d s . e s o
to d efinite group s an d to conv entional e v er recur ing hap es ; whil e the ,
-
r s

arb itrary p ora di c accid ental and b a occo were exclud e d Still it is
,
s , , r , .
,

p o ibl e that we ha v e not uccee d e d in gi v i g a general v iew of th group

ss s n e
o f p ottery an d v e se l s R e d er who d e ire to p ur ue their stud ie further
s . a s s s s
are referre d to the works and p erio dical d eali g with thi subject s n s .
 Th e Cand e l abrum .

forms and the finish of the di fferent utensils have changed

Th e
along with the radical changes which the mode of illumi nation has
undergone in th course of time Oil lamp light candle torch light
e .
, , , ,

gas light and our latest achievement the electric light ll demand
, , ,
a

Special di fferent forms of bearers and apparatus

, ,
.

Th predominant material would seem to be met l ; and next

e a ,

to this clay and glass ; while im fl m m bl materials like wood are

, ,
a a e ,

by their very nature almost excluded ,

.

Here too it is proper to call attention to a difference whi ch

, ,

must be borne in mind between A tique and Modern illum inating n

utensils Th difference is this that whereas the Antique with all

. e :

its artistic perfection is very defective from a practical point of view ;

,

Modern apparatus while surpassing the Antique in the matter of ,

technical adaptation to its purpose scarcely ever reaches the Antique ,

beauty and generally falls below it

,
.

We will consider the Candelabrum the Antique Lamp the , ,

different kinds of Standard Hand and Bracket Candlesticks Hanging , , ,

Lamps Lanterns Chandeliers and Modern Lamps ; taking them in

, , ,

this order .

THE CANDE B
LA R U M .
(Pl a t e s 21 1 —2
Candelabrum (from ca n dela
Th e candle) was as its name i ,
n

dic ta originally intended to carry a candle But as candle light

es , .
-
,

like the ill m ination by means of torches and pitch pans gradually
u -
,

receded before the use of Lamps in Antique times and was more ,

and more reserved for the purposes of ritual ; the Antique Cande
lab m came to be employed as a Lampstand or L m p d i m
ru a a ar u .

Hence it comes that the upper end of a Candelabrum i furnished s

sometimes with a bowl sometimes with a pricket or socket to receive ,

the candle sometimes with a flat disc and sometimes with project
, , ,

ing clips and hooks to hold the lamp or to suspend it from Th . e

last is the most frequent form Th great State candelabra for . e -

,

religious bservances have bowls ; and are made of marble The shaft
O ,
-
.

of such a Roman Candelabr m of conventional form is given on u

Plate 1 21 fig 2 Candelabra for household use were made of

,
. .

bronz e In height they are of two different dimensions according

. :
,

as they were meant to stand on the ground or on a table Th ,

. e

former are of an extremely slender construction (Plate 21 1 of an .

average height Of 3 feet to 4 ft 6 ins Th form of the latter class . . e

(c dela b um hn mi le) is less slender (Plate 21 1 5 and

an r and th . e

extreme height is about 1 ft 8 ins Th design of the Antique . . e

Candelabrum is either Of architectonic character or free and natura ,

 Th e Can del abrum . 36 1

listi e We have already mentioned in chapters 1 3 5 —1 3 7 that in

.
, ,

the former case the base shaft and bowl are generally decorated
: , ,
.

Th second class includes standing and sitting figures behind which

e ,

the shaft of the candelabrum rises or by which it is borne (Plate 21 1 ,

.

2 and or of bearers in the form of trees beneath which figures ,

or groups are seated (Plate 21 1 Occasionally examples are found .

so arranged that they c be taken apart and adjus ted to di fferent an

heights (Plate 21 1 Th majority of the A tique bronze Cande

. e n

labra which have been preserved to us are of Etruscan origin .

Plate 21 1 shows seven different examples selected from the c opious

material .

PL ATE 21 1 . TH E AN TI QUE CAN D E L A B R UM .

1 . Antique bronze stand from which to suspend lamps (lychn cns

,
n ,

found in Pompeii Berlin Museum

la mp a da rinm) , , ,
.

2 . Etruscan bronze Biblioth eque National Paris

, , ,
.

3 . Antique bronze found in Chiusi (M enard t S

, g
,
t) ,
e a u va eo .

4 . Antique bronze found in Herculaneu m

, ,
.

5 . Antique bronze to hold a candle or torch (M enard t S v ge t)

, , ,
e au a o .

6 . A tique ( Ca d el b um hn mi le) bronze Museum Naples

n ,
n a r , , ,
.

7 . A tique
n bronze adjustable to di fferent heights found in Her
, , ,

cu la n eu m .

Candelabr m w revived at the t ime of the Renascence

Th e u as

along with the tra di tion of A tique t It accepted the form ; but n ar .

remodelled it in its own fashi on Since that time the C ndelabrum . a

occurs in countless mo di fications both for state and use in reli gious , ,

and sec lar b i ldings It is no more a Lampstand but bears a

u u .
,

candle in a pricket or more r rely in a socket Th Roman Catholic ,

a
,
. e

rit l in particular the services of whi ch req i re lighted candles

ua , ,
u ,

has given an impetus to the new forms of Candelabra in met l d a an

carved wood set off by painting and gilding Th finest examples of

,
-
. e

this ki d are to be found in the chu ches and p laces of Italy

n r a .

P L ATE 21 2 . TH E R E N A S OE N OE CAN D E L A BR UM .

1 . Al tar candlestick church of the Benedictines Villingen wood

, , , ,

gilt and silvered Late German Renascence 3 ft 9 ins high

, ,
. . .

2 . Bronze end of the 1 6 th century Italian

, ,
.

3 . Al tar can dlestick Certosa near Pa i a 1 7 th century Italian

, v , , ,

(Musterornamente) .

4 . Medicean chapel S Lorenzo Florence Italian Renascence

,
an , , ,
.

5 . Bronz e Italian Renascence Bargello Florence

, , , ,
.
 ME TAL OBJECTS .

Pl ate 21 1 . Th e An ti que Can de l abrum .

 Th e A nti que L a m p .

TH E AN TIQ UE L AMP .
(Pl a te

ntique L amp (ly h s lu c ) is strictly speaking a

Th e A c nn ,
er n a , ,

combination of holder and pourer ; and might w ith equal propriety

have been included in the group of Vases The fundamental form .
,

which was ret ined down to the latest times is found in early
a
,

Egyptian household utensils ; and is created by adding a handle a ,

funnel for filling and a spout with an Opening for the wick to a , ,

spheroid body figures 1 and 2 ,

.

I Greek and Roman L amps the body becomes flattened the

n :
,

f nnel contracts to a simple orifice and the round handle is either

u
,

replaced by a straight one or combined with it (figs 4 and ,

.

Ve y frequently the lamp has several wick Openings (dimyxos tri

r -
,

myxos & ) instead of only one (figs 5 1 0 and

c .
,
.
,

Clay and bronze are the materials almost exclusively employed .

Th clay L amps are mostly plastically decorated more rarely painted

e ,
.

Th decoration is most conspicuous on the handle and the spout ; the

e

upper part of the b ody is often treated with fig res in bas relief u -
,

(fig Bronze
. Lamps are decorated with fi g e with co v ers fastened '
ur s,

by hinges wick t immers & (fig ,

A d it was the bronze
-
r ,
c .
,
. n

Lamps which were especially arra g d to be suspended from Lampa n e

darii Small L m p t ds in the form of low tripods are also not

. a s an , ,

scarce (figs 8 and occasionally Tripod and L amp

. combined ar e ,

as in the example shown in fig 7 By the side of examples te to i . . c n

cally constructed we fi d freer forms im it ting human figu es nimal

,
n
,
a r ,
a

shapes human feet &c In some cases these may be considered as

, ,
.

“
happy thoughts ; in others they are simply an aberration of style
”

(figs 1 2 and .

Th e early days of Christendom show reminiscences of the A n

tique e g the L amp in fig 1 3 whi ch also bears the monogram

,
. . .
,

Of Christ .

In later periods the decoration degenerates although the f : ,

un

d m t l form has been retained till the present time in the East
a en a , ,

for household lamps ; the design of the modern lamp from Jerusalem
(fig 1 4 ) is
. of th e simplest possible description In the West the old . :

form is gradually dying out since the introduction of the glass cylinder -
, ,

which enables the illuminating gases to be more thoroughly consum ed .

PL ATE 21 3 . TH E AN TI QUE L AM P
—
.

1 2 Egyptian clay .
,
.

3 .A tique painted clay (Mé n d t S g t) , ,

nar e a u va eo .

4 .Antiq e red cl ay U nited collections Carlsruheu , , ,

.

5 .Antique red clay with two spouts and vertical ring handle
, , ,

U nited collections Carlsruhe ,

.
METAL OBJECTS . 3 65

nti que
Th e A Lam p . Pl ate 213 .
 Th e An t ique L a m p . Th e C ndle tick
a s .

6 . A ntique with cover and ring handle red clay U nited

, , ,
collections Carlsruhe ,
.

7 A ntique bronze with high stan d the missing cover was “

.
, , ,

evidently a hum n mask L ouvre Paris a

, , .

A ntique bronze on small tripods (ca n d l b um h mile)

, , e a r n .

A ntique bronze with three spouts the figure serves as a

, , ,

handle for the cover a wick trimmer is attached to it by a ,

-

chain found in Herculaneum

, .

11 . A ntique bronz e with two spouts found in Herculaneum

, , , ,

Museum Naples of original size

, , .

A tique bronze for suspension (Formensc hatz )

n , , ,
.

E arly Christian bronze with the monogram of Christ for , , ,

suspension from the catacombs Rome

, ,
.

14 . Modern Oriental clay from Jerusalem U i ted collections

, , , ,
n ,

Carlsruhe .

TH E C AN L D E IC K ST .
(Pl a t e s 21 4 —
21

Candlestick is th ca dle bearer Of the Middle A ges the

Th e
‘
e n -
,

Renascence and Modern times It is disting i shed from the Cande

,
. u

labrum if a distinction can be made at all where the forms thu

, s

blend with each other by t smaller dimensions a d simpler forms ; ,

I s n

and it is chiefly used for sec lar purposes u .

Th principal materials beside brass iron copper tin &

e are , , , ,
c .
,

clay porcelain
,
and glass ,
.

In the Middle Ages ; it was ual to stick the can dle on a co i cal us n

pricket ; our Modern times prefer the cylindrical socket Th design . e

includes base ( ften tripartite) shaft and socket as in the case of

O , , ,

the Candelabrum Th upper end is fur i shed wi th a saucer or bowl

. e n ,

to catch the droppings Th saucer is som etimes loose so that it . e ,

may e s ly be taken Off and cleansed in which case it is term ed a

a e -
,
“
save all -

Often the upper pa t is furnished wi th a numb er of arms to r

receive several candles As regards decorations the principles laid . :

down for the Candelab m in the chapter on Supports hold good ru , ,

.

Th S even branched candlestick of the Temple at Jerusalem is histo

e - -
, ,

i lly celebrated ; fig 1 of Plate 21 5 reproduces this from the

r ca p . re re

t ti
s en a of it on the triumphal arch of Tit
on Th fundament l us . e a

form of it has been retained to thi s day in J ewish ritual , ,

.

High Can dle ticks of si m ple form made of wrought iron are t
s , ,
-
,
no

rare in the Middle Ages (Plate 21 5 Richly fi i h d examples .

-
n s e ,

in wro ght iron and bronze were created in the R nascence (Plat e
u -
,
e ,

21 4 5 and 21 5
.
,
Th J apanese and Chinese bronze candles ticks
. e
 ME TAL OBJECTS .

Pl ate 214 . Th e Candle tick

s .
 ME TAL OBJECTS . 3 69

Th e Ca n dl ti k
es c .

Me y e r, Hand b k
oo of Orn a m e n t
 Th e Han d Candle tick -
s . Th e Can dl e Bracket
-
.

candlestick it consists of a broad dish out Of which rises a sh ft a

wi th a socket bowl at the end (figs 21 6 6 7

-
. .
, ,

Often an Extinguisher is com bi et with the Can dlestick especially n ,

w hen the latter is of wrought iron ; as shown by the original example -

,

fig 4 ; of late years Mat ch holders have also been included

.
-
.

Th material is the same as for other candlesticks There is

e .

nothing Special to say as regards the decoration .

P ATE 21 6 TH E H AN D CA N D L E STI OK
—
-
. .

Wrought iron 1 7th century

4—
1 3 .
-
,
.

5 . Modern wrought iron ,

.

6 . Modern by P Faur e of P a ris (G ewerbehalle)

,
.
, .

7 . Moder brass n, .

8 . M odern brass ,
.

THE CANDL E B RAC KET -

.
(Pl a t e

Candle -
B rackets are fix ed or movable bearers attached to vertical
surfaces e g col mns pilasters &c In the Middle Ages and the
, . . u , ,
.

Renascence they were chi efly used for Torches and Candles ; at th e

present tim e they are employed for Candles and G s Their form a .

naturally differs f om that of th upright Candlestick Curved

r e .

scroll work and consoles of metal (for this material is the one almost
-

exclusively u sed) bear on their free end the prickets or the sockets o , ,
r

the burners and globes which last are e m ployed to di ffus e the glaring ,

light and soften the sharp shadows A primi tive method of connecting .

the bracket with the wall is by hook and eye (fig; in articles of
better finish this is done by means of rosettes or wall plates d car -
an

touches (figs 6 7 8 Th B racket m y be used for one or mor

.
, , ,
e a e

lights In th e latter c se several prickets or sockets are placed o

. a : u - a

common disc (fig or which is artistically better the main branch

.
, ,

di vides into a number of subsi di ary arms (fig Th B racket .

- e

on a large scale is used for Street lighting for Churches Theatres

“

,
-
, , ,

Halls Mansions Palaces Restaurants &c ; and on smaller scale f

, , , ,
. a ,
or

Pianofortes &c In designing B rackets for g care must be take

,
. as: n

to provide for the Gas pipe The modern dj us tible B rackets being -
. a
,

mostly without decoration need ot be considered ,

n .

PL ATE 21 7 A CKE T TH E CAN D L E - BR

1 —2 G erm an Renascence wrought iron

. .

. National Museum Munich

, ,
-
, ,
.

3 Rococo for 3 candles bronz e gilt Milan Museum (R g e et) a u n

—
.
.
, , , ,

4 5 Modern by M W i h oldt Munich (Gewerbehalle) e n

—
.
, ,
.
,
.

6 7 Wall plates to 4 and 5

.
-
, ,
.
 ME TAL OBJECTS .

Pl ate 21 7 . Th e Ca hdle -
Br ck t
a e .
 Th e Ca dl e Bracket
n -
. Th e Pend ant L am p -
. Th e Chande lie r . 37 3

8 . Modern (Gewerbehalle) ,
.

9 . Modern wrought iron ,

-
.

TH E P ENDANT L AMP -
.
(Pl a t e

Both aesthetic reasons and the danger of being knocked over to ,

-

which upright candlesticks are subject led in early times to the ,

con - ; o

struction of Pendant lamps In addition to the small bronze lamps which

-
.
,

co ld be used both standing or hanging the Antique o ffers us Lam ps

u
,

which could be used only for suspension Th latter form is still com . e

mon in the East (compare Plate 1 8 7 and in the West in Christian .

and Jewish i tual Th introductio of Paraffin G and the Electric

r . e n, ,
a s, !

light has afforded plentiful opportunities Of givi g an artistic form

,
n

to Hanging lamps Th pherical glo b es Of ground glass lend them

-
. e S

selves especially to such treatment (figs 4 5 Box shaped hold ,

.
, ,
-

ers either pen or closed by panes of glass are termed L anterns

,
O ,
.

Modern la terns for illumination in the pen air are generally devoid
n
,
O ,

of any really artistic decoration ; but the Middle Ages and the R
'

nascence created many bjects of perfect form in this branch Th O . e

most suitable m aterial for L anterns is wrought iron (figs 2 and It -

.

is self evide t that Lanterns must be so arranged that they

-
n be ca n

Opened for cleaning &c ,

.

PL ATE 21 8 . TH E PE N D ANT -
L AM P .

1 . Old Moorish iron U nited collections Carlsruhe

, , ,
.

2 . Mediaeval wrought iron for several candles German (Formen

,
-
, , ,

schatz) .

3 . French Hotel V g e D j
,
1 7 th century (L art pour tous)
o u ,
I on , ,
’
.

4 . Modern for Electric glow light by Peter of Esslingen (G

,
-
, , ,
e

w erb eha lle)

—6
.

5 . Modern (Gewerbehalle) , .

THE CHANDELIE R .
(Pl a t e

arrangement of a considerable um ber of lights in circular

Th e ,
n

form on a fram ework intended for suspen sion led to the construction ,

of the Chandelier In the Middle Ages the lights were all placed
. :

in the same plane so that they formed a ring (fig the R . e

n ascence secured greater richness and variety of design by a number

of rings an arra gement which has usually been retained in our
,
n

modern Ch ndeliers (fig 3 and a Further y i ty is attained by . , _ ar e

the alternation of the lights in the difl t ings Wrought iro er e n r .

-
n
 ME TAL OBJECTS .

P l ate 21 8 . Th e P da
en nt a p
L m .
 ME TAL OBJECTS .

Pl at
e 21 9 . Th e Cha d e l i
n er .
METAL OBJECTS . 3 77

Th e Md
o er n a p
L m . P l at e 220 .
 Th e Mo d r e n L amp . Th e Al tar .

made to replace these conventional forms by more o iginal desig s

“

r n .

A example of this is the v estal lamp (fig

n which mu t b e dmitted “ ”
. s a

to be successful This form ad m its of adjustment of height ; can be

.

easily filled and cleaned ; and allows f a combination f s v ral burn O O e e

ers (fig .

PL ATE 220 . TH E M OD E R N L A M P .

1 —2 Paraffin lamps with visible oil receiver

.
, .

3 . Oil Lamp with concealed receiver by the sculptor Piat of

, ,

Paris (L art pour tous)

,
’

4 . Paraffin Lamp with concealed receiver by Paul Stotz of Stutt

, , ,

gart Bronze (Gewerbehalle)

, ,

5 . Paraffin Lamp Vestal lamp B erlin ,

“
.

6 . P raffin Lamp wi th 3 burners by the archit ect B hringer t

a , ,
o
,
c

S tuttgart (G ewerbehalle)
,
.

b . R eligions Utensi ls .

Notwithstandi g the varied character Of Religious Utensils we

n :

devote only five Plates to them principally because many have been ,

already dealt with in other groups We cannot attempt to give a

-
.

complete view of the apparatus Of ritual ; but must confine our

selection to objects taken partly from Heathen and partly f om , ,
r

Christian examples .

TH E ALTAR .
(Pl a t e

original form of the Altar (from a lta a a ) wa s o doubt

Th e r n

extremely simple B locks of rock and stones piled p beneath the

.
,
-
u

blue sky or under trees were probably the earliest With the vol , . e u

tion of art and especially of architecture the Altar entered into the
, ,

service of the Temple ; and received a more artistic finish Th plan . e

of the A tique Al tar is usually triangular quadrangular or circ lar

n
, ,
u .

Th material is generally marble

e Its top is a table like Slab gene .
-
,

rally with a hollow to contain the sacrifici l fire Th decoration a . e

was of sym b olic character Skulls of animals Festoons of fr i t votive .

,
u ,

Wreaths Figures of the Gods Genii and si mi lar creations were us ed

, , , ,

almost always Th triangular Altar was often used as the base of

. e

the Antique State candelabrum ; e g the altar represent d on fig 5

-
. . e .
,

which is the base of a Candelabrum .

Th so called Altars of the Christian religion have no thing in

“ ”
e -
 METAL OBJEC TS .

Pl ate 221 . la
Th e A t r .
METAL OBJE CTS .
38 1
.

rip d
Th e T o . Pl ate 222 .
 Th e T rip o d . Th e Cen er s .

P L ATE 222 . TH E TR I P OD .

1 . ntique bron e found in Pompeii about Mu seum Naples

A ,
z , , ,
.

28 ins hi gh . .

2 .Romanesque bron z e (Mé d t S g t) , ,

nar e a u va eo .

3 .Etruscan bronze Berlin Museum , ,

.

4 Mediaeval bronze Pierrefonds castle (Violl t l Duc) e e -

5 —6 Italian
-
.
, , ,
.

1 7 th century wrought iron about 4 ft high (L art ’

-
.
, , ,
.
,

pour tous) .

Modern wrought iron for wine cooler by the architect Zaar

’

7 .
,
-
,
-

, ,

(G ewerbehalle ) .

THE C ENSER .
(Pl a te

of the Oldest ecclesiastical utensils is th e Censer or Th

On e u

rible in the use of which the rising clouds Of incense are a sym
,

b lic l representation of prayer ascending to heaven

o a Th material is . e

silver bronze iron copper or brass Th lower part consists of a

, , , ,
. e

dish With foot containing the fi pan Th pierced cover is kept

,
r e- . e

in its place by means of the three chains which pass through the
three holes made for the purpose These three chain hang from a . s

Sm ll plate w ith a ring

a Th cover is fastened to fou th chain . e - a r ,

which also term inates in a chain d may be draw up through a hole a n n

in th pl te (fig e . Th decoration is frequently symbolic and I

a . e ,
n

sc ipti rs are also ons ed Th Romanesque and Gothic Censers often u . e

exhi bit an architectonic design of domes and towers (figs 2 4 .

, ,

Th Renascence prefers th strict form of a vessel (figs 8 and

e e .
,

Modern art avails itself of Ancient models without havi g anything ,

n

independent to show An appendage of the Censer in a certain sense .

, ,

is the Censer boat or incense holder usually an e lliptical dish wi th

-
,
-
,

a partition and two hinged covers Th incense is conveyed from . e

the Incense boat to the Censer by m eans of a Spoon

-
.

PL ATE 223 TH E CE N SE R
—
. .

1 2 . Romanesque bronze 6th and 1 2th centuries each ,

ins , ,
.

high Collection of antiq i ties Grand ducal Co t Mannheim

,
u ,
-
ur , .

3 . Romanesque bronz e French beginning of the 1 3 th century

, , , ,

ins hi gh (Violl t l Duc)

—
.
,
e -
o -
.

4 5 . G othic from stone statues Cathedral Chartres 1 3 th century

, , , , ,

(L art
’
pour tous ) .

6 Gothic with tower shaped cover

—8
. .
,

7 . Renascence .

9 . Renascence S outh Kensington Mu eum London ,

s ,
.
 Th e Cen er s . Th e C ucifix r .

TH E CRU CIFIX .
(Pl a t e

Crucifix (from c a cifix s nailed to the cross) does not appear

Th e r n _

m Christi n ritual until

a after the aboli tion of the shamef l punish u

ment of Crucifixio Th e ldest Crucifixes m y be dated about the

n. O a

6th century In the course of the following styles it underwent a

. :

variety of transformations Th older ex mples often represe t the . e a n

crucified Christ as clothed (fig while i n later times the body is .

more frequently ude with the clothing restricted to the cloth round
n ,

the loins Th older renderings of Christ Show a straight stifl atti

. e
'

tude and a c lm expression ; while later periods exhibit a more life

,
a

li ke conception and the expression of pain At first each foot is

, . :

pierced b y a separate nail later the two feet by one nail only ; so ,

that the four nails are reduced to three A nimbus appears above .

or behind the head ; and over this a roll with the letters I N R I . . . .

(I esus N Rex I
a z a r en u sd m ) Th arms Of the L atin C ross
u area e oru . e

Often terminated in four q uatrefoils containing symbols of the four

Evangelists (figs 2 Purely ornamental terminations of the arms

.
,

and decorations at their intersec tio s are also not uncommon (fig n .

When the Crucifix is intended to stand upright on the Communion

table it :is furnished with a candelabr m like base (figs 1 2 u .

Th bases are generally of imilar style to the accompanyi ng C idl

, ,

e S ar e

stick Th materials are chiefly me tals wood and i vo ry the body

s e , , ,

Of Christ and the Cross being often f difl t materials

’

O er en .

PL ATE 224 TH E CR U OIF I x . .

1 Italian 1 5 1 1 silver gilt th inlaid plates of the cross are rock

.
, , ,
e

crystal P oldi Pezzoli collection Milan (Kunsthandwerk)

, , ,
.

2 Italian b ronze Certosa near Pavia 4 ft 4 ins high Renascence

.
, , ,
. .
, ,

(Musterornamente ) .

3 Italian Bronze Renascence evidently f earlier date than th base

, , ,
O e .

4 Modern C r v ed wood
.
,
a .

TH E C RO ZIER ,
AN D TH E MONSTRAN OE .
(Pl a t e

Th Crozier or Pastoral staff has been the badge of episcop l

e - a

dignity since the earliest period of the Middle Ages In the West it . :

had the shape f a c utch up to the 1 2th centu y ; and it has

O r r re

t i d this form in th e East up the present day (fig

a ne Afterwards .

the upper end was curved Spirally Th curved end nd the sta ff . e a

itself are s parated by a knob In the Middle Ages the curve is

e . :

decorated with crockets and inscriptions ; and its centre b ars figures e .

In many cases the war of the Church against the Evil One is sym
 E
M TAL O BJ EC TS . 385

Th e C ifi
ru c x .

Me y er, Hand b k
oo of Orn a m en t .
 Th e Crozier and the Mon trance
, s .

bolica lly
.
represented by the fight with the dragon (fig In the .

Gothic peri od the knob below the curve is developed into an archi
tectonic lantern Th length of the Crozier is 5 to 6 ft Th . e . e

material is wood vory and metal usually contrasti g in the di fferent

,
“

I , ,
n

parts Th Plate o ly reproduces the upper ends ; as these alone are

. e n

of importance by their decoration .

Th Monstrance is a utensil allied to the Ciborium and Reli

e

q y It
u aris an expository
. vessel in which since the institution of ,

the feast of Corpus Christi by U rban IV in 1 26 4 the consecrated ,

wafer is shown and carried in processions in Roman Catholic churches

‘

It possesses great varieties both of style and si z e the height varying ,

from 1 ft to 5 ft It us ually has a slender hexagonal or octago al

. . n

foot and a knob From the foot rises a tower like receptacle (t ri
,
.
-
ur

cula) or a Glory wi th a disc shaped glass box in whi ch the wafer

,
“ -

rests on the so called eye Th material is gold silver or brass

_
-
. e , ,
.

Th Plate gives one of —the numerous examples which have been

e

preserved .

PL ATE 225 . TH E CR OZ I E R , AND TH E M ON STRA N OE .

1Romanesque B ishop Gerard of Limoges 1 1 022 '

2—3 Romanesque
.
,
.
,

. .

Transition period from Romanesque to Gothic French (L art

’
4 .
, ,

pour tous) .

5 Gothic Martin S chongauer end Of 1 5th century (Wessely)

.
, ,
-

,
.

6 Rococo ivory
.
,
.

7 Monst ance gilt brass 23 ins high Hotz endorf

. r , ,
.
,
.

c
. Utensi ls o f Wa r a nd H u ntin g; Weap ons .

tensils of war and hunting

U their most primitive forms at ,
In

least are as old as mankind itself Savages of the earliest as well

, .

as of modern times show great skill and a certain originality in , ,

the decoration of these utensils as we may see in our ethnologic l ,

a

collections S long as these utensils continued to be made of hor

. O n,

bone and such materials nd lso so long as they belong to the so

,
: a a

called Stone age they are comparatively imple They do not

“ ”
,
s .

assume a richer form and fi i sh till the introduction of bron z e and n

iron Th great revolution which ensued on the transition from

. e

the Stone to the B ron z e age finds a not less imposing parallel
“ ” “ ”

in the revolution wrought by the invention of Gunpowder .

U tensils of War and Hunting may be divided into two great

sections weapons of Defense and weapons of O ffense To the former
: .

belong Shields Helmets and Armour Th kinds and nu mber f, . e o

 Th e S hie ld .

weapons of o ffense are far more manifold Swords Daggers Spears .

, , ,

Pikes Lance s Axes Maces Arrows Rifles and Pistols are the
, , , , , , ,

principal It is unfortunately impossible in this work to give due

.
, ,

consideration to e very single form ; still the chief representatives have

been included wi th the exception of Firearms and Armour in which
, ,

only the engraved or chased details are of decorative importance .

Th most striking examples in our A mouries and Museums

e ,
r ,

have lately been published i numerous works ; so that it is not ,

n

diffic lt to obt in a general view of this section ; monographs on Wea

u a

pons have also been published among which we may specially men ,

tion B o h eim s Wa ffen kun de (E A S eemann Leipzig)

e
’

. .
,
.

THE SHIE LD .
(Pl a t e

hield which from the earliest times has been the us ual
Th e S ,

weapon of defense against blows and thrusts is generally a domed ,

disc the form of which has varied considerably Circ lar elliptical
,
. u , ,

semi circ lar and kite shapes are found alongside others of richer out
-
u
,
-
,

line Th materials are wood plaited osiers leather metal and

. e , , , ,

combinations of these Th e Shield is held in the left hand by a .

han dle , or slung O the arm by a strap Th si z e varies from n . e

20 ins to 5 ft Th A tique Shield was circular ; and frequently

. . e n

ornamented with a boss in the centre Among the ancient Teutons .

,

the form was large and square ; in the Middle Ages it was triangular ,
.

Th Standing shields or Pavises

e of the 1 4th and 1 5th centuries
-
, ,

were very large and pro vided w ith feet so that they wo ld stand , ,
u

upon the ground without bei g held Th Tilting shield had a hole cut ,
n . e -

away i which the lance was laid With the introductions of fi arms
n . re -

the Shield became worthless and disappears as an article of practical ,

use ; but it has continued to be employed for State purposes down -

to the present time ; and from a decorati v e standpoint these State , ,

shields are of high interest They o d er to metal workers an except .

-

i
on a lly favourable field for the display of their art Th s imple . e

zonal di i sions of the Antique Shi ld have given place to freer

v e

divisions and a richer decoration with figures and ornaments .

P L ATE 226 . TH E SH I E L D .

1 . Roman with boss bronze partly silvered found near Mainz Wi s

, ,
-
, ,
e

baden Museum , .

2 . Etruscan bronze Campana collection (L art pour tou )

, , ,
’
s .

3 . Mediaeval time of the Crusades (V i ll t l Duc)

, ,
o e -
e -
.

4 . Renascence time of Henry II of France hamm red metal

, ,
e .
ME TAL OBJECTS . 3 89

hi ld
Th e S e . Pl at e 226 .
 Th e S hie ld . Th e Helm et .

5 . Renascenc decorated in the centre with a rosette and pointed

e,

knob Turin ,
.

6 . Renascence with rich decoration of figures in hammered metal

, ,
.

7 . Renascence hammered silver by P van Vianen , ,

. .

THE H E LME T .
(Pl a t e

armour for the defense of the head is the Helmet It was

Th e .

probably originally made of leather ; at a later date it was of metal ;

and in Modern times it again consists of leather with metal accessories .

Its form has suffered many transformations in the course of the cent
i s
ur e arising sometimes from pr ctical sometimes from aesthetic
,
a ,

reasons .

Th greatest perfection of form is found in the Greek helmet

e ,

which like Antique armour in general fits very closely to the human
, ,

body We need only remi nd the reader of the plain but beautif l
. u

Helmets in which Pallas Athene is shown on Antique gems Th . e

Medusa head and Sphinxes are popular motives of decoration Th . e

decorati on is most prominent on the front and on the moveable

,

cheek pieces Fig 1 shows a Greek Helmet with a crest which is

-
. .

Similar to the form of the Phrygian c p Th Etruscan Helmet a . e

(fig ) 2 is
. similar to the Greek Th Roman Helmet is simpler . e .

Helmets were Often decorated with plumes of feathers or horse hair ; .

-

and were provided with sockets for fixing these accessories Th . e

Roman gladiators helmets with their rich florid often overdone de ’

, , ,

c tio
or a and their larg e face guard and hea y crest have something
n ,
-
v ,

awkward wi thout becoming ugly ,

.

Very manifold although of no great importance decoratively , ,

are the Helmets f the Middle Ages L eaving out of account the O .

less important tra sitional forms we w ill h give the ames of the n
,
‘

er e n

principal classes in order of historical succession They are the .

Heaume (fig the Salade or sallet (fig .the Tilting helmet .

-

(fig the
. A rmet (fig and the Helmet with b arred Vizor (fig . .

Th section on Heraldry may also be cons lted

e u .

Th Helmets of the Renascence especially the State helmets

e ,
-
,

are richly sometimes too richly decorated T the forms received

, ,
. o ,

from the Middle ages were added the Burganet (fig and the ,
.

Morion (fig S ome of these State helmets are also OOp i d from
.
-
e

the Antique as may be seen in fig 1 4 Th Modern creations in this

, . . e

section are of no artistic importance .

P L ATE 227 . TH E H E L M E T .

1 . Greek bronze Campana collection (L art pour tous)

, , ,
’
.

2 . Etrus can bronze Campana collection

, , , (L
’

art pour tous) .

 Th e H elm et . Th e S word . Th e D gger
a .

Roman bron z e Louvre Paris (M enard t S

, g ot) , , ,
e a u va e .

Roman bro ze for gladiators different views (Menard

,
n , , , et
S a u v a ge ot) .

Me di l Salade iron a ev a
,
.

Mediaeval Heaume iron the chain was hooked into the cross , ,

shaped slit .

Mediaeval Ti lting helm et iron -

,
.

Mediaeval Armet iron ,

.

Mediae al iron with barred vizor

v , , .

Renascence MO io etched iron ,

r n, .

Renascence Burganet German ,

.

State helmet l 6 th century (L art pour tous)

’
-
, , .

THE SWO RD .
(Pl a t e

rd is the most universally us ed of the o ffensive weapons

Th e S wo .

Much as these weapons for cutting and thrusting differ from each
other in si z e and finish ; they generally consist of th ee principal r

parts the B lade single O double edged tapering more or less

: ,
'

r -
,

towards the point g enerally straight but sometimes curved or waved

, , ,

also sometimes fluted to save weight only decorated by means of ,

engraving etching dam askeening &c ; the Handle wi th o without

, , ,
.
,
r
'

pommel c p or basket ; and the Scabbard or sheath with O without

,
u , ,
r

a hanger The two latter the handle and Scabbard o ffer the most
.
, ,

Scope for decoration Th material of these is in addition to iron . e , ,

the other metals and lloys wood bone leather coloured stones & a
, , , , ,
c.

Here also from an artistic point of view we have to consider less

, , ,

the practical than the State swords on which the Renascence the -
, ,

following styles and Modern art have found ample Opportunity to

, ,

exercise their artisti c Skill Plate 228 Offers a small selection from .

the copious material in our armouries and collections of weapons .

PL ATE 228 . TH E SW OR D , AN D I TS S OAR R ARD .

1 —3 . Assyrian from reliefs ,

.

4 and 6 . Egyptian .

5 Prehistoric bron z e found in Switzerland

—9
.
, ,

7 Mediaeval d Renascence an

—1 2
.
,
.

10 Renascence
—
. .

13 15 . Renascence Pommel guard a d chape by Hans Holbein

, , ,
n ,

Yo ger (Formenschatz)
un ,
.
 w d
Th e S or ,
an d its S c abb a d
r . Pl at e 228 .
 Th e Dagger . Th e Halb erd .

TH E DAGGE R .
(Pl a te

Dagger is a Sword in mi iatu re in which the guard

Th e n , Is

either omitted or reduced in size What has been said of the Sword .

will apply to the D agger Th greatest artists of the Renascence Holbein . e : ,

Di
’

I r er Cellini and others did not disdain as the plate shows to devot
, , , , ,
e

their artistic genius to this weapon whi ch was often worn more for ,

fashion than for practical p poses Th Dance of Death (fig 5) ur . e

“
.

is a very pop lar motive in the decoration of the scabbards of Daggers

u .

Cons idering the Object of the weapon a more pregnant and appro ,

pri te decoration c scarcely be imagined

s an .

P L ATE 229 . TH E DA GG E R , AN D I TS SC ABB AR D .

1 . Egyptian blade of white bronze handle of cedar wood

, , ,

plated with gold and silver tomb of Queen A h H ot p ,

a -
e ,

Qurnah near Thebes (1 8 00 B Bulak Museum .

,
.

2 . Egyptian blade of gold handle of cedar wood plated with

, ,

gold and incrusted with red and blue enamel (as No ,

.

3 . Renascence handle end of 1 5th century Basel (Kunst im

, , , ,

Hause) .

Renascence handle end of 1 5 th century Basel (V i ll t le D c)

, , , ,
o e - -
u .

Renascence G erman B asel (Kunst im Hause) , , ,

.

Desig s by Hans Holbein the You ger (1 4 9 7

n ,
n ,

(Formenschatz ) .

Designs by Albrecht Durer (Fo menschatz )

, ,
r .

Re n ascence German blackened iron parcel gilt Collection of

, ,
-
,

Napoleon III (L art pour tous) ,

’
.

11 . Creese from Sumatra wooden handle and sheath United

, , ,

collections Carlsruhe ,
.

TH E H ALBE RD .
(Pl a te

ong the m ltifarious utensils of war of the Middle Ag es and

Am u

the Renascence we may specially mention the following

: :

Th e Lance and the Pike wooden shafts wi th a leaf or awl ,

shaped iron Spike (Fig 1 1 shows a Pike head of complicate shape)

. .
- .

A small flag w s often attached to the Lance just below the head
a .

Th Partizan is a Pike with a flat blade and symm etrical lateral

e

points (figs 1 4 and .

, ,

War scyt hes and W r forks the shapes of which are indi cated
- a -
: f

by t h i names (figs 3 and

e r .
,

Th Battle axe and Martel are axe and ham m er shaped weapons
e -
, ,
-
,
 The Halb erd . Th e S p oon .

wi th one side terminating in an axe or a hammer , and the other in

a point (fig .

Th Halberd is a combination of th Pike or Partizan with the

e e

Battle axe (figs 2 and

-
.

Th Mace is a handle with a knob of various forms ; when it

e

is set with Spikes it is called a Mor i ng st r and when set with

,
“
n -
a
”
,

radiating blades it is termed a Quadrelle (fig

,
.

Th War fl il is di stinguished fro m the Mace by the knob being

e -
a

fastened to th handle by a chain e .

A d so on in endless variety
n
, .

S far as decoration is concerned the first place is due to

O :

Halberds and Partizans ; not only because the shape of the blade is
frequently very varied and handsome but also becaus e the union ‘

with the shaft by means of bands nails tassels &c gives an Opp
, , , ,
.
,
or

t ity for rich colour

un Th blades also are ofte n decorated by . e , ,

damaskeening engraving gilding etc

, , ,
.

P L ATE 23 0 . TH E H A L B E R D , &c .

1 . Parti z an richly etched German 1 6 th century Historical

,
-
, , ,
.

Mu seum Dresden (Kunsthandwerk)

, ,
.

Halberd richly etched German 1 6 1 3 Artillery Museum

,
-
, , , ,

Paris (L art pour tous)

,
’
.

Fauchard richly etched German 1 5 8 0 A tillery Museum

,
-
, , ,
r ,

Paris (L art pour tous)

,
’

Partizan richly etched G erman 1 7 th century Artillery

,
-
, , ,

Museum Paris (L art pour tous)

, ,
’
.

Partizan richly etched German 1 7 1 2 Royal Armoury

, , , , ,

Berlin (Kunsthandwerk)
,
.

6 and 8 . Halberds .

7 . Combination of War scythe and War fork - -

.

9 . Battle axe Hindu U nited collections Carlsruhe

-
, , ,
.

10 . Mace o called quadrelle (V i llet l Duc)

,
s -
,
o -
e- .

11 . Pike .

e shafts hav e been o mi tt d or only partially indicated )

(Th e ,
.

0 . Ta ble Utensi ls .

TH E SPOON .
(Pl a te

poon is strictly Speaking a dipper ; and has already been

Th e S , ,

alluded to in the discussion of th e group of Vessels (comp Plate

- .

It is here treated in the group of Utensils A a table utensil the . s

ME TAL OBJECTS . 39 7

Th e Halb rd
e ,
&c . Pl ate 230 .
 Th e S p oon .

S poon has been in use from the earliest times ; its f ndamental u

form has undergone very little alteration ; although its style and siz e
have varied in di fferent periods .

Th form of the Bowl is Spherical elliptic or ov l (in the last

e
, ,
a

case the handle is usually attached to the broad end more rarely to ,

th e narrow one) Th Handle has a cylindrical prismatic or conical

. e ,

ta pering form or is spat late Spatulate handles broaden out at the

,
u .

free end ; and are decorated with cartouches or pierced work

(figs 26 28 Prismatic cylindrical and conical handles u ually
terminate in knobs busts or little whole length figures (figs 1 3 —1 7
.
, , , ,
s
-
, ,
.
,

and 1 9
Th e handles of small Antique spoons for eating shell fish &c ,
.
,

often taper to a point to serve as Openers D ouble spoons as shown .

-
,

in fig 24 are rare Foldi ng Pocket spoons as in figs 1 8 1 9 21

.
, .
-

,
.
, ,

and 22 are ot infrequent in the Middle Ages and th Renascence

,
n ,
e .

Bowl and handle either lie in the same plane (figs 3 d o . an r

they form an angle at the point of junction (figs 8 1 0 and .

,

As a rule the decoration is confi ed to the handle ; where the

: n

bowl is decorated it is with some kind of fl t work (engraving or ,

a ,

enamelling) The materials are the precious metals alloys tin bone
.
, , , ,

horn wood &c ; very often the handle and the bowl are of different
, ,
.
,

materials .

PL ATE 23 1 . TH E SP OON .

1 Egyptian .

2 —1 2 Antique bronze (ligulae) Pompei

, , ,

1 3 —1 4
.

. Mediaeval hamme ed Oopper 1 3 th century 6 1 ins long

,
1
r , , 4 .
,

Pierrefonds castle .

15 —16 . Mediaeval tin 1 2th century ins long

, , ,
. .

17 .
Mediaeval chased and hamm ered brass,
ins long ,
.
,

Pierrefonds castle .

Folding Pocket spoon 1 5th century ins long Cluny -

, ,
.
,

Museum Paris (Violl t l Duc), ,

e -
o- .

Renascence South Kensington Museum London

, ,
.

Renascence silver termi nating in a Madonna

,
ins long , ,
.
,

Cluny Museum Paris ,

.

German folding Pocket spoon 1 6 th centu y 7 ins long

,
-
,
r ,
.
,

D i ti sk collection
z a n a .

Renascence foldi g Pocket spoon silver ,

ins long Cluny n -
,
.
,

Museum Paris ,
.

Renascence bowl of agate handle of copper gilt

,
i s , ,
n .
,

Cluny Museum Paris rt pour tous )

’

(L ,
. a .

Double spoon bronze Germanisches Museum Nuremberg

-
, , ,
.
 Th e S p oon ., Th e Knife an d , th e Fork .

Persian fro m an inkstand 1 7 th century

, ins long , , .
,

Dub ousset collection (L art pour tous ) ,

’

Persian 1 7 th century ,
ins long D h ou sset collection ,
.
,
u ,

(L art
’

pour tous) .

German ti inscription Trink und is G ott it vergi s

,
n
,
:
“
,
n
”
,

United collections Carlsruhe ,

.

Modern French (Gewerbehalle), ,

.

Modern s ilver gilt and enamelled by the architect F 0

, , . .

S chulze (Gewerbehalle) ,
.

Modern silver by F Seitz , ,

. .

TH E KNIFE AND THE F OR K .

(Pl a te

Knives and F rks unlike Spoons are of comparatively late o , ,

introduction as table utensils Although it is probable that they .

were in use at a very early period as kitchen utensils for carvi ng

food still they did not attain the rank of a recognised dinner set
,

until the art of eating had reached a certain refinement It has been .

maintained that Knives and Forks appeared on dinner tables towards

the close of the Roman Empire In o own country it c be . ur an

proved that they did not come into general use until the 1 5th or
1 6 th century Thi s may be explained by the circumstance that in the
.

e arlier period of the Middle ages as at the present time in the East , ,

food was carried to the mouth with the fingers or with a Spoon ,

after having undergone the necessary division into small portions in

the kitchen Cleanliness was ensured by frequently washing the
.

hands during dinner .

As regards form and material what has been said of Spoons is : ,

also true for Knives and Forks Th handles are similarly shaped . e ,

to secure uniformity in the whole set ; the bowl of the Spoon is

replaced by the two or more prongs of the Fork or by the blade , ,

of the K i fe Th Handle is made of wood ivory &c and it is

n . e , ,
.
,

c o m paratively stronger as it mus t possess a greater power of re

sist ce becaus e
an the tang or prolongati on of the blade which is ,

always made of steel must be let into it As the Plate shows the ,
-
.
,

shape of the blade has passed through many changes in the course
o f time c t the consecrated bread th Middle Ages employed “ ”
T . o u e

pec liar knives the blades of which were engraved with mottoes and
u
,

musical scales .

P L ATE 23 2 TH E KNI FE AN D TH E F ORK

—2
. .
,

1 . Mediaeval (1 3 th—1 5th century) wooden handle inlaid with

, ,

silver .
 METAL OB JEC TS .
40 1

Th e K if
n e, an d th e F k
or .

Me y e r, Ha n d b oo k of Orn a m e n t .
4 02 Th e Knife an d the Fork ,
. Th e Pap er Knife -
. Th e Scis sors .

3 Gothic 1 4 th century the prongs of alloy the han dle of

, , ,

ivory mounted with silver 7 ins long G y collectio n ,

.
,
a r n er a .

9
"
Mediaeval C opper gilt ins long G
, y collectio n ,
.
,
a rn era .

9 Renas cence ivory L eon B ach collection (L art pour tous)

, , ,
’

1
5 Renascence S outh Kensington Museum London
, , .

0
9 Renascence B ach collection (L art pour tous)
, ,
’

Renascence B ach collection (L art pour tous)

’
9
5
,
.
,

10 B arocco period S outh Kensington Museum L o don n

—1 2 , .
,

11 . Renascence D resden (Musterornamente) , ,

.

13 14 Ditt o
—1 6
. .

15 . Modern silver gilt and enamelled by F O Sch lz e (Ge

, ,
. . u ,

w erbeha lle ) .

Modern silver gilt and enamelled by F

, , . O S chulz e ,
.
(Ge

w erbeh alle) .

TH E P APE R K NIFE -
.
(Pl a t e

Paper knives are an invention of Modern times As the nam

-
. e

imp lies they are used for cutting paper the edges of bOoks news
, , ,

papers and letters ; and they fi d a place on every desk

, n .

The form is us ally that of a one or two edged Knife As the u -

.

blade does not require to be v y sh p it is generally made Of th er

’

ar ,
e

same material as the handle and in most cases of ivory wood , , ,

or brass .

Th e decoration is generally confined to th handle ; the blade is e

at most decorated with flat enrichment .

PL ATE 23 3 . TH E P APE R KN I FE
-
.

1 Modern brass
—
. .
,

2 3 Modern ivory or wood by D ir G Kachel (G ewerbehalle)

4 —6 Modern
.
, . . .
, ,

.
,
wood carving by J Eberhardt Heilbronn
,
.
,
.

7 .Modern ,
pierced metal .

THE SCISSO RS .
(P l a te

cissors intended primarily for use in ladies work and aft r

S ,
’

,
e

wards applied to a variety of other purposes are mostly met with i ,

-
n

two different f ndamental forms Th earlier form (French for ces)

u . e : ,

which held its ground up to the end of the Middle Ages has a ,

spring hoop which unites the two blades (fig Th later form . e

(French cis e nx) which begins to appear sporadically as e rly s

: a ,
-
a a

the 1 0th century has two separate blades moveable round a central
,
 Th e S ci r sso s . Th e Han d Be ll -
.

pivot and term inating at one end in the blades and at the other in
,

handles with ring sh ped eyelets to receive the fingers (figs 2 3

-
a .
, ,

5 ,
Th sh p is usually symmetrical
e a Variations like fig 4 are
e .
,
.
,

rare Not infrequently the scissors are provided with a chain by

.
,

means of which they may be s spended either alone or with other u ,

articles from a Chatelaine Th points are sometimes protected by a

,
. e

guard (fig Th decoration is generally confined to the handles

. e ,

and freque tly consists of pierced work ; the blades are p lain or
n ,

decorated by inlaying & Where handle and blades are not f the ,
c . O

same metal which in this case c only be steel the handles are
,
an ,

oft n of brass or silver Between these two extremes are gilt silvered
e .
, ,

and nickelled handles Th Renascence gratified its l xurious taste . e u

to the full in the matter of S cissors ; in Modern times the plainer

, ,

and Simpler forms are preferred Th length of the blades varies . e

”

according to the purpose ; but the size f the handles remains the O

same being governed by that of the human hand ; hence the pro
,

portions between the two are very various Among S cissors which .

are intended for Special purposes and depart from the usual form ,
:

may be mentioned S fl and Lazy tongs (fig nu

’

er s ,
“ -
”
.

PL ATE 23 4 . THE S C I S S OR S .

1 . Renascence S o th Kensington Museum London

,
n
,
.

'

2 . Renascence blades etched handles gilt August I of Saxony

, , , ,

Royal Historical Museum Dresden (Kunsthandwerk)

—4 , ,
.

3 . Persian 1 7 th century
,
ins and ins long Dubousset ,
. .
,

collection (L art pour to us)

,
’ '

5 Renascence S outh Kensington Museum L ondon

, ,
.

6 . R nascence German Dresden (Musterorn mente)

e , , ,
a .

7 . Renascence handles silver gilt German (Ku sthandwerk)

, ,
n .

8 S fl nu in bird form
e rs , .

9 Lazy tongs U nited collections Carlsruhe

-
, ,
.

TH E H AND B E LL -
.
(Pl a t e

In those utensils of which it may be said that as a rule th y e

are artistically decorated beyond what is wanted for practical p rposes u ,

we may reckon the Hand bell During the Middle Ages and the -
.

Renascence the Hand bell seems to have been chiefly used in an

: -

Official capacity in Council chambers and for eccl siastical purposes ; -

e

and its introduction into ordinary hou eholds to summon the atte s ,
n

d nts did not take place till later In our own times so prolific of
'

a .
,

P rliam ntary and other M eti gs th Hand bell is indispensa b le Th

a e e n : e -
. e

necessary parts are the resonant Cup the Cl pper suspended in the
:
,
a
METAL OBJECTS . 405

The Sc
i sso rs . Pl te
a 23 4 .
 Th e Hand Bell -
.

interior of the c p and the Handle Th two former are lways of

u ,
. e a

metal ; the c p of an alloy or sometimes of silver ; and th clapper

u ,
e

of iron Th e handle may be of the sam e material as the c p or it

. u ,

may be made of wood ivory &c Th form of the c p is generally , ,

. e u

the same as that of the large Church bells which is based on practic l -

,
a

expe ience (figs 2

r Forms like figs 1 5 and 6 are rarer
.
, .
, ,
.

Hand bells for domestic use are small (about 4 ins high) ; those for
-
.

official purposes are larger (up to 1 2 ins) The latter c lass often .

h ve a non essential adjunct in the shape of a Pedestal (figs 7 and

a -
.

The handle takes the form of a long exte nded knob (figs 2 3 7 .
, , ,

or of a hoop (figs 1 and Th e decoration extends to the handle

.

and the c p of the bell which is frequently adorned with heraldic

u ,

bearings and zones of inscriptions Sometimes we find Hand bells in

,
.
-

th e form of la di es in which case the wide skirt of the dress is the

,

c p (fig
u C ps of pen work are also occasion lly met with
. u Of O -
a -
.

late years the tr ditional Hand bell has yielded place to anoth er form
a -

in whi ch the sound is caused by pressure on a knob by means of a

spring (figs 9 and .

TE 23 5 . TH E H AN D B E L L -
.

Modern brass from an old model

—
1 .
, ,
.

2 3 . Renascence bron z e ins high Wiesbaden Museum

, ,
.
,
.

4 . Modern brass after an old model

, ,
.

5 . Modern brass ,
.

6 . Modern French by D Renard

,
ins high (L art pour ,
.
,
.
,
’

tous) .

Modern silver wi th ivory handle by the architect F Schulz

, , ,
.
,

wi th foot 7 ins (Gewerbehalle) . .

Modern President s bell Town Hall Milan by the architect ’

,
-
, ,

9 — 10 .
A gelo Colla (G ewerbehalle)
n

Modern of the latest syste ms

,
,
.

e . Va rious D omes tic a nd Toilet Utensils,

Th e promise which was made in the introduction to the group

,

of u tensils to devote some plates to Domestic and Toilet utensils must

,

ot be construed as an undertaking to exhaust the whole field Very ’

n .

m u ch has already come under discussion the utensils of Illuminatio : n,

f
or instance are also for the most part domestic utensils Th following
, ,
. e

five plates will therefore to a certain extent bring together from the , ,
-

remaining domesti c utensils those which in the first place deserve

c ons ideration from the point of view of decoration including D oor ,

knockers Keys Mirrors Fans Tools and Inst ments As regards

, , , , ,
ru .
 Th e Door Knocker-
.

these latter objects in partic lar a much more extensive collecti n u ,

o

might have b een ma de if th allotted space had permitted There is l e .

scarcely a Tool or Instrument which did not occ sionally receive an a

artistic finish du i ng the Renascence Th int oduction of the o r . e r s

called m aster pieces into the Guilds naturally led to the result that
“ -
”
,

unnecessary labour was som etimes expended on the most ordin ry a

things But still we shall o ffer sufficient to give the reader the
.

necessary vi ew of the entire section .

THE D OO R -
KN OOKER .
(Pl a te

lthough the Door knocker was in use in Antiquity as proved

A -
,

by an example (the head f Medusa with ring) found in Capua O :

still the strict period of the D oor knocker is in the Romanesque -

,

Gothic and Renascence epochs In Modern times it has already

“

,
. :

become a historical Object having been ousted by B ellpulls & , ,

c .

It is made almost exclusively of bronze and cast O Wrought iron ,

'

r .

Its dimensions are variable like those of the doors and gates them ,

sel v es to which it must he some proportion We may disting i sh

,
'

ar . u

three princip l classes Th first has the form of a Ring usually

a . e ,

suspended from a lion s jaws ; in which case it is at the same time a ’

Door handle (figs 1

-
Th second has the form of a Hammer
. e

moveable on a p rimitive hinge Th third class which arose in Italy . e ,

in the best days of the Renascence shows Figures A im ls &c , ,

n a ,
.

(figs : 9 and In ll three classes the requisite noise is produced

a

by the moveable part falling on met l stud In the third class the
'

a a .

plate by which the knocker is affixed to the door is Of subsidiary

importance while in the two former classes it is often the principal
,

feature of the design Th Gothic period devised richly decorated . e -

plates of pierced work This motive was often retained by the R . e

nas cence (fig or replaced b y double headed eagles and the like
.
-

(fig .Th Plate gives 1 1 di f

eferent examples selected from the ,

copious material .

P L ATE 23 6 . TH E D OOR -
KN OOKE R .

1 . Romanesque bronze North portal of the cathedral of Puy Velay

, ,
-
e n -
,

i l th cent y ur .

2 . Mediaeval ins square S yt collection Augsburg

, .
,
o er ,
.

3 . Renascence ins square Museum B erlin

, .
, ,
.

4 Transition f rom Gothic to Renascence ins square S Peter s ’

. . .
, , ,

Strassburg .

5 . Renascence wrought iron G erman National Muse m Munich

,
-
, ,
u ,
.

6 . Renascence (Guichard) , .
METAL OBJEC TS .
409

o K
Th e Do r- k
n oc er . Pl ate 23 6 .
 Th e Door Kno ker -
c . Th e K ey .

7 . Mediae al bronze 1 5th century

v ,
ins hi gh East portal of
, , .
,

the cathedral of Noyon .

8 . Renascence wrought iron Dutch ,

ins high V m h col -
, , .
,
er er c ~

lection .

9 . Renascence bronze Italian ,

ins high D avid wi th the , , .
,

head of G oliath house in Ferrara (V o bild flir Fabrikanten

, ,
r er

und Handwerker) .

Renascence bron e Italian 1 5 6 0 South Kensington Museum

,
z , , , ,

London .

Renascence bron z e Italian Austrian Museum Vienna (G ewerbe

, , , , ,

ha lle) .

THE KEY .
(Pl a te

It is not the task of this Handbook to follow th developement e

of the L k through its various stages from the Antique up to the

oo

present day It wo ld lso carry us too far if we were to attempt

. u a

to go into the decorative details of the case of the lock ; one plate
'

however shall be devoted to the Key ; whi le the escutcheon will find
its place in the group of Frames A part from such special designs .

as that shown by fig 2 the Key usu lly consists of three parts the .
,
a :

B ow the Stem and the Bit Keys m y be divided into tw o classes

, ,
. a ,

according as the stem is tub lar or is solid Th stem is generally u ,

. e

cylin d ic l or profiled ; more rarely a g lar or prismatic The bit

r a ,
n u ,
.
,

which projects as a recta ngular plate at the end of the key is ,

di i ded by notches into wards Th decoration is applied to the

v . e

bow Th Pompeian key shOw in fig 1 is an exception the bow

. e ,
n .
, ,

being smooth and the bit and stem prettily ornamented Keys are .

made of iron and bronze the stem being frequently of iron and th , ,
e

h w of some other met l ; the bow and i ndeed the W hole key is Often
o a
, ,

gilt Th e palmy days of Keys were the Middle Ages and the R
. e

nascence ; compared with these our Modern keys are on th whole ,

e

smaller simpler and if less beauti f l are certai ly more practic l

, , ,
u
,
n a

F inally we may mention those colossal ex mples which were formerly a

made to serve as Signs ; and are even now met With -

.

23 7 . TH E KE Y .

ntique Pompe ii (B l m
A Das Kunstgewerbe im Alt th m)
, ,
u n er : er u .

Roman bronz e found on the H he k ah U nited collections

, ,
o n r en , ,

Carlsruhe .

Romanesque bron z e United collections Carlsruhe

, , ,
.

Renascence (Kunst und G ewerbe) ,

.

Renascence Museo Medio Evo e Rinascimento Rome (G

, , ,
e

w erb eh a lle) .
 Th e Han d Mirror -
. Th e F a n .

9 Renascence (Guichard) ,
.

10 Renascence S outh K nsington Museum L ondon e

—
.
.
, ,

11 12 R ascence G erman
en
—1 4
.
,
.

13 Bows 1 8 th century (Wessely)

—1 9
.
,
.
,

15 . Modern by the architect Otto Girard Berlin (G ewerbehalle)

, , ,
.

THE H AND -
MIRROR .

(Pl a t e

first place in the series of ladies toilet requisites belongs

The
’

to the Hand mirror Its history falls into two periods In Antiquity
-
. .

and in the earlier years of the Middle Ages mi rrors were made of :

polished metal either bron or silver About the 1 3 th century glass

,
ze .
,

b egins to be used the reflecting surface being backed with metal foil
,
“

Th Antique and partic lary the Etruscan mirrors of which a large

e ,
u ,

number have been preserved to us show engraved ornaments and ,

figures from mythology and daily life mostly of primi tive but , ,

sometimes of excellent workmanship Glass mirrors are generally ,

.
, ,

flat Th fundamental shape of the Antique mirror is circular or

. e

Spat late (figs 1u and that of the glass mirror is circ lar or
. u

elliptical (figs 8 and Th pl astic decoration of A tique mirrors

. e n

is confined to the handle and the frame Th ha dle and frame may ,
. e n

be of a great variety of materials wood ivory or metal Here too , , ,

.
, ,

it is the Renascence which shows the richest de coration Where the .

decoration consists of figures these are in keeping with the object ; ,

and show A m rini and Aphroditic personages With the increasing use
0 .

of wall or plate glass mi rrors the Hand mirror h s lost much of its
-
,
-
a

former importance ; so that modern t no longer devotes much atten ar

tion to it .

PL ATE 23 8 . TH E H AN D M I R R OR -
.

1 . gyptia bronze United collection Carl ruhe

E n, ,
s, s .

2 .Egyptian bronze handle f carved wood British Museum

, ,
o , ,

London
3 —4 Greek b ronze
.

. .
,

5 Pompeian
6 —7 Etruscan engraved fig res handles lost
. .

.
,
u ,
.

8 .Renascence (Kunst und Ge w erbe) ,

.

9 .Renascence by Etie e de L ulne (1 5 4 9 to (We sely ) ,

nn a s .

TH E F AN .

(P l a t e

Fan is undoubtedly the most interesting of all toilet requisites

Th e .

Its history can be traced back uninterruptedly for 3 00 0 years lthough ,

a
 M ETAL O BJE CTS .
4 18

Th e H a n d M irr or .
Pl t
a e 23 8 .
 Th e F a n .

it did not enjoy the sa m e measure of popularity in every period It .

alone wo ld almost suffice to furnish a historical picture of the artisti c

u

and technical developement of industrial art through all periods Th . e

object of the Fan is twofold Firstly it is used to di rect a current .

,

of cool air to th face ; and secondly to keep ff flies and other

e ,
o

insects From its first use it derives its Latin name of fl bell m
.
“
a u
”

(from fla r e to blow French from its second use its

,

Latin name mus ca m m (from m sca

”“
a fly French ’

u u ,

Fans of this latter class are usually called Fly fl pp s Occasion “ -

a er

ally the fan is used to blow the fire (as in ancient Persia where
, ,

the blowing of the fire with the lips was forbidden for religious
reasons) ; and as a Symbol of dig i ty in ecclesiastic l and co t cere n a ur

monies A consideration of its pu pose renders it obvious that it is

. r

chiefly employed in the hotter countries of the g lobe .

’

Th manifold forms of the fan m y be reduced to 5 di fferent

e a

principal types :

1 Th. Fixed F e a leaf immovably attached to a handle (figs

an : .

6
2 Th e
. Pennon Fan attached to the side of the handle and : ,

movable round it in a horizontal direction ( figs 1 0 and .

Th e forms and materials of the fixed and the pennon fan are
of the utmost variety .

3 Th Radial Fan
. e a rectangle of paper silk or some other : ,

material fastened to a handle in such a manner that it may

,

be folded together and Spread out in the form of a circle

(fig .

4 Th Lamellar fan pieces of sti ff material e g slips of ivory

. e : . .
,

are connected together at one end by a pin which serves as ,

the axis They are collapsible into a narrow shape and

.
. ,

may be opened out to a semi circle They are held together - -

.
-

by a ribbon drawn through them (fig .

5 Th. Folding fan distinguished from the preceding by the

e :

lamell b eing covered by a sheet of paper silk & whi ch

ae , ,
c .
,

is folded together or Spread out by the pening of the sticks

- -
O

which compose the frame (fig .

It appears from this that the Fixed the Pennon and the Ra dial , ,

fans have handles while the Lamellar and the Folding fans have not
,
.

The Radial fan being a folding fan with a handle is a kind of inter
, ,

mediate form Th size of the fan varies according to fashion and

. e

the purpose for which it is intended regard being usually paid to ,

c onvenience of handling ; as a general rule it may be said that the ,

fi mer stifl and more impervio s to i the fan is the smaller it

r ,
'

er u a r :

may be Fans for cooling should have a short broad form Fly
. , ,

fl pp e s require a longer narrower shape

a r ,
.
 Th e F a n .

On the subject of history and style the following may be sai d , .

The Fixed fan is the oldest d most primitive Its natural model is an .

a leaf on a stalk just as savages at the present time make their fans,

of dried palm leaves or of plaite d work in the form of leaves (fig

-
.

Th feather may also be regarded as a natural model and hence its

e ,

frequent application to fans of every kind Th Pennon fan is the . e

least practical its domain is the Middle Ages and the early Renascence
, ,

together with certain parts of the East (India Turkey Morocco , , ,

Tunis Th Radial fan was also in use in the Middle ages (with
,
e

a long handle) and down to the present time in certain parts of Italy
, ,

Persia China and Japan Th Lamellar and the Folding fan are of
, ,
. e

later date Their introduction is contemporaneo s with the general

. u

use of the fan in E p (1 5 th century) A fter the period of the u rO e .

lamellar fan in the 1 7 th century follows the golden age of the folding ,

fan in the Rococo period Th Folding fan is also the predominant . e

form in Modern times .

Egyptian mural paintings and Assyrian reliefs fre quently show

F anbearers with larger or smaller Fly fl pp ,
in the retinue of a er s ,

the kings Th most common Egyptian forms are given in figs 1

. e .

and 2 the Assyrian in fig 3 S carcely any vestige has been pre

,
. .

served f Antique Fans Judging by the pictures on vases & the

o .
,
c .
,

Greek Fan consisted of a leaf cut to a palmette shape on a long , ,

handle Th Roman ladies were somewhat l x rious in the matter

. e u u

of fans which they either managed themselves or had carri d by

,
e

slaves ; and under the Emperors th men were also In the Middle e .

A ges the fan entered into the service of the church ; deacons and
,

mi i t s kept
n s ra n ff fli es from the cons crated host by means of th
-
o e e

fl b ll
a ewhich often took the form of six winged seraphs When the
a, -
.

fan became popular for sec lar purposes its use was given up in u ,

ch ches As already observed the Renascence passed from the Fix d

ur .
,
e ,

to the L amellar and Folding fan Th L amellar fan fl d num erous . e o er e

Opp ortunities for carved and pierced work in ivory horn tortoiseshell , , ,

filigree and enamel work Th Folding fan o ffered an u limited

,
. e n

field for decoration by painting ; and painters like Boucher Watteau , , ,

and others devoted themselves to fan painting (pastoral scenes

,
-

During this period the Puzzle fan was invented which shows di ffer “ -
,

ent pictures according to the way it is fold ed Lace fans fans with .
,
.

mirrors monograms and autographs and the bespangled Empire fans

, , ,
-
,

complete the category Th Modern ball room fan is a large Folding . e -

fan generally decorated with naturalistic paintings of flowers But .

all possible forms ara occasionally used France China and Japan .
, ,

supply the fan market Heinrich F b g who has written a most . r au er er ,

valuab le monograp h on the Fan maintains that the latter countries *

,

”
4
H . F ra u berger :
“
Die Ge chicht s e d es F ach e rs .
"
L eip zig : K . S choltze
 Th e F a n . Va iou r s T ool s . 41 7

alone manufacture between them about of th 4 00 mi llion fans e

which are annually m ade on th globe e .

Finally we may briefly enumerate th mate ials whi ch are pri e r n

cip lly used in the manufacture of fans

a They are bamboo palm . : ,

leaves wood bone horn ivory tortoise shell mother of pearl met l
, , , , ,
-
,
- -
,
a
,

paper , straw and other plaite d material silk lace gelatine mica , , , , ,

leather feathers & , ,

c.

23 9 . TH E F AN .

Egyptian Fly fl pp feathers handle omi tted

,
-
a e r, , .

Egyptian feather fan ,

-
.

Assyrian Fly fl pp from a relief B ritish Museum

,
-
a er , ,
.

Modern Fly fl pp plaited palm leaves South Caroline Is

,
-
a er , -
,

lands (F b g ) ,
ra u er er .

5 . Modern Fly fl pp plaited palm leaves United collections

,
-
a er , -
, ,

Carlsruhe .

Modern palm leaf cut and bound at the edge

,
-
,
.

Modern Japanese bamboo and paper

, ,
.

Modern printe d paper with silk fringe and gilt wooden

,

handle .

Modern Siamese handle of whipped wood centre Of paste

, , ,

board decorated with rosettes and bordered with peacock

,

feathers United collections Carlsruhe

, ,
.

11 . Modern Hi ndu handle of wood centre of pasteboard covered

, , ,

with silk braid and butterfly wings bordered with peacock

, , ,

feathers (F b g ) ,
ra u er er .

Mediaev l Radial fan French (Violl t le Duc)

a ,
-
, ,
e - -
.

Modern Folding fan wood and grouse feathers

,
-
,
.

Modern Folding fan wood painted Silk and gold

,
-
, , , .

VARIO US TOO L S .
(Pl a t e

ong the Tools and Instruments whi h only oc casionally or

Am c

accidentally receive an artistic fini sh we may mention Hammers : ,

Tongs Compasses Cocks Pestles Hour glasses and Clocks along

, , , ,
-
, ,

with many other thi gs No attempt can be made here to treat n .

these articles in detail But it may be said that in general the .

, ,

hi ghly decorated examples have been Specially made for State occasions
- -
,

e g the Hamm er (fig

. . with which Pope Juli us III inaug ated the . ur

Jubilee year (1 5 5 0) by knocking three times on th w lled p m i n e a -

u a

portal of S Peter s as a Sign that it should be Opened

.
’

, .

Plate 24 0 exhibits a number of such objects .

M ey e r, H a n d b oo k of Orn a m e n t .
 M ETAL OB JE CTS .

Pl at e 240 . Va i
r ou s Tool s .
 F U RNITU RE .

Furniture in its broader sense is a collective name

, ,
kinds
of household goods and chattels It is more strictly confi ed to such
. n

objects as Chairs Tables Wardrobes 8 0 B ut even in this narrower

, , ,
5 .

sense the examples of Furniture are so n merous that it is not u

possible to give a detailed description and di scussion of each i di vi n

d al article on the 20 P lates which are devoted to this group

u .

A d it is the less necessary to do this as o

n object is only to give ur

a view of the application of decoration to fur i ture in general n .

We Show a series of the more important articles while others such , ,

as Pianos and Wardrobes have been omitted They have been so

, ,
.

grouped that Plates 24 1 to 25 0 contain the different varieties of Chairs ,

while the following 1 0 Plates are devoted to Tables Cabinets Bed , ,

steads ,
Cradles &c,
.

The examples have been chiefly taken from the Antique the ,

Rena scence and Modern times ; while the Middle Ages the Barocc o
, ,

and Rococo periods have only occasionally been taken into accou t n .

That particular attention has been paid to the G erman Renas cence is ,

b sed on the fact that this period is specially distinguished for its
a ,

achievements in the field f richly decorated f rnit re

O -
u u .

This chapter might seem to Offer an inducement to give a historical

acc o u nt of the development of te ctonic form in the di fferent periods
of a rt B ut to do this with any thoroughness wo ld also requir
.
, ,
u e

us to abandon the co ois s we have hithert o maintained ; and

n en e s
 Fur iture n .

we will therefore only refer the reader to the details i n Semper :D er “

S ti l and to the highly interesting work by Georg Hirth

"

,
:
“
D as
D eu ts che Z immer der Gothik a n d R en a issa n ce, des B a r ock R okoko
a n d Z op fs tilsG Hirth Munich and Leipzig
”

( ,
necessary
) T h
. e . in
formation about the f ture urni the Egyptians
of syrians Greeks
,
A s , ,

a nd Romans ll be found in M nard

wi e et Sa u va geot :
“
L a Vie P riv ee
’

d es An cien s ;and about the Middle ages in "

V iollet le Du c :
-
“
D ic -

from both of which

”
tionn a ir e R a is or me da M obi lier F r a n ca is ;
’

works we have taken numerous examples for our Plates Besides .

these there is such a number of cyclopaedic works on this subject

,

that it is impossible even to name them all here .

(1 . Sea ts .

regards Seats the f ndamental form has ge erally been depen

As : u n

dent the special purpose and on the ever varying mode of life ;
On
,
-

while the details have been influenced by the artistic taste of the
time and by the material use d Definite f ndamental types often
, . u

r cur by the side of new and arbitrary speci l forms ; d we have

e a an ,

attempted a classification according to these fundamental forms .

Th simplest d most pri m itive form although for many pur

e an ,

poses the least comfortable is that f the Taboret or Ottoman which ,

o ,

is wi thout a back Th Chair is more comfortable because of the . e

addition of the back ; and it becomes still more so when arms are ,

added To this group belongs the Throne which in view of its pur
.
,

pose is mo e monumental in form and richer in material Revolvi g

r
,
. n
,

folding and rocking Chairs meet the demand for special purposes Th
,
. e

Stall and the Prie dieu also have peculiar accessories due to their
,
“ -
,

being used for other purposes than sitting Th Bench and the . e

Couch offer a seat or repose for several persons simultaneously .

I pite of the variety of form one feature is common to nearly

.
n S s,

all namely the he ight of the seat In order to sit comfortably the
, , .
,

feet Should j t reach the ground and the height of the seat is there
us ,

fore from 1 5 ins to 1 8 ins Th depth of the seat shows greater

. . e va

i ti
r a from 1 2 ins to 24 i
on s , Th he ight of the back varies from . ns . e

3 0 ins and more ; the fact having to be taken into consideration that
.

the head when it is leant back sho ld have a p Ope support The
, ,
u r r .

upper surface of th arms should be about 1 2 ins above that of the e .

seat Straight upright backs are less comfortable than curved lines
.
,

adapted to the vertebral curve Similarly fi t ho i z ontal seats are . : a ,

r

not so suitable as those which slope downwards towards the back .

Th principal materials are wood cane and metal ; stone terra

e , , ,

cotta &c are rarer A it is unpleasant to rest against a hard

,
.
,
. s
 Th e Chair .

material for any length of time recourse is b d to c ne or flexible , a a ,

seats skins cushions and upholstering In course of time chairs

, , , .
,

have become more comfortable with the progress of comfort in general .

It m y b specially emphasized that the hand somest d most richly

a e an

decorated seats are not usually the most practical ; further remarks
are reserved for th discussion of the diffe rent forms e .

THE CHAIR .

(Pl a te s 24 1

Chair is a stool with a back to it Th most usu l form

Th e . e a

has four legs S ometimes the legs are connected together by braces
.
-

O ties which are called Foot rails The seat generally has the shape
r
,
-
.

O f an blong a square or a trape zium

O ,
Circ lar and polygonal seats ,
. u

are less common Hexagonal and octagonal S eats with a corresponding

.
,

nu mber of legs begin to appear in the 1 3 th centu y ; and cert i n

, r a

wooden chairs of the Renascence have seats in the form of regular “

or semi regular polygons (Plate 24 2 3 5

-
Th legs prismatic .
, ,
e a re

or turned frequently wi th claw feet while the top of the back

, ,

terminates in knobs anim l heads or masks (Plates 24 1 1 ; 24 2 1 ; ,

a -
, . .

24 3 4 5 . I ns tead of legs the seats of the wooden chairs of the

, , ,

Renascence are sometimes supported by perfor ted and carved boards a ,

either at the two sides or in front and behind (Plate 24 2 3 5 .

, ,

Where th b ck is carved out of a single piece as is the case with

e a
,

many Re nascence and Modern chairs the two hinder legs have the ,

same form and height as the front legs (Plates 24 2 7 8 ; 24 3 .

,
.

Very Often the back is treated as a frame (Plate 24 1 5 8 .

, ,

or is bent into a cylindrical plan as in the Greek klis mos (P late 24 1 ,

“ ”
.

6 ,
and its imitation the Empire ch i r (P late 24 1 Openings ,
a .

for the hand are made in carved wooden h cks for convenience in a

moving (Plate 24 2 7 8 Where the top of the back is hori

.
, ,

t l it is often crowned with a cornice o an ornament (Plates 24 2 6 ;

z on a ,
r .

24 3 .Where the seat alone or in conjunction with the back is , ,

Of woven cane work or padded the Chair is termed a cane or an “

-
,
“
uphols tered chair S ometimes not o ly the padding but also th
”
. n e

e ntire st u cture of the chair is upholstered in some material just as

r , ,

on the other hand chairs may be made entirely of cane or rushes ,

.

Th seats and backs f upholstered chairs are cove ed with leather or

e O r ,

textiles (Plate 24 3 Th e overl ying of wood wi th metal occurs in

. a

the Assyrian style and occasionally in later periods ; the State ,

chairs of the Middle Ages especially the Byzantine are not i f , ,

n re

q uently decora ted with coloured stones ; a similar treatment may be

observed i the Renascence example (Plate 24 2 figs 5 and
n In .
,

additi on to the decoration by carving (which will always b e the chief

 FURN ITURE .

Pl ate 24 2
. Th e Chair .
 Th e Chair . Th e Thr on e , and th e Arm -
chai r . 4 25

material of comm on frames) we fi d i lays of bone (the socalled ,

n n
,
“
Certosina work of the 1 5 th ce tury) metal &c
”
n
, ,
.

PL ATE 24 1 . TH E CH AI R .

2 Egyptian (Menard t S g t),

e a u va eo .

Egyptian mural painting tomb of R mses III

, ,
a
,
T hebes (Menard ,

et S a u va geot) .

Egyptian upholster d with patterned m aterial British Muse m

,
e
,
u .

Egyptian B ritish Museum ,

.

Greek draped wi th skin Klismos form (Menard t S

, g ot) ,
“
,
e a u va e .

A tique with cushions and foot stool Pompeian (M enard

n ,
t -
, ,
e

S a u va ge ot) .

Greek vase painting

, ,
.

Antique with statue of Jupiter (Menard

, ,
et S a u va geot) .

French Empire period (Gallien) ,

.

PL ATE 24 2 . TH E CH AIR .

1 German Renasc nce wood Moreau collection (L art pour tous)

,
e , , ,
'

2 Flemish wood 1 7 th century (L art pour tous)

, , ,
’

3 . Italian wood i 6 th century (L art pour tous)

, , ,
’

Dutch upholst ered in leather (C iSpi den Passe

“

4 r n va n
—6
.
, , ,

5 German decorated w ith stones Renascence Museum D resden

—
.
,
.
, , ,

7 8 . German 1 7 th century (Gewerbehalle)

, ,
.

9 Germ an 1 7 th century G ermanisches Museum Nuremberg

, , ,
.

PL AT E 24 3 . TH E CH AI R .

1 Modern Inn chair by Di Kachel (Gewerbehalle)

“ -
”
r
—3 Modern c ne (Gewerbehalle)
.
,
.
,
.
,

2
—7 Modern (Gewerbehalle)
.
,
a ,
.

4 .
,
.

8 .Renascence (R g t) ,
a u en e .

9 .Modern (G ewerbehalle ) ,
.

TH E THRO N E ,
AN D TH E ARM -
C HAIR .
(Pl a te s 24 4

Thrones and A m chairs have been grouped together because the

r - -
,

former almost always have the same form as the latter and there is ,

no essential difi c since the time of the Renascence Th Throne

‘
er en e . e

being the Seat f honour has aturally from the earliest periods
-
o -
,
n , ,
’

received more attention and decoration It is planned on a larger .

and more monument l scale than the ordinary Chair For this reason a .
,

a d also because it does ot qui to be so often moved as common '

n n re re
 FURN ITURE .

Pl ate 24 3 . hi
Th e C a r .
 Th e T hr ne an d the
o , Arm -
chair . Th e S tall .

10 . Roman Arm -
chair found in Herculaneum Mus eum at Portici
, , ,

( g
R a u en et
) .

11 . A ntique terracotta representing an A m chair in the form Of th , r -

e
hollowed out body of a sphinx (L ar t pour tous)
-

,
’

12 .
Chair of S Pete r wood with ivory reliefs iilus t ti g the story
.
, ra n

of Hercules S Peter s at Rome (Menard et S ,

g t)
.
’

, a u va eo .

PL ATE 24 5 . TH E TH R ON E , AN D TH E ARM -
C H AI R .

1 .
Norwegian Stall 1 2th century from B 6 Telemark , , , .

2 .
Mediaeval A m chair with foot stool and draped back (V i ll t
r -
,
-
,
o e
le Duc) -
.

3 .
King David s A m chair 1 3 th century from relief portal of
’
r -
, , ,

cathedral Auxerre (V i ll t l Duc) , ,

o e -
e- .

f Mediaeval arm chair iron the drapery o mi tted V i ll t

fq)
4 m r e o
(
-
.
, , , o e
e no
)
5 Mediaeval polygonal chair painting chapel in To louse
.
, , u
, ( V iolle t
le Duc) -
.

6 .
Mediaeval A m chair metal the drapery o mitted 1 3 th century
r -
, , , ,

(V i ll t l Duc
o
) e -
o- .

7 . Mediaeval A m chair decorated with fringe end of the 1 5th c

r -
, , en
tury bas relief stalls Amiens (Violl t l Duc)
,
-
, , ,
e -
e- .

8 . English A m chair 1 6 th century wood upholstered

r -
, , , .

9 . A m chair Lou is XVI style wood carved

r -
d gild d (Williamson)
, ,
an e , .

10 . Mo dern Arm chair -

.

11 . Mod ern A m chair (R g t) r -

. a u en e .

TH E STAL L .

(Pl a te

rows of seats along the north west and south si des r the
Th e , , o

Choir in chapels &c are termed Stalls They have a peculiar con
,
.
,
.

struction corresponding to their special use In the earliest period .

of the Middle Ages the single seats to the right and left of the bishop s ’

chair were built into the wall of the chancel at a later period they ,

were replaced by mo v eable seats ; and these again from about the ,

1 3 th century onwards were replaced by Stalls strictly so called ; the , ,

-

se ats being united in a continuous row w ith an architectonic character ,

and construction There are generally two rows one behind the .
,

other and the hinder row is a little elevated Partitions divide the
,
.

seats from one another ; and serve as arms Between the partitions .

are the seats These are either fixed or arr nged to fold back In the
. a .

latter case a console like projection is attached to the underside of -

th e seat to serve as a kind of rest when the seat is fold d back

,
e -

thus out of p i ty for the aged monks renderi g it possi ble to rest
,
.

,
n
 FUR NITURE .
4 29

ho
Th e T r n e, an d th e Arm -
chair . Pl at e 244 .
 FU RNI TU RE .

P l ate 24 5 .
hr
Th e T on e, an d th e Arm -
chair .
 F URNITURE .

Pl ate 24 6 . tall
Th e S .
 F URNITURE . 433

t l
Th e S oo .

Me y e r, Hand b k
oo Of Orn a m e n t .
 Th e S tool . Th e Fo lding Chair -
.

too, we may group th e Bisellium or Roman double st ol which was

,
“ -
o ,

granted as a distinction and was mostly made of metal (fig Box , .

stools supp orted o boards instead of legs are fur i shed with an
,
. u
,
n

Opening in the seat to enable them to be moved Th Garden seats f '

. e -
o

burned and glazed clay i t d c d ffrom China (fig 1 1 ) are made without ,
n ro u e .

backs ; and from their round or polygonal fundamental plan are

, ,

classed with th T bo t ; also the upholstered and draped treatment

e
'

a re s

(g
fi . which is sometimes applied to a commode .

Th Revol i ng stool which is chiefly employed in an office or

e v -
,
.

for performers of music permits of lateral movement a d adjustment , ,

n

to different heights as req i red (figs 1 3 d This is e ffecte d u . an

by means of a screw ‘

PL ATE 24 7 . TH E STOOL .

1 . Egyptian British Museum ,

.

2 . Egyptian (M enard t S g t ) ,
e a u va eo .

3 . Etruscan (Menard t S g t) ,
e a u va eo .

Assyrian .

5 . Greek vase painting ,

-
.

6 . G reek vase painting,

-
.

7 . Ro man Bisellium bronze covering , ,

the seat omitted ,

Pompe ii .

B isellium of L M Fa stus tomb . . u ,

Na ev oleia T yche ,

Pompeii
—
.

9 10 . Modern .

11 . Chinese Garden seat -

.

12 . Modern (Gewerbehalle) ,
.

13 . Mo dern Music stool -

.

14 . Modern .

15 . Modern Revolving stool -

.

THE F O LDING -
CHAIR .

(Pl a te

idea of a Chair which could b folded together so as to

Th e e -

take up less ro om and be more conveniently transported is an old

, ,

one Th principle is found as early as the time of Rams es III in

. e

the Egyptian chair shown on Plate 24 1 3 Th Folding chair is . . e -

comm on in the Antique either with four legs combined and joined ,

together like a saw horse (figs 1 2 and or with crossing strut-

.
, ,
s

combined to form a ribbed chair Antique Foldin g chairs of the for .

-

mer kind (Diph os okl di s) are remarkable for invariably havi g

r a a n

claw feet sometimes tu ned outwards but usually inwards Th

,
r ,
.
’

ribbed chair which recurs in the Middle Ages and the Renascence
, ,

scarcely dmits of decoration and is therefore mostly plain

a , , ,
.
 Th e F ld i g Chair
o n -
. Th e Bench .

Folding chair may be a Stool a Chair or an A m chair

Th e -
, ,
r -
.
'

S ometimes it can be folded p as it stands like our iron Folding -

u
,

chairs for use in th open ir; sometimes it must be taken t p i c s e a o e e

b efore it can b folded p like the chair hown on fig 8 Th most

e -
u ,
S . . e

Suitable material is metal (bronze or iro ) Folding chairs of wood n .

-

are very often so constructed as not to fold at all but are merely ,

imitations with the purpo se overlooked (fig Th seat is f . e re

quently of b ands either textile or leather Where the seat is not

’

,
.

flexible it must be arranged to be moveable by means of hinges

, ,
.

Thrones have been sometimes made like Folding chairs We may -

.

also mention : the Camp stools for tourists Sportsmen painters &c -
, , ,
.

Th principles of decoration are sufficiently elucidated by the figures

e

Of the Plate .

PL ATE 24 8 . THE F OL DI N G -
C H AI R .

'

1 . E gyptian tomb of Ch m b li 1 8 th dy asty

,
a a ,
n .

A ntique (D iph s okl di )

J
N ,
ro a as .

O
O Greek tomb of an agonothetes found in Krissa (Delphi)
, , ,
.

B
R A ntique .

R
C Mediaeval Nonnenberg (Mothes) , ,
.

D
O Mediaeval miniat e painting representing King Nabuchodonosor
,
ur , ,

9 th or l 0th century (V i ll t l Duc) ,

o e -
e -
.

S Mediaeval bronze gilt Throne of Dagobert restored

, , ,
.

O
O Mediaeval bronze 1 2th century (V i ll t l Duc)
, , ,
o e -
a -
.

D
C Renascence .

O French Renascence Sens cathedral (R g t) , ,

a u en e .

TH E B E N CH .
(Pl a t e

Bench is an elongated seat usually intende d for several per

Th e ,

sons In its simplest form as a board with four legs it was already
.
, ,

known in Antiquity I the Middle Ages and the Renascence it was . n ,

in general use ; and was employed not only as a seat but as a table , ,

as is shown by such terms as work bench &c Th B ench seat -

”
,
. e -

was after w ards furnished with a back and arms the back being f ,
re

quently formed like the canopy over stalls (fig It was ph l . u o

t
s ered with cushions and draped with textiles Th material is gene . e

rally wood ; but in public buildings there are also Benches made of ston e .

This latter material and iron frequently combined with wood are , ,

the most s itable for benches in the Open air A further variety is
u .

formed by the D ouble bench with a back in the middle ; this back is -
,

moveable as shown in the example (fig

, .

A s th e B ench in most cases is intended for e v ery day use it is

, ,
-
,

generally undecorated Those of the Middle Ages are more the .

 FURNITURE . 437

Th e F ldi g Ch i
o n -
a r . Pla t
e 249 .
 Th e Bench . Th e S f o a an d , th e C uch o .

work of the carpenter than that of the cabinet maker but the R -
, e

nascence especially in Italy has created some fi ly decorated examples

, , ne -
.

TH E B E N C H .

Middle ages (Viollet le Duc) ,

- -
.

Mediaeval double with moveable back for use in front

, ,

of the fireplace (Vi ll t l Duc) ,

o e -
e- .

Renasce ce with arms (D c c )

n , ,
u er e a u .

Renascence with canopied back church at Flavigny

, , ,
French (Violl t l D )
,
e -
e- uc .

Renascence with podium Italia (T i i h)

'

, ,
n, e r c .

THE S OFA , AND TH E C O UCH .

(Pl a te

ofa and the Couch are am ong upholstered furniture what

The S
the bench is amo g wooden furniture B y the side of forms which
n .

are nothing more than elongated Chairs occur others which have m ore ,

the character of the Bed Th intention of these pieces of furniture . e

is therefore to be found in their availability for both lying and

Sitting According as the one or the other object becomes predo
.

minant the symmetrical form (figs 4

,
or the unsymm etrical form .

with strongly marked head (figs 1 and is employed In accordance . .

with the double object the a ms are frequently treated as cylindrical ,

r

cushions (fig or upholstered with cushions (fig

. .

Although furniture of this nature was n t unknown to the A o n

tique as shown by the Roman examples (figs 1 and

,
these articles .

cannot be said to have come into common use before th last three e

centuries ; and now days the sofa is fo nd in every middle class

-
a- u -

household What enormities our Modern times have perpetrated in

.

this direction is evidenced by the S shaped Ottomans for two persons -

,

which are sometimes to be found in our Saloons

“

We may here briefly mention the transitional form which is ‘

found in Waiting rooms and Public vehicles ; and th circular Otto

-

,
e

man wi th centre piece for flowers which occupies the centre of the
-
,

floor in G alleries .

P L ATE 250 . TH E SOF A , AN D TH E COU CH .

1 . Roman bedstead (l t s c bic l i ) in the form of a sofa ec u u u ar s ,

(M enard et S g ot) a u va e .

Ditto
’

2 . .

3 . Mediaeval bench with cushions and drapery (V i ll t l D )

, ,
o e -
e- uc .

4 7 . Modern forms of the Sofa (Gewerbehalle , ,

8 . Modern Couch .
 Th e T abl e .

b Ta bles
. .

THE TAB LE .
(Pl a t e

Next to th seat the Table is probably the oldest and most im

e ,

portant piece of furniture I ts chief uses are as a Dining table .

,
Work table and Fancy table on which to place aS s utensils &c
, v e , ,
.

I ts principal parts are the flat T p and the Frame Th top may o , . e

be square rectangular circ lar elliptical semicircular &c Th frame

, ,
u , , ,
. e

may be very variously constructed There are tables with one leg , .

with three four and more legs and sometimes t bles wi th two legs,
, , ,
a

in which case the Top rests upon two side supports Where o ly . n

one leg is used as a support it is either fastened to the floor ,

or the lower end is spread out so that the table may stand firmly -

(fig . Th top in such cases is

e usually square
,
or round and is , ,

frequently united to the leg by means of a screw so that it may be ,

taken off Where three four or more legs are used as supports
-
.
, , ,

they are often connected by means of a framework on which the ,

table top then rests (fig

-
Th legs may further be rendered rigid. e

by means of connecting rails (fig Th legs are pris m atic turned . e , ,

or sometimes curved They either stand upright or Slope out w ards

.
,

as in fig 9 Where the top rests upon two side supports (fig

. .
-
.

their lower part is hollowed out in such a way that they touch the -

ground at only four points They are connected with each other by a .

longitudinal bar held in position by wedges (fig

,
S om etimes they .

ar e replaced by pillars or b l t s (figs 6 and or other legs a a u s er .

are employed i n addition (fig They may also be replaced by .

crossed struts forming a S Andrew s cross which is c alled the S w .

’

,
“
a

horse table Drawers may be accommodated in the fram ework of

”

the table ; d a series of shelves may be added beneath the re al

-

an

table top (Whatnot) Special forms of the table are the Console tabl e
-
. : -
,

whi ch is fixed to the W all and has console like supports instead of ,
-

legs ; the Telescope or expanding table which m y be enlarged by ,

a

di fferent kinds of mechanism ; the Folding table W hich may be made -

larger or smaller b y means of flaps (chiefly used for card tables) ;

the Occasional table for a variety of purposes ; the Writing t ble to
- -
a ,

whi ch a special Plate wi ll be devoted and many more ,

.

Th material is first of all wood ; metal stone &c

e ,
are rarer , _
, ,
.
,
.

Th decoration is specially confined to the under frame which is

e ,

ornamented by car ing and turning in the style suitable to supports

v .

Th top is frequently le ft undecorated

e s it is often covered with ,
-
a

a table cloth ; and the objects placed upon it would not permit the
-
 Th e T abl e . 441

decoration to be properly seen Where the top is decorated the orna .

,

me tation is flat consisting of intarsia work incising painti g &c

n ,
-
, ,
n ,
.

Th size of the table varies according to the purpose for which

e

it is intended ; its height on the contr ry is subject to little varia ,

a ,

tion and is about 2 ft

,
ins for ordinary tables Tables with . . .
,

legs which co ld be adjusted to varying heights were in use in the

u ,

A ntique period being requi red by the social life of that time ; a
,

similar arrangement may also be see on some modern artists tables n

’

which c not only be adjus ted to di fferent heights but also allow
an ,

the top to be slanted .

Th f ollowing remarks are from the point of view of hi tory

e s

and style Th Egyptian As syrian and Persian tables chiefly known

. e , , ,

to us from the representations of altars have legs terminating in ,

claws This m otive was also popular among the Greeks d R m s

. an o an ,

with the di fference that the latte nations permit the claws to rest r

directly on the ground while the former support the claws upon small ,

circular plinths Th legs of Antique Tables e frequently of bronze ;

. e ar

they have a simi lar form with those of the T i pod ; and like them r

are dj tibl as already observed (fig

a us e, Th table tops are often . e -

of stone or wood L arge rectangular tables with stone supports of

.

rich workmanshi p and round tables wi th th ee legs of m rble a ,

r a ,

considerable number of which are given on Plates 1 4 3 and 1 44 are ,

well known to us from the excavations at Pompeii They were not .

Dining tables but State tables which stood in the tablinum d atrium
- -
an

of Roman houses Dining tables of the modern form were unknow.

-
n

to the A tique ; even in the Early Greek period while it was still
n ,

the custom to sit at dinner each diner had his own separate table ; ,

and the same custom continued in the later period when meals
were taken in a recumbent pos t re These little tables were lower u .

than ours We also find them in similar forms among the Romans
.

(fig alo g with larger B anqueting

n tables around three s ides of -

whi ch the S ofas were ranged as Shown L !Th L ate Roman period
.
,

. e

was one f lavish luxury ; we are told for example of tab les w ith
’

o , ,

legs of silver and ivory and wi th Table tops of rare woods &c I ,
-
,
. n

credible prices p to were paid for a single choice top

,
u .

Th Tables of the Middle Ages were generally rectangular or

e

semicirc lar rested on posts or tr stles were plain and rather

u
,
e , ,

cumbrous It is said of Charlem gne however that he possessed

. a
, ,

three of ilver and one golden table Beautiful and richly designed
S ,
.
-

Tables of very di fferent kinds have been preserved from the time of
the Renascence Of p articularly frequ nt occurrence , are richly car v ed
. e -

side trusses (fig

-
simpler forms of which w re already i use in
. e n

the G othic period (fig In the Barocco and Rococo periods the .
,

leg are curved and the tops are of b old arbitrary desig (fig
s , ,
n .

Th Console table is an invention of this period

e -
It was also at this .
 FU RNITURE .

Pl at
e 25 1 . abl
Th e T e .
 FURNITURE .

Pl at e 25 2
.
Th e Writi g Tabl e
n -
.
 Th e Writi g Tabl n -
e . Th e Cab i n et . 445

Special varieties are formed by the D ouble writing table for office
use the Cylinder desk which
, be closed after use by letting do w n ,
ca n

a cylindrical flap the Secretaire in which the table top may be lifted
, ,
-

up or locked the Lady writing table & c ,

’
s- -
,
.

PL ATE 25 2 . TH E WR ITI N G TA B LE -
.

1 . Mediaeval , ( ) th
scription a le inkhorn intended to be pl ced on
wi , a

the knee ,
1 1 th century port l of the church Vezelay (V i ll t
, a
, ,
o e
le D u c)
-
.

2 . Mediae v al with double top for raising 1 5 th Century Abbey of

, , , ,

S i nt Michel
a Mer (Violl t l D c) e n -
,
e e- u .

3 . Modern with eight legs and side drawers (Max S ch lz)

, ,
u .

4 . Modern .

5 . Modern .

6 . Moder by W Hanau (Gewerbehalle)

n, .
,
.

c . Ca bin ets .

TH E CABIN ET .
(Pl a t e

Cabinets were evidently a rare phenomenon in Antiquity Th . e

Egyptians d th Greeks were probably not acquai ted with them

an e n

at all ; the Romans seem to have possessed simple Cabinets with two
doors if we may judge from occasional paintings ; in any case
, ,

however they were of no a tistic importance Chests of which we

,
r .
,

shall speak later on were no doub t more frequent and took the place , ,

of cabinets It was the same in the early Middle Ages in which we

.
,

certainly find Cabinets in churches d mon steries b t seldom in an a ,

u

private houses Where they do occur they show the hand of the
.
,

carpenter rather than that of the killed cab inet maker Th S -

.
“
e ca r

di nal feature of Romanesque f rniture is practicability ; that the slow u

mo i ng serious pirit of that time paid but little regard to elegance

v ,
S

was only natural men had their virtues and their vices b ut they : ,

were free from affections of the nerves (Georg Hirth) Cabinets be ”

.

came m ore common in the Gothic period ; and although the m atched
board work and the simple carving generally give th products f
- e o

this time t i rude ppearance ; still t h architectural disposition

a
'

c er a n a e

of the members and the b ands and mou ts are e ffective L ater Gothic
,
n ,
.

l d to all kinds of extravagances one of which is the lavish use of

e ,

geometrical t acery called flamb oyant from its fl m like characte r

r ,
“ ”
a e- .

Th revolutionary process which marks the transition f om Gothic to

e ,
r

Renascence finds striking expression in the group of Cab inets Georg

,
~

.
 FURNI TURE .

Pl ate 25 3 . Th e C bi t
a ne .
 FU RNITURE .

Pl at e 254 .
id eb oard
Th e S .
 Th e S ideb a d o r . Th e Ha g g Cab inet n in -
. 44 9

TH E SIDEBO ARD .
(Pl a t e

ideboards are a separate division They are intended for the

S .

re ception of articles used in the ser i ce of the table Vases and v .

ornaments may also be placed upon them ; and in many cases they
are themselves decorative objects In the Middle Ages they are com
. .

p ti
a ra ly plain
ve and of invariable form ; the,
ground plan being an -

oblong or semi octagon ; they stand on legs and have of an pen

,
-
,
O

Space beneath over which are the cupboards with a flat top (figs 1
, , ,
.

and D uring the Renascence thi s traditional plan gave way to ,

richer and more complicated constructions ; the lower recess was f ra

quently retained ; instead of it or long with it further recesses a

,

were added at the mi ddl height or still higher ; the top is e con

structed as an independent memb er often of smaller dimensions and ,

recessed ; and terraces of shelves with b l t d galleries for glasses a a u s er e

and plates form the conclusion of the whole

,
.

Here too our Modern times follow the old m odels Special
, , .

requirements have given birth to special forms such as the B fl ts ,

u
’

in hotels and waiting rooms which freque tly form an i t g l part

,
-
,
n n e ra

of the wainscot or architectu e of the wall r .

PL ATE 25 4 . TH E SI DE B OAR D .

1 .Renascence G erman wi th remi niscences of G othi c Bavarian Na

, , ,

ti l Mus eum Munich

on a ,
.

2 .Renascence side view St Lo Normandy 1 5 8 0 South Ken,

-
,
.
, , ,

sington Museum (Musterornamente)

3 —4 Modern front and side view designed in th e S chool of In
.
,
-
.
, ,

d st i l Art Carlsruhe
—
u r a ,
.

5 6 Ditto . .

7 .Modern by P h Ni d hOf Frankfort ,

. e er er , .

8 .Mediaeval (Violl t le Duc) ,

e - -
.

TH E H ANGIN G -
CABINET .
(Pl a t e

Hanging cabinets also form a pecial subdivision They differ

-
S .

from other Cabinets in bei g of more mo dest dimen ions by being n s , ,

for practical pu poses of less depth and as they are intended for
r , , ,

s uspe s ionnby terminating in a console inst a d of in legs and base

,
e .

For the rest what has already been said f Cabinets in general wi ll
,
o ,

hold good of Hanging cabinets also -

.

These are adapted to hold books tobacco & c medicine keys , ,

.
, , ,

correspondence & ,
c .

M ey e r , H a n d b oo k of Orn a m en t .
 FURNITURE .

Pl ate 255
. Th e Ha gi g Cab i et
n n -
n .
 FU RNITURE .

Pl ate 256 . Th e Che t

s .
 Th e De k s , &c . Th e Cl ck Ca e o -
s , &c . 4 53

of the Middle Ages They are made of wood or metal

th e begI n n m g .
, ,

or of both combined We disti guish b etween Single and double . n

desks Th L ectern is frequently supported on the back of an Eagle

. e

w ith outspread wings a design which is supposed to contain a ,

reference to the Evangelist S J ohn whose symbol in the eagle .

,
.

Ecclesiastical desks eiter have a fixed position in the choir or chancel ,

th y are moveable These latter were sometimes like a S w horse

‘
-
or e . a

and could be folded p ; in which case the IOp was replaced by -

u S e

bands (fig Th upper part of fixed desks frequently revolves

. e ,

and is f rnished with sconces for lights

u .

Th Easel is a Sloping frame with three or four legs

e Th . e

front and rear are often connected by hinges to enable the a gle of n

the lope to be altered at wi ll Th front is provided with a sm ll board

S . e a ,

which be adjusted to di fferent heights by pins or other mechanism

ca n .

It is an invention of modern times ; and in its usual undecorated ,

form is employed by painters sculptors &c But it is often made , ,

.

as a decorative piece of furniture of superior finish to hold pict res ,

u ,

portfolios &c Th decoration in this case m y consist of the sym

,
. e a

bols of art as shown in fig 7 ,

. .

PL ATE 25 7 TH E DE S K & .
,
c .

1 . Gothic 1 5th cent ry base of wood Slope of wrought iron eagle

, u , ,
-
,

and ball gilt dragon painted green S Simph i Nuits (Vi ll t

, . . or en , ,
o e

l Duc)
e- .

0
1 Mediaeval S Stefano Venice (Mothes) ,
an
, ,
.

3
0 Renascence marble Pisa Cathedral Italian (Kunsthandwerk)
, , , ,
.

$ Mediaeval Double desk with revolving haft end of 1 3 th centu y

,
-
S ,
r

(Vi llet l Duc)

o -
o- .

5 . Me diaev l Upper part of Double desk (V iollet l Duc)

a ,
-
,
-
o- .

6 . Renascence Folding stand cathedral S Gimignano Italian (Kunst

, , ,
.
, ,

handwerk) .

7 . Modern decorative Easel architect Durm (Gewerbehalle)

‘

, ,
.

THE CL OCK CASE -

,
&c .
(Pl a te

Clock case as a piece of f rniture is of comparatively recent

Th e -
,
u
,

date for the invention of the clock with a train of wheels is itself
,

not old ; and for some time after their introduction clocks were manu
f ctu d without cases or
a re at any rate without cases of artistic , ,

importa ce In the 1 7 th century cases for protecting th works

n .
,
e

against d s t and for gi ving the clock a more pleasing aspect begin
u
,

to appear Th forms at first manufactured were chiefly two Th

. e . e

fi st is that of the old fashioned t ll Hall clock something like th

r -
a -
,
e

toilet stands (figs 5 and

-
the upper part accommodating the clock .
 F URNI TURE .

Pl ate 257 . Th e De k
s ,
&c .
 FURNITURE .

Pl ate 258 . Th e C lock Ca

-
s e, &c .
 Th e Cl ock Ca e -
s ,
&c . Th e B d t a d and the C a dl e
e s e ,
r . 4 57

5 . T oilet stand German Renascence 1 5 9 7 Town hall U b li g

-

, , ,
-
,
e er n en ,

(Gewerbehalle ) .

6 . Toilet stand various colo

-
d woods German Renascence (Formen
,
ur e , ,

schatz) .

THE B ED STE AD , AND THE CRADLE .

(Pl a t es 25 9

From the earliest to the pr nt time the B edstead has passed ese ,

through many changes In the Egyptian and Assyrian styles we find . :

metal Bedsteads imi t ting the forms of animals (Plate 25 9 1 a and .

,

sometimes arranged to fold u p like a Camp bed (Plate 259 Those of -

.

the Greeks and Romans which served partly as Beds and partly as , ,

Couches are of manifold forms In addition to the four legged bench

, .
-

( Plate 2 5 9 we have benches with a head board (Plate 25 9

. with -
.

head and foot board (Plate 25 9 the latter being usually lower .

than the former and others with head foot and back boards like
, , , ,

our modern Sofas (Plate 26 0 Th materials are wood and metal . e ,

sometimes more precious materials ivory & as we learn f om the , ,

c .
,
r

examples found in Pompeu .

Th same f ndamental idea may be seen in the Bedsteads of

e u

th e ea lier Middle A ges

r which how traces of Byzantine influence ,
S ,

and have richly decorated t ned posts and carved sides Th front
-
,
ur
,
. e

was often furnished with an pening to allow of getting into th O e

bed (Plate 25 9 5 At a later period the B edstead was fu nished

.
,
r

with canopied hangings suspended from speci l rods fixed to the a

wall Th Renascence considerably enlarged the size ; placed it on a

. e

podi m ; r i sed the head board ; and carried the legs higher to receive
u a -

the tester or canopy frame which was then adorned wi th drapery -

,

and hangings Examples of this period have been preserved (Plate 26 0

. .

1 and In the Barocco and Rococo periods textile materials pre :

dominate and the wooden frame is neglected Then the so called

,
.
-

“
Parade beds (Plate 26 0 3 ) became fashionable
-
”
,
.

Modern times again have generally simplified the form Th . e

commonest is that with high foot and head boards (th e latter often -

to excess) and low sides Tester bedsteads have passed out of

,
.
-

fashion .

Th Cradle seems to have b een an invention of the Middle

e

A ges B y means of pins the little box or trough shaped Bedsteads

.
-

were fixed in a frame in which they were moveable ; or the legs of

the B edstead were replaced by curved battens which admitted of rock
ing (Plate 25 9 8 and Th Cradles of the Renascence are of
. e

s im ilar form ften with raised end boards and rich carving Owing
,
O -
,
.

to sanita ry objections Cradles have almost gone out of use Some ,

.
 FURNITURE .

Pl te
a 25 9 . Th e B d t ad
e s e ,
&c .
 The B d tead an d the Cradle
e s , .

times Cradles are m ade of metal rods like a basket with the head , ,

of the frame raised to support a canopy .

PL ATE 259 . TH E B E D STE A D , &c .

‘
? Egyptian (Menard t S g,
ot) e a u va e .

P Egyp ti an collapsible Camp beds tead -

.

W Greek vase painting (Menard t S

, ge t) -
,
e a u va o .

P Roma Pompeian vase painting (Menard t S

n , g t) -
,
e a u va eo .

‘
P Mediaeval MS of the 1 3 th century (V i ll t l Duc)
,
.
,
o e -
e- .

Q Mediaeval MS of the 1 2th century (H o tus d li ci

,
.
,
r e a ru m

Herrad of Lands b erg) (Vi ll t l Duc) ,

o e -
e- .

7 Chinese (L art po tous) ’

ur
—
,
. .

8 9 Me di aeval Cradles (Viollet l Duc)

.
,
-
e- .

P L ATE 26 0 . TH E B E D STE AD , & c .

1 . Renascence Plantin Museum Antwerp (G ewerbehalle)

, , ,
.

2 . Renascence French Cluny Museum Paris (L art po tous)

, , , ,
’
ur .

3 . Barocco Parade bedstead by Daniel Marot

,
-
,
.

4 . Renascence Head board of Cradle French gilt ornaments on

,
-
, ,

red ground (L art pour tous) ’

.
 4 61

F R A M ES ,
&c .

term Framework is a v ry inclusive one Every edging

Th e “ ”
e .
,

border and every rim of a pl te belongs to this group ; but the follow
,
a ,

ing ten plates will cont in only those f atures in which the Frame
a e

is to a certain extent an end in i tself and a defi ite characteristic

, , ,
n ,

whole Framework is usef l in every branch of applied art ; it is

. u

used in an immense variety of materials and is treated in many di fferent

ways Plates 26 1 —27 0 contain some important subdivisions selected
,

from the entire group these are fra m es of Archi tectur l character ;
: a

fram es (strictly so called) for Pictures Mirrors &c Tablets Typo

-
, ,
.
, ,

graphical borders and the borders of Dials Plates &

, , ,
c .

It is highly interesting to pursue the rise of Framework on an

architectural basis its gradual transformation and its adaptation to
,

the products of art industry For this however we refer the reader
.
, ,

to the remarks of S emper (D e S ti l 130 t We will only

r ,
e

make the following observations from the point of view of style :

Framework in the sense in which it is here understood only occurs

, ,

rarely and Sporadically in the older styl s the Antique and the e ,

Middle Ages It was reserved for the Renascence to cultivate this

.

field and to attain the highest possible results It cannot however

, .
, ,

b e denied that occasionally it was exaggerated and illogical A Frame .

must above all things have some relation and proportion to the object
, ,

to be framed T make a frame and put it where there is nothing

. o ,

to be framed is illogical A d yet we find in the late Renascence

,
. n ,

and in the Barocco and Rococo periods countless examples whi ch , ,

so far as their application goes have no other object than the de ,

coratio of empty spaces

n .
 Th e Ar chitectural Fram e .

THE ARCHITECTURAL F RAME .

(Pl a t e 26 1

By Architectural Frames we mean those which are used in

Architect re and those which although applied in other branches
u , , ,

such as furniture Show an architectural derivation These are the , . :

framings of doors windows panels tablets medalli ons niches soffits, , , , , , ,

&c .In Furniture they are the border like ornaments which serve as -

a framing to panel ornaments ; b t which are also very often used -

u

merely as decoration without having any object to frame There , .

ar e two classes of Frames one which is mon axial with external : -

,
or

na m ts t the top and bottom to emphasi z e th

en a vertical attitude ; ,
e

and one which is bi axial for application on horizontal surfaces -

,
.

In the former class the lower ornament has the general Shape of a :

suspended triangle This expresses the idea of supporting like a Console ;

.

an d is a free ending down wards Th other of th

-
has the general shape -
. e ese

of the erect triangle ; m aking a cresting feature and is the free ending ,
-

upwards Frames of this class are shown on Plate 26 1 figs 2 8 9 1 0

.
,
.
, , ,

and 1 1 In the second class of Frames the Space to be enclosed

. : ,

be it a circle square or oblong is surrounded by an ornament

, , ,

which is symmetrical on all sides W ithout regard to top and bottom

—
.

Frames of this class are Shown on figs 4 7 of Plate 26 1 and .

,

figs 5 8 and 9 of Plate 26 2 These two principles are not always

.
, .

so strongly marked as in the examples given ; and sometimes they

are combined ; but as a rule the one or the other will always p ro

dominate .

P L ATE 26 1 . TH E A R C H I TE CTUR AL F R A ME .

1 . Gable Opening of a Dormer window Rouen French

- -
, , ,
17 th cen
tury (L art pour tous) ,
’
.

2 Tablet modern in the style of the Italian Renascence

.
, ,
.

3 Pedestal Italian Renascence G enoa (Owen Jones)

.
, , ,
.

4 D oor panel (Architektonisches Skiz z enbuch)

-
,
.

5 Stove tile Castle of W iilfi g near Winterthu 1 7 th cen

-
,
n en r,

tury (Kunsthandwerk) ,
.

6 D esk in S Giorgio maggiore Venice Italian Renascence

. .
, , ,
.

7 Cofi e
. cupola of the D agobert Tower Baden Baden German
'

r, ,
-
, ,

Renascence
— —
.

8 9 Pulpit Magdeburg .cathedral G erman 1 5 9 5,

1 5 9 7 (G ewerbe , , ,

halle)
10 D oor of cabinet in the style of the G erman Ren scence
.
,
a ,

(F ormenschatz) .

11 Door of a sideboard Louvre Paris Renascence

.
, , ,
.
 FRAMES .

Pl at e 26 2
. hit ctu l Frame
Th e Ar c e ra .
 Th e A rchitectural Fram e Mir r Fram e , ro
-
,
&c . 4 65

26 2 . TH E A R C H I TE CTU R AL F R A M E .

1 . G erman ,
1 7 th century Stalls , ,
S tiftskirche ,
Asch a fi en bur g, (Ge

w erbe ha lle) .

Italia Renascence (Formenschatz)

n, ,
.

French 1 5 29 L ozenge panel choir of Chartres cathedral

, , , ,

( g
R a u e n et
) .

Renascence by Enea Vico (Formenschatz) , ,

.

Italian Renascence Panel of the stalls S Giorgio maggiore

, , ,
.
,

Venice .

6 . Germ n Renascence Frame of small niche Dagobert Tower

a , , ,

Baden Baden
—
-
.

7 8 Modern
. French Hotel Mirabaud Paris Architect Magne
, , , , ,

( g
R a u en e t
) .

Modern in the style of the German Renascence

,
.

Modern French Paris (R g ,

t) , ,
a u en e .

TH E MI O
RR R - F RA ME ,
&c .
(Pl a t e s 26 3

mo v eable Mi rror frames which are designed and made to

Th e -
,

be hung p might have been classed among the Fur i t e ; but they
-
u ,
n ur

are more conveniently tr eated here Th Middle Ages framed Al t r . e a

pieces and the Pictures of the saints ; but the universal use of frames
begins with the Renascence ; and it is particularly Italy which has
preserv d the most n m erous examples of this period At fi st we
e u . r

meet with Archi tectural frames ; but sim ltaneously with the transitio -
u n

from the Mural picture of the Mi ddle Ages (which had been a part
-

of the wall) to the Table picture (whi ch was portable) the treatment
,
-
,

b ecomes freer and less constrained A d when the architectural . n

members were afterwards blended together in scroll work the f n da - -

,
u

mental architectur al idea generally rem i ned i sible as m y be seen a v ,

a

from the Baro cco and Louis XVI frames in Plates 26 3 1 2 6 and 1 0 ; .
, , ,

an d 26 4 3 and 4 .It was reserved for Modern times to cut p

.
-
u

factory made mouldings into lengths to produce frames of any req ired
-
,
u

si z e without regard to the proportion which sho ld exist between the

,
u

frame and the enclosed space Cheap d practical !but A t has g i ned . an r a

nothing by it Still we would not be understood to say that our

.
,

time does not occasion lly produce frames which completely satisfy a

the demands of both technique and taste .

Th e chief m aterial is wood ; but bronze is ed for frames of us

sm all size The old custom of painting and gildi ng the carved wood
.
-

frames led to the manufacture of the so called gilt frame whi ch is

,
-
“ ”
,

made of stamped brass Opinions m y di ffer s to the justification . a a

of t hese frames from an aesthetic point of view ; but there is little

M e y er , H an db oo k of Or n a m e n t . 30
 FRAMES .

Pl ate Th e Mirr or -
Fram e ,
&c .
 Th e Mirror Fram e -
, &c . Th e S trap work F am e-
r .

doubt that the metallic frame tends to enhance the e ffect of coloured
pictures Porcelain and glass have also been used as materials for
.

frames ; but their propriety w ill always be questionable .

In addition to outline and style of decoration an important part :

is played by the amount of projection of the Frame Th e ffect of . e

a p icture which appears to be recessed behind a Bevel frame is very

,
-
,

di fferent from that of one which seems to be brought into relief by

a Torus mo lding Th f ndamental form of the frame is usually
u . e u

oblong either fig wise or landscape wise ; circ lar elliptic or square

,
u re - -
u , ,

frames are rarer Sometimes the outer hape of the Frame di ffers
, . S

from the inner hape (Plate 26 3 9 In the Barocco period

S .
, ,

frames received a number of arbitra y curved forms ; s Shown in r a

O nPlate 26 3 fig 5 , . .

26 3 . TH E M IR R OR -
FR AM E ,
&c .

G erman century Berlin (Kunsthandwerk)

, 1 8 th , , .

French angle ornaments of wall panels old castle of B ercy

,
- -
, ,

near Paris 1 8 th cent y (R g t) ,

ur ,
a u en e .

B arocco with bracket by Pa l D ecker (Formenschatz)

, ,
u , .

Rococo (F ormenschatz) ,
.

French L ou is X VI by La Londe (Wessely)

, , ,
.

French Louis XVI by D elafosse (R g

,
t) , ,
a u en e .

PL ATE 26 4 TH E MI RR OR -F R AM E , &c
—2 Renascence (R g t)
. .

—4 It lian Renascence Florence (Gewerbehalle)

1 .
,
a u en e .

3 . a
, ,
.

5 .Modern (Gewerbehalle) ,
.

6 .Modern by Prof S chick Carlsruhe ,

.
,
.

7 .Modern by the architect Huber Frankfort

, ,
.

TH E STRA P WORK
-
F RAME .
(Pl a t e s 26 5

When the Frame is cut into fantastic shapes and bands whi ch ,

interlace and curl like leathern Straps ; then it is termed th Strap

,
e

work Frame It is much us ed in the later Renascence for Shields

.
, , ,

Tablets &c ; and is a characteristic of the Elizabethan style

,
. Foliage .
,

palmettes festoons and garlands of fr it fluttering ribbons cherub

,
u , ,

heads &c are frequently added Strap work was an invention of th

,
. .
-
e

Renascence ; and it is extremely common especially in the later years ,

of that period This kind f Frame work is frequently used not as

.
'
o -
,

a Frame but for mere deco ative purposes so that the fields to be
,
r
,

framed are left as empty Spaces Strap work appears in architect re .

- u ,

sepulchral monuments and epitaphs ; on medals and coins ; in c binet ,

a
 FRAME S . 4 69

trap work Fram e

Th e S -
. Pl ate 265 .
 FRAME S .

Pl ate 26 6 . Th e S t a p work Frame

r - .
 ME S
F RA .

Pl ate 26 7 . y ographical Fram e

Th e T p .
 FRAMES . 47 3

yp ographical Frame
Th e T . Pl ate 268 .
 Th e Typ ogra p hi ca l Fra m e . Th e S t ap work Tabl et
r .
.

lowed When architectur l forms appear they are treated lightly

.
a ,

and playfully ; and are often resolved into all man er of strap work n -

(Plate 2 6 7 1 .
,

PL ATE 26 7 TH E TYPOGRAPH I CAL FR AME

. .

1 .
,
—
Border by Johann Sadler 1 5 5 0 1 5 60 Flemish Renascence , , , ,

(Guichard) .

2 . Border by Hans Holbein (Guichard)

, ,
.

3 . B order by J W i icx l 6 th century Flemish Renascence (L art

,
. er , , , ,
’

pour tous) .

4 . Printer s m ark (Giacomo Cornetti of Venice) Italian Renascence

’
-
, , , ,

1 5 8 6 (L art pour tous)

’
.
,

5 . Ditto (Giovanni Guarisco Ve i ce

, ,
n ,

6 . D itto (Ex typographia Jacobi St

,
a er ,

7 . D itto (A Quantin Paris

,
.
, ,

PL A TE 26 8 . TH E TY P O GRA P H I CAL F R A ME '

1 . German Tablet from the triumphal entry of the Emperor M

,

milian by Hans B km i (1 4 7 3 ur a r,

2 . French Renascence 1 6 th century Lyo s (L art pour tous)

, , ,
n ,
’
.

3 . Modern by Max L a g Carlsruhe

,
u er , .

4 . Modern by Rudolf S e itz Munich

, ,
.

THE STRA P WORK

-
TABL E T .
(Pl a te

Examples of Strap work designed for use in some of the ,

Minor A ts whi ch serves not as a frame but as the actu l Tablet

r ,
a ,

are shown in the Plate Fig res 1 and 2 are clock cases ; 3 and 4 . u -

are for goldsmiths work ; 5 and 6 are wrought iron Signs ; 7 and 8 ’
-

are suitable ornaments for stamped leather and i laying ; fig 1 0 is -

,
n .

an escutcheon ; and Nos 9 and 1 1 are book mounts Th series .

-
. e

might easily be increased ; but th S examples will suffice as it would e e ,

lead us too far to treat each of these classes in detail .

P L ATE 26 9 . TH E STRAP W ORK TABL E T -

.

1 .Clock case hammered metal French Renascence

-
, , ,
.

2 Clock case stamped metal Modern

3 —4 Decoration of escutcheons
-
. .
, ,

. snuff box lids &c by Wilhelm ,

-
,
.
,

V issch e 1 7 th century
5 —6 Wrought iron signs Modern
r, .

-
. .
,

7 .Book cover 1 6 th century French Renascence (L art pour tous)

-
, , ,
’
.

8 .Modern (Gewerbehalle) ,
.
 FRAME S .

Pl ate 270
. trap work B rder an d Margin
Th e S -
o , .
 Th e S trap wo k Tabl et Border and Margi
-
r , ,
n .

9 . Metal mounts for the cover of an al b um Moder ,

n .

10 . Wrought iron escutcheon German l 6th century National

-
, , ,

Museum Munich ,
.

11 . Centre piece of bookbinding b y Dir C Graff Dresden

-
,
. .
,
.

TH E STRA P WORK B ORDER

-
,
AND M ARGIN .
(Pl a t e 27

hose products of art which frequently receive an additional

To t ,

exterior border or Margin must further be reckoned plates and dishes

,
.

So far as they are included under pottery the border us ually has a ,

smooth unbroken edge ; the material scarcely admi tting of a freer

treatment of the rim It is di fferent when the object is of metal ; in
.

thi s case the rim may be decorated with pierced work ; and the outlines
,
-

may undergo a richer and more vigorous treatment (figs 4 and in .

which the framework forms a free ending outwards -

.

PL ATE 27 0 . TH E STR AP W ORK BOR D E R , -

AN D M AR GIN .

1 Renascence Majolica Gewerbemuseum B erlin (Gewerbehalle)

, , , ,
.

2 Renascence Majolica Italian (R ci t)

, , ,
a ne .

3 Renascence Limoges by Pierre Raymond l 6 th century (R ci et)

, , , ,
a n .

Modern by Placido Zuloaga Eibar Spain (G werbehalle)

, , , ,
e .
 JE W E L R Y .

love of personal adornment is as old as mankind itself ; as

Th e
is proved by th lics which have been preserved from the earliest
e . re

times Personal adornment broadly taken is a somewhat extensive

.
, ,

domain ; it includes the Painting and Tattooing of the body Clothing , ,

as soon as this exceeds what is required to meet practical needs ,

A mo
r &c ; but thi s section wi ll be confined to adornment by J ewe lry
ur , . .

Th e following 1 0 plates will deal with thi s group so far as

their chief repre entatives are concerned These are Pins B uttons
s . : , ,

Finger rings Chains Necklets Bracelet Belts Cl ps

-
, ,
d Buckles
,
s, ,
as ,
an ,

the various kinds of Chatelaines and Ear rings ,

-
.

Th plan of thi s book requires that we sho l d chiefly direct

e u

our attention to the decorative aspect of these objects ; b t w i ll,

u w e

here o ffer a f w general observations on the subject

e .

Trinkets which are not indispensable but rather an object of

, ,

lux ry are closely connected with dress and costume ; and like them
u , ,

subject to fashion This explains the different transformations which

.

trinkets have undergone in the course of centuries On the other .

hand technical considerations have also played a part th art of

,
: e

working the materials has passed through various sta ges of deve
l p em t in the di fferent periods ; so that the form and finish were
o en

governed not only by the fashion and taste of each period but also , ,

by the tech i cal skill of the workman

n .

The principal materials of trinkets are the precious metals From .

the state in which the metals found in Nature it is easy to see

a re ,

that the first metal to come into general use wo ld be Gold which u ,
 Th e P in .

THE P I N .
(Pl a te

Pin is a toilet article of very general use particularly in

Th e ,

prim iti v e times According to its app lication it is either a Hair pin
.
,
-

or a Dress pin Its form may be referred to three f ndamental types

-
. u .

Th first has a cylindrical or S lightly conical stem

e pointed like a ,

thorn at one end and terminated at the other by a knob or some ,

.

other finial (figs 1 it is used principally as a hair or breast

.

pin the stem in the former case being sometimes Split like a fork
,

(figs 2 3 . Th materials are chiefly metals bone d horn ; the

e ,
, ,
an

head and the stem may be of di fferent materials as in the modern ,

glass headed pin The handsomest examples of this class are to be

-
.

found in the Antique which gave this imple object a great variety ,
S

o f form The East also f rnishes us wi th origin l forms as shown

. u a ,

by the Japanese exam ples (figs 22 .

Th e second cla s is that of the Fib la the Brooch or S afety pin s u ,

-
.

These pins consist of two parts a disc or hoop shaped upper part ,
- -

connected with the ct l pin by elastic pirals or by a hi ge the a ua S n

,

point of the pin being held and sec ed by a catch like a hook or ur

S heath B rooches are always used for garments ; and in the antique
.
, ,

supplied the w nt of B uttons They were in comm on us up to th

a . e e

Middle Ages as shown by the num erous finds in Greece Italy and
, , ,

S candinavia Th hoop is commoner than th e di sc ; and more practical

. e ,

s it fi o d ed room for the gathered folds of the garment Th

’

a a r u e
p
-
.

decoration is of the utmost variety ; cert in forms such as the spir l a ,

a

(fig . are conventional T h e material is always metal m ostly .

,

bronz e more rarely a precious metal Modern times make use of these
,
.

pins only in the form of the plain wire Safety pin and the B rooch -
, ,

in w hi ch latter the disc replaces the hO p (fig Double pins form O .

-

a third class Tw o or three (and occasionally more) pins of the fi st

. r

class are connected by means of chains or Spangles usually to serve ,

as an ornament for the bosom (fig This form was pop l ar in .

,
u

ancient Scandinavian art ; and is in use up to the present day in

s ome national costumes .

PL ATE 2 1 7 TH E P m
—
. .

1 0 Roman and Etruscan Campana collection (L art pour to )

’

1
1 1 —1 6 Roman found in Pompeii
.
, , ,
us .

. .
,

17 Anglo S axon t iple breastpin found in Lincolnshire A h

- l r , ,
rc a eo o

gi l Institute ca .

18 Alemannic bronze U i ted collections Carlsruhe

—
.
, ,
n ,
.

2 1 1 7 th ce ntury (Guichard)
22—
19 .
,
.

26 Modern J apanese metal bone &

. United collections Carls
, , , ,
c .
,

ruhe .
 JEWE L RY .

Th e P in .

Me y e r, H a n d b oo k of Orn a m e n t .
 Th e P in . Th e Button .

Modern French Filigree work with pearls and brilliants

, , ,

(Gewerbehalle)
—
.

28 33 Antique bron z e U nited collections Carlsruhe

—
.
.
, , ,

34 35 . Etruscan Gold ,
.

36 . E truscan spiral brooch bron z e U nited collections Carlsruhe

,
-
, , , .

37 Modern (Gewerbehall e) ,
.

THE B UTTON .

objects whi ch we have here classed as B uttons serve va

Th e ,
-
,

rion s purposes They appear as Pendants to necklets and sim il r thing s

. a ,

as B ll (an antique pendant like an am let with symbolic sig ifi

u aa u n

cance) as Ornaments of Belts G rments Harness & and as B uttons

, ,
a , ,
c .
, ,

in the strict sense of the t erm for fastening garme ts According to ,

n .

its uses the B utton takes the form of the Sphere the hemi sphere or
, , ,

the disc As a Pendant it resembles a drop with the character of a

.

free ending (fig

-
One end is then furnished with a ring by
.

which it may be suspended or sewed o Th double buttons or Links -

n . e -
,

shown in figs 1 1 4 and 27 form a Special subdivision The principal

.
, .

mate rials are ag in the metals enamelled damaskeened set with gems
a , , , ,

or as filig e work B uttons are also manufactured in ivory mother

re -
.
,

of pearl amber glass and similar materials ; discs of wood are covered
-
, , ,

with silk and metal threads adorned wi th gold foil &c Standard
, ,
-
, .

examples are fu ished by the A tique the Renascence and many

rn n , ,

Modern national costumes while the modern wholesale factory made ,

-

B utton has scarcely any artistic v lue Our exam ples have been taken a .

from the periods named above ; and are mostly the same size as the
originals .

PL ATE 27 2 . TH E BUTT ON .

ntique double button gold U i ted collections Carlsr he

2—
1 . A ,
-
, ,
n ,
u .

3 Etruscan gold with gems and pearls

.
,
.

4 5 6 7 1 1 1 2 1 4 1 5 1 6 1 7 1 9 27 28 and 29
, , , ,
Button s
, , , , , , , ,
.

and double buttons of various origin of metal with filig -

, ,
r ee

work enamelled &c In the possession of Prof Marc , ,

. .

Rosenberg Carlsruhe
—
.
,

8 9 Renascence gold enamelled and set with pearls Regali a

.
, , , ,

Berlin (L thm ) ,
u er .

10 . Renasce ce from a belt n ,

.

13 . Modern filigree ,
.

18 . Renasc ence enamelled National Museum Munich , , ,

.

20 and 23 Buttons by a Frankfort maker of the 1 8 th centu y

. i r ,
n

the collection of Mr J Werneck Frankfort silk gold . .

, , ,

thread and foil (Kunsthandwerk) ,

.
 Th e B utton . Th e R ig
n .

21 . Renascence the gallery Schleissheim (L thm ) , , ,

u er .

22 an d 24 . Renascence from pictures in Worlitz and G otha (L thm )

, ,
u er .

25 . I din ilvanfiligree from Sumatra U nited collec tions

, _
s er , , ,

Carlsruhe .

Modern pendant of a necklet (G ewerbehalle)

, ,
.

THE RING .
(Pl a te

Finger ring is unive sally employed as an article of personal

Th e -
r

adornment ; and it is one which has been worn by both sexes at l a

most all times and in almost ll count ies Th manner of wearing

,
a r . e

it was determined partly by fashion partly by edicts Sometimes it ,

.

was considered good taste to wear only a single ring t other times ,
a

both hands were covered with ri gs ; it is worn sometimes under and n

,

sometimes over the glove ; plain comfortable forms give way to ,

monstrous Shapes ; sometimes it is purely ornamental sometimes it ,

has a symbolic significance a s in the wedding ring (a legacy of ,

heathendom to Christia i ty) ; sometimes it is a token of dignity as in n .

,

the fish m ring of the P Op and of Emperors Kings &c

er an s
’

e, , ,
.

Th form is manifold Th Signet ring formed p tly of a

e . e -
,
ar

single piece (fig partly of a hoop in which a cut gem revolves

.

(fig .occurs in the Egypti n style Spiral rings with the serpent a .

motive (figs 7 and and rings Opening on one Side (fig

. are .

not rare in the A tique Besides these other form s appear which
n . : ,

are still popular Sometimes the upper side was broadened to recei e
. v

some ornament or a gem (figs 5 9 1 0 a method which was .

, , ,

us ed in the Renascence figs while the Middle ges preferred

( 20 A .

cylindrical ribbon like ba ds (fig 1 4 and

,
and architect ral n s . u

motives (fig It was reserved for Modern times to give the Wedding
.

ring its smooth convenient but artistically unimportant form Th

, ,
. e

predominant material is gold Niello enamel pearls and gems are .

, , , ,

used for its further decoration Th ring has frequently given rise . e

to artistic freaks e g where two or three separate rings are so

,
. .

constructed that they may be interlocked .

P L ATE 27 3 . TH E RIN G .

1 —3 . Egyptian Signet (M en rd t S g ot) , ,

a e a u va e .

Roman ignet found in the Crimea

,
S ,
.

Egyptian wi th enamel and two horses in ,

relief .

Egyp tian with pierced work (R i t) , ,

ac ne .

8. Greek .

10 . Roman found in the Crimea ,

.

Etruscan gold Vulci (Blii m ) , , , n er .

JEWELRY .
48 5

Th e R i g
n .
Pl t
a e 27 3 .
 Th e Rin g . Th e Chain .

12 . Pompeian .

13 . Ancient Italic .

14 and 16 . S o called
-
Je wi sh w edding rings 1 5th and 1 6 th c
“ -
,
en

t i s collection of the late architect Oppler

ur e ,
Hanover , ,

(L u th m er
) .

15 . Renascence with c t onyxes Collection in ,

u ,

17 . Gothic 1 3 th century (Mothes) , ,

.

18 . Renascence enamelled representi g the F ll f Man , ,

n a o .

19 . Renascence wi th clasped hands ,

.

20 . Renascence from a picture dated 1 5 7 2 Museum Colog e , , , ,

n .

21 Renascence Museum Sigmaringen (L thm )

22—
, ,
u er .
,
.

23 Renascence from pictu es at G otha and D armstadt (Luth

.
,
r ,

mer) .

Renascence from a picture Germanisches Mu seum (Luth , , ,

mer) .

25 and 27 Renascence private collection Mainz (L thm e ) , , ,

u r .

26 . Renascence Hildesheim with niello work (L thm ) , ,

-

,
u er .

28 29 3 1 and 3 2
, ,
Renascence (Hefner Alte ck)
,
.
,
-
ne .

3 0 and 3 2 Renascence after Hans Mi lich Middle of the l 6 th century

.
,
e ,
.

THE CHAIN .
(Pl a t e 27

hains are an interesting chapter in ornament The task of art

C .

here is to treat the stubborn metal in such a way that it will pro
duce flexible easily moving forms which shall still be absolutely
,
-
,

unyieldi g to tension This is done by the system of li nk s Rings

n . .
,

perforated di scs balls with an eye &c are linked together in appro
, ,
.
,

p i t
r a e ways to form a whole In the common Chains of everyday .

use nothing but strength and flexibility

,
expect d ; in ornamental a re e

chains attention must be paid to the artistic e ffect This is sought

,
.

to be attained less by lavishing care on the single link tha by an

, ,
n

elegant rhythmic sequence of links of different kinds by e ffective ,

alternations of form si z e and treatment (comp Se m p er II p , ,

.
,
.

Chains used for personal adornment at least as far so they are of ,

artistic consequence are almost always like a B and All the figures ,
.

of the Plate belong to this class with the exception of figs 5 8 ,

.
, ,

1 1 and 1 6
,
Th arrangement may be such that the chain held
. e ,

horizontally is neutral that is of the same design upward s and

, , ,

d ownwards right and left (figs 1 4 1 5 1 7

,
or it m y have .
, , , ,
a

an up and do w n (figs 9 and

“
it m y also have a lateral direction
”
. a ,

in which c se it is chiefly used to suspend objects (figs 3 1 0

a .
, ,

an d Chains sometimes made tapering towards the end which

ar e ,

is d one by making each successive link smaller than the preceding ,

.

Th ends of chains terminate in Hooks Eyes Rings &c

e according , , ,
.
,
 Th e Ch i n a . Th e N e ckl ace .

to their use as Necklets and Belts or to suspend Watches Bags

, , , ,

Smelling bottles and similar articles

-
Heraldic d symbolic elements
,
. an

are often found on Chains of Orders and Office something like fig 1 2 , . .

Th size and material vary wi th the purpose

e Th materials are the . e

precious and ordinary metals sometimes with gems and pearls enamel , , ,

niello and filig work This last seems to be especially suited for
,
re e - .

chains as it readily conveys the idea of being light and flexible

, .

P L ATE 27 4 . TH E CH AI N .

1 . Egyptian (R ci t) ,
a ne .

2 . Etrus can Louvre Paris (R ci t) , , ,

a ne .

3 . Greek fili gree found in the Crimea Hermitage St Peters

, , , ,
.

burg (Kunsthandwerk)
, .

Etruscan bronze Spirals Uni ted collections Carlsr h e

, , ,
u .

A ntique b U nited collections Carlsruhe

,
r on z e
, ,
.

Gallic bronze ,
.

Indian silver filigree from S m atra United collections Carlsru he

, ,
u , , .

Sm ll prismatic from S umatra U nited collections Carlsruhe

a
, , ,
.

French Chain belt l 6 th century S

, g t collection
-
(L art , ,
a u va eo ,
’

tous) .

10 Renascence from a Chatelaine with enamel and pearls

—1 2
.
,
.
,

11 Renascence gold G ii s G w Olb Dresden

13—
.
, ,
r ne e e, .

15 . Renascence H Holbein ,
. .

16 . Pierced ellipsoid links G G w Olbe ,

ru n es e .

17 . Renascence exhibition Carlsruhe 1 8 8 1 , , ,

.

18 . Modern .

THE N ECKLACE , OR N EC KL E T .
(Pl a t e

Necklace has always been a favo ite article of feminine d

Th e ur a

ornme t It is worn either lone or with a pendant Thre e classes

n . a .
‘

may be distinguished Th first is a ring consisting of a clasping . e ,

hOOp wi th or wi thout a pend ant (figs 7 and and mostly used by .

savage peoples Th second is formed of links in a Similar manner

. e

to the chain belt (fig Th third and at the same time the most
-
. e ,

perfect form is that in which a row of pendants hangs from a cord

,

or a Slender chain and encircles the neck thus giving expression to

, ,

the idea of a free pendant ending as well as to that of an encircling

band Striking artistic e ffects may be Obtained by the rhythmic alter
.

nation of the links and by a tapering from the middle towards th ,

e

ends Egyptian and Antique necklets are frequently constructed on

.

this principle ; as are also the neck orn ments of primi tive peoples a ,

who replace the pendant by shells shining insects corals or the teeth , , ,

of animals S ometimes the three classes are combined ; it is not rare

.
J EWELRY . 4 89

Th e N e ckl ac e . Pl a t
e 27 5 .
 Th e N kl aceec . Th e Brace l et .

to find several necklets of different circumferences worn one above

the other ; and producing a good e ffect Metal precious stones .
, ,

pearls &c play the chief part in N ecklaces

,
.
, .

P L ATE 27 5 . TH E N E CKL ACE .

1 . Egyptian with m ll d pendant (Mé

,
d t S g .
t) en a e e ,
nar e a u va eo .

2 . Egyptian wi th golden flies (sym bolic) (Menard t S

, g e ot) ,
e a u va .

3 . Antique with stamped Sheet m etal ornaments found in Rhodes

,
-

, ,

(M enard t S g ot ) e a u va e .

4 . Egyptian (Menard t S g t
,) e a u va eo .

5 . Etruscan gold Campana collection Paris (L art pour tous)

, , , ,
’
.

6 . Oriental gilt silver filigree (L art pour tous)

, ,
’

7 . Old Italic Neck ring bron z e U nited collections Carlsruhe

,
-
, , ,
.

8 . Barbaric Neck ring iron from the White Nile U nited collections
,
-
, , , ,

Carlsruhe .

9 . From portrait Henry VI of England , ,

.

10 . From portrait 1 5 7 2 municipal museum Cologne (L thm )

, , , ,
u er .

11 . Filigree .

12 . Modern (Gewerbehalle)
,
.

THE B RACE LE T .
(Pl a t e

Th e B racelet which is now exclusively an article of feminine

,

adornment was formerly worn by men also not merely on the wr ist
, ,

as at the present day but on the a m too B ut even the A tique ,

r . n

co sidered this custom and that of wearing bangles on the ankles

n , ,

to be a relic of barbaric times B racelets are either closed rings or .

bands (figs 9 and or they are Open on one side (figs 2 6 8

. .
, , ,

1 3 and or rolled Spirally (figs 3 and or finally the bracelet .

, ,

may be a closed chain with a greater or lesser number of links

(figs 1 0 and A nother division is formed by the twisted example
m
.

(fig . As the B racelet is an object of so e si z e it is more f e , ,

r

quently than other ornaments m ade of Silve r rather than of gold ; the ,

A ntique Shows a preference for bron z e .

27 6 . TH E BRA CE LE T .

Egyptian pierced work (Menard t S , g ot) -

,
e a u va e .

Assyrian bron z e Louvre Paris (Bl m , ) , , ,

u n er .

Roman found in Pompeii ,

.

Antique (M enard t S geot) ,

e a u va .

B ron z e found near Ladenburg U nited collections Carlsruhe

, , ,
.

Spiral wire U ited collections Carlsr he ,

n ,
u .

Bronze United collections Carlsr he

, ,
u .
 Th e Brace l t e . Th e Girdl e the Buckl e , , and Cl a p s .

Bronze found near Ladenb rg United collectio s Carlsruhe

,
u , n
, .

From po trait 1 6 th century G otha (L thm )

r , , ,
u er .

Venetian l 6 th centu y (Mothes)

,
r , .

Javanese black wood United collections Carlsruhe

, , , .

Modern Egyptian silver Grand Ducal Landesgewerbehalle , , ,

Carlsruhe .

Modern (G ewerbehalle)
,
.

Moder by Dir A Ortwein Granz (G ewerbehalle)

n, . .
, , .

TH E GIRDL E , TH E B U CKL E, AND CLASP .

(Pl a te

Girdle was originally used by men to suspend weapons

Th e
from ; and by women to confine the clothing at the Waist ; later o -
n
,

it was worn m erely as an ornament or to carry pouches fans scissors , , , ,

&c. Its form is either that of the Chain girdle (comp Plate -
.

or B ands of leather or textile material are decorated by ornam ents

of metal sewed or threaded o Partic lar attention is usually given -
u . u

to the fasteni g which is generally a Clasp or Buckle (figs 1 7 8

n ,
.
, ,

and The Ag fi (Lat a g app a ) or Hook and the Buckle are

ra
'

e . r ,

applied to other purposes besides fastening Girdles ; the former are

used as fastenings for garments ; the latter on the straps of weapons ,

harness & c Th Buckle is complete in itself consisting of a ring

,
. e ,

or hoop with a movable pin ; and the fastening is done by pushing

the pin through a hole in the leather or textile band (figs 2 4 and .
,

Th e Clasp consists of two parts generally sym m etrical one of which , ,

c
an be hooked into the other (figs 9 Clasps and B uckles are .

both old inventions ; and found in very early times As they are a re .

objects of practic l use rather than ornament they are more often
a ,

made of the comm on than of the precious metals Th terminations . e

of Clasps are mostly designed s free endings which gives them a a ,

certain imilarity with decorated hinges

S .

27 7 . TH E GI R D L E , TH E B U C KLE , A ND CL AS P .

Greek Girdle gold and hyacinths tomb in Ithaca

, ,
.

A cient Italic or Roman Buckle bronze U nited collections

n , , ,

Carlsruhe .

Roman Clasp Silver (Menard et S g ,

t) ,
a u va eo .

A lemannic Buckle bronze found near Mosbach United c l

, , , ,
o

lections Carlsruhe,
.

Mediaeval B uckle S candinavian (Weiss K st m k d ) , , ,

o u un e .

Gallic Girdle St G ermain Museum (L art pour tous)

,
.
,
'
.

G othic B uckle 1 5 th century from a picture municipal m

, , ,
u

seum Cologne (L thm )

, ,
u er .
 J EWE LR Y .
493

i dl
Th e G r e, th e B ckl
u e, and Cl p
as . Pl ate 27 7 .
 Th e Girdle , &c . Th e Pend a t n .

Renascence Girdl e 1 7 th century National Museum Mu i ch

’

, , ,
n .

Renascence Clasp .

Renasce ce Clasp National Museum Munich

n , , .

Renascence Clasp K nstgewerbemuseum Berlin (G ewerbe ,

u
, ,

halle) .

3 . Barocco and Rococo Clasps National Museum Mu ich , ,

n .

Modern Norwegian Girdle brass and leather United colle e ,

tions Carlsruhe ,
.

S umatran Girdle fastening silver United collections Carls -

, , ,

ruhe .

TH E P ENDAN T .
(Pl a te

Pendants are amo g the most beautiful of articles of adornment n .

Their forms and uses are manifold We find them as Lockets with .
,

and without symbolic meaning ; as Ornaments for th hat and the e

biretta ; as Charms on watch chains and less richly finished

“ ”
-
, , ,
on

Harness Th Pendant is naturally designed on the principle of the

. e

free ending Sometimes it assumes the form of the Cross the Me

-
.
,

d llio
a nthe Votive tablet or the Monogram It serves as a setting
,
-
,
.

for gems miniatures coins &c It o ffers the proper field for all
, , ,
.

kinds of little hanging ornaments ; and for the f ll display of the gold u

smith s versatile skill Examples of exceptional beauty have been

’
.

transmitted to us by the Antique and still more so by the Renascence ,

.

Not only did the first artists of this period occupy themselves p cti ra

cally with such things ; but they designed numerous patter s for them n
,

e g Hans Holbein in his sketchbook for Henry VIII of England

. .
, ,
.

We only o ffer a small selection from the C opious material

ca n .

27 8 . PE N DAN T
TH E .

Egyptian gold and enamel (R ci t)

, ,
a ne .

Gold found in Rhodes Louvre Paris (M enard t S

, geot) , , ,
e a u va .

Greek gold filigree found near Kertsch Hermitage St

, , , ,
.

Petersburg (Kunsthandwerk) ,
.

Etruscan gold Campana collection (L art pour tous)

, , ,
’
.

Ancient Italic bron z e U ite d collections Carlsruhe , ,

n ,
.

Turkish harness in the Booty of Prince L ud wi g of Baden

, ,

U nited collections Carlsruhe ,

.

Renascence (Hefner Alt k) ,

-
en ec .

Renascence 1 6 3 7 Exhibition Carlsruhe 1 8 8 1

, , , ,
.

Empire period gold filigree collection of Prof Marc Rose , ,

. n

berg Carlsr he ,
u .

Renascence A tique cameo set in ename lled gold and j ewels

,
n ,

Pa ris (L art pour tou )

,
’
s .
 Th e Pen d ant Th e Ear ri g-
n .

Renascence by Hans B os m (F orm enschatz) ,

r a er, .

Renascence by Hans Holbein , .

Renascence by H Holbein (Formenschatz) ,

. ans
, .

Renascence (L thm ) ,
u er .

Renascence 1 7 th century Silver coi set , ,

n, .

Renascence by Julius Ber ie (L thm ) ,

n
,
u er .

Modern (Blatter fi i Kunstgewerbe)

,
r .

Modern (Zeitsc hrift des K stg w b ei s)

,
un e er ev er n .

Modern (Gewerbehalle) ,
.

Modern French ,
.

TH E E AR -
RIN G .
(Pl a te

custom of we ring Ear rings as articles of adornment seems

Th e a -

to be of ancient oriental origin ; and to have penetrated through Asia

Minor to the civilised countries of the West It has been practised .

from the earliest times by the Arabs in Spain and in Sicily Both , ,
.

sexes am ong the ancient Germans d G uls decked them selves with
,
an a ,

Ear rings As the wearing of them implies either that the ear must
-
.

be pierced or the ornament hung on to the ear neither of which ,

processes are particularly aesthetic ; the custom has fallen out of

fashion and become obsolete Th forms in general are two the
,
. e :

Ring and the D rop The Rings are either not quite closed (figs 1 . .
,

3 9 and
, ,
or they are fastened by a catch of one kind or ano
ther (figs 7 1 4 20 21 and . D rops usually terminate in a
, , , ,

wire loop by which they may be suspended (figs 1 6 26 27 .

, , ,

29 and
,
As these objects m us t be light they are generally of ,

deli cate form and modest dime s ions manufactured of the precious
,
n ,

metals in sheet or wire filig ee As Pendan ts they have the character

,
-
r .

of free endings frequently consisting of different moveable me mbers

-
,
.

Th e standard examples are f rnished by the A ntique and the East u .

PL ATE 27 9 . TH E E AR -
RIN G .

1 —3 Egyptian (R i t) ac ne

—
. .
,

4 12 . Etruscan Louvre Paris (R ci t) , , ,

a ne .

13 Greek in the form of a siren gold found in Ithaca

1 4 — 21
.
, , ,
.

Roman National Library Paris (L art pour tous) ’

—
.
.
, , ,

22 . Bronze found near Nied reggenen B aden United collections

,
e , , ,

Carlsruhe .

23 . Old Frankish .

24 . Renascence from portrait castle t G otha (L thm )

, ,
a ,
u er .

25 . L ouis XVI gold of various colours (R i t) , ,

ac n e .

26 27 Modern by Dir A Ortwein Graz (Gewerbehalle)

—29
.
, ,
. .
,
.

28 . Modern Tu is United collections Carlsruhe

,
n , ,
.
 JEWE LRY .
49 7

Th e Ea r ri gn .

Me y er, H an d b ook of Orn a m en t .

 JE WE LRY .

Pl ate 280 . Mi c ll a
s e u Jewelry
n eo s .
 H ER ALD RY .

Heraldry has so many points of contact th Ornament t it

cannot be omitted from a work that deals with the whole art of
Decoration Heraldry includes both the scienc e and the rt of armorial
. a

bearings Th former contains the rules of framing and bearing coats

. e

of arms ; the latter is the practical art of blaz oning or designing “

and depicting such coats Armorial bearings are distinct B adges .

,

fixed according to certain principles which indivi duals famili es and , ,

corporations are entitled to bear in perpetuity Armorial bearings .

arose during the crusades towards the end of the 1 1t h century ,

.

Th e elevation of the nobles into a corporation the addition of the ,

family or surname to the baptismal name the peculiar usages of ,

Chiv l y the custom of m ilitary games and tournaments are all closely
a r , ,

connected with the introduction of armorial bearings Heraldry as . .

a sci ence did not arise till a later time (about the 1 3 th century) .

A m i l b
r or a i g whose origin is contemporary with the custom of
~
ea r n s,

wearing such B adges and whose right to be borne was afterwards

,

tacitly recognised are distinguished fro m the later bearings the right
, ,

to bear whi ch was granted by L tters patent from princes or their e -

plenipotentiaries Besides the nobles the right of armorial bearings

.
,

was possessed by other p trician though not noble families Their a , ,

.

bearings have frequently arisen from monogr ms family tokens and a , ,

trade marks Th i nscription on a coat of arms of the Fuggers of

-
. e

th year 1 3 8 2 runs
e Dises i h wirt Vl i h Fugg r o bem lt
:
“
za c en , r c e , v r e en

H nsen Fuggers Bruder g p cht haben Welchs hernach Jaco b

a
,
e ra u ,

Fugger des namens der erst angenommen und das s m bt seinen

, .
,
a
 Heraldry . 50 1

Su n en , bis auf fp i g g des W appens g fi t hat (This token

au r n un ,
e er
"

was no doubt used by Ulrich Fugger the brother of the above nam ed -

Hans Fugger it was afterwards adopted by Jacob Fugger the first

: ,

of the name and borne by him and his sons until the assump tion
,
“

of the coat of arms) Th marshalling of armorial be rings was th . e a e

duty of the Heralds whose official badge was the tabard and the staff
,
.

Th Heralds Colleges still exercise control over armorial bearings on

’

e _

behal f of the State I cluding th coats of families towns corporations

. n e , , ,

and offices there are probably about ,

coats of arms in
existence Coats are called allusive or punning when they suggest
.
,

(in whole or in part ) the name of the bearer Th e pikes

,
on the co t . a

of the Lucy fami ly the hirondelles of the Arundells of Wa dour ,

r ,
a re

familiar instances in English heraldry .

We may disting i sh three principal epochs of armorial bearings u

( )
1 Th period from
e the 1 1 th to the 1 3 th century in which the ,

shield alone with its badge formed the Arms which is th e period of ,

the evolution of Heraldry ; (2) Th e period from the 1 3 th to the 1 5 th

century in which shield helmet and crest formed the A ms in which
, , ,
r ,

painted shields and helmets were really worn which was the golden ,

a
g ofeheraldry ; ( )
3 Th period from the l 6 th century to the present
e

time in which the w aring of shi lds and h lmets with badges was
,
e e e

discontinued ; and Heraldry creased to be a living art which is the ,

period of decay in which arbitrariness ignorance and a pedantic d

, , ,
a ~

h e c to antiquat d principles have taken the place of the living

er n e e

ar t From the point of view of style we may disti guish

. Early n :

Gothic Late Gothic and Renascence Arms ; as also those of the B

,
a

rocco and Rococo periods and Modern times Th general direction ,

. e

of style has always had an influence on Heraldry ; but the developement

of rchitecture is on the whole always some twenty years in advance
a .

Th developement of heraldry was di fferent in di ff rent countries ;

e d e an

even the modern E glish French German and other systems differ n
, , , ,

from one another in several essential points

-
.

Here of course we cannot go minutely into the details of the

, ,

subject We shall only give in all brevity what is absolutely

.
, ,

necessary Th Plates will deal with the colo rs or Tinctures the

. e u ,

Shapes and Divisions of the Shield the Charges the Helmet and its , ,

accessories ; the badge of Rank and Dignity ; and Pageantry Those s .

wh wish to study Heraldry more deeply will find an ample lite

o
,

rature at their disposal ; since B t l s de S xof t took up the ar o u a err a o

subject in the m iddle of the 1 4 th century more than enough has ,

b en written about heraldry A accompaniments and supplements

e . s

to study and teaching we may ocomm d the excellent work f r en o

F Warnecke H e ldis ches H n db ch ill t d d by D o pl the

. : ra a u ,
u s ra e e er

young r ; the A leit ng zu p m ktis he D stell g nd A sf h g

e n u r c n ar un u u u run

h a ldis che
er O n a men te fa d a s ges mte K s tgew e be
r r by D tl r a un r ,
e av
 Herald y r . T i cture
n s, an d Di v i ion of the Shi eld
s s .

F r eih von Biedermann with illustrations in the Z eitschmft d s

.
, ,
'

M an chen e K ns tgew er bev er eins 1 8 8 5 ; and the K techismus d e H em l

r u ,
a r

dik by Dr Ed F ih v Sacken
. These works have been followed
. re . on .

in this chapter and our ill s trations are taken from them Heralds
,
u .

ha v e invented a Special language of their own that is always used ,

in B lazoning which is the tech ical description of a coat of Arms ;

,
n

and it sho ld always be s correct and concise as possible so that the

u a ,

coat may be draw from it This language will be used as far as n .

,

possible i the explanations of the following plates

,
n .

Finally we may observe that anyone who has to deal practically

, ,

wi th Heraldry will scarcely ever succeed in satisfying all those who

,

have laid down and still lay down r les on the subject Although
- -
u .
,

on the one hand it seems advisable that on the whole a certain order
,

sho ld be maintained and arbitrariness excluded still on the other

u , ,

hand a good deal of antiquated rubbish might be eliminated from

,

the rules without doing any harm On this point real heralds like .

Warnecke are ll agreed Th Safe path is in the middle ; that ar

a . e

tistic freedom is q i te consistent with obse vance of heraldic r les is

u r u

shown by the masters of the Renascence D ii B ck m i d others : r er , ur a r, a n .

For our present purpose the most suitable sources for the study are :

the d awings of these Masters ; and next to them old S eals Windows
r : , ,

and Monuments Heraldic or aments may be applied to thousands of

. n

things ; in Architecture in Mural p ainti g on Furniture in Textiles ,

n
, , ,

in D ocum ents on Harness &c But they should o ly be applied

, ,
. n

where they have a representati e character ; and then only wi th mo v

deration and p u rpose and in due proportion to the object ,

.

TINCTURE S , AND DIVISIONS or THE SHIE LD .

(Pl a t e

In the good old days of Heraldry there were six Tinctures which ,

were almost exclusively used two metals and four colours Th ,

. e

metals are gold (or) and silver (argent) ; which for practical reasons ,

were often replaced by yellow and white The original colours are ,
.

red (g l s) blue (azure) black (sable) and green (vert) Full st ong
u e , , , ,
.
,
r

shades were employed vermilion or minium for red cobalt or ultra

l

: ,

marine for blue Paris green emerald green or some other striking
, , ,

shade for green Th original scale of colours was afterwards l

’

. e en a r
”
ged by the addition of th so called Proper or nat l colour of e -
“
ur a

the object purple (purpure) ash gray (which is not used in English
, ,
-

Heraldry) blood colour (murrey) and tawny (tenne) Natural objects

,
-
,
.
,
”
men ani m als &c were represented proper that is in their natur l
, .
“
, ,
a

tints ; whereas the older heraldry depicted these objects in one of

the nearest origi al ti ctures e g the lion was golden or red the n n : . .
,

eagle was black or red and so on Purple is not used on the Shields ,
.
,
 H E RAL DRY .

The H e ra l d ic C o l o u rs or T in c tu re s .

O rigi n a l T i n c tu res .
( m
2 et l a s 4 Clr o o s .
)

A rg t en . G l u es . z A ure . S abl e . V t
er .

L t a er Ti tur n c es .

Pr po er . P p ur u re . Ash g y Mu y -
re . rr e . T awny .

Fur s

E mir ne . E mi i
r no s . K u r s ch . Vi Via r . a r p er p l C u t erv air
a e . o n .

D a m a sk e en in g s .

O ld r e . La t er
.

Div is ion s of th e Shie l d

it
n o 9 q u a r ers t or fi ld
e s .

AB U pp er rgi ma n .

D L w r m arg in
o e .

AC D xt r m gi
e e ar n .

BD Si i t r m gi
n s e ar n.

F e e ss .

Ba e s .

D xt r tierce C
e e .

Pal e .

Si i ter tierce
n s .

Pl ate 28 1 . T i tunc re s , and Di i v s ion s of the Shi ld e .

 T incture an d Di i ions of the
s, v s Sh iel d . S hap es of the Shi e ld . 505

shield sometimes bears a smaller Shield Th large shield

Th e . e

whi ch bears the smaller is called th Escutcheon Th smaller shield e . e

in the centre is termed the Inescutcheon Th Inescutcheon some . e

times bears a third shield which is then said to be sur l tout d “

e u

tout Th smaller shields have the same hape as the large shield
”
. e S .

Th chi ef and the dexter Side of the shield are the most
e

ho nourable parts ; and preference is given to the angle of the dexter

chief or canton In bla z oning a coat the description always starts
. :

from this point .

SHAP E S or THE SHIELD .

(Pl a t e

shape of the hi ld is very varied ; and is chi efly deter

Th e S e

mined by the period in which it originated Th oldest Shape is the . e

triangular or heater shaped hield (fig “

It was in use in the
-
”
S .

i 2th 1 3 th and 1 4 th centuries

,
On seals it is first one h alf and at .
,
-

a later time one third the height of a man ; the ratio of its height
-

to its breadth is about 1 0 7 In the 1 4 th centu y shields straight : . r

at the top and rounded at the bottom (we may term them h lf a

ro d) began to appear ; and after them shields pointed at the bottom

un

(fig. T his Shape and the l 6 th ce t y shapes whi,

ch were deve '

n ur

loped from it (figs 4 were probably n v r actually borne ; but

. e e

are merely heraldic At the end of the i 4th cent y the Tilting
. ur

Shields begin to make their appearance their shape being based on ,

that of the Shields used in tournaments (figs 7 Th indenta . e

tions in the sides of these are suggested by the bouche or place “ ”

for the lance on Shi elds intended for actual use Th Tilting . e

shield is considerably smaller than the Triangular shield ; it is about -

one fifth the height of a man At the end of the 1 5th centu y
-
. r

the old Shapes disappear and make way for the German or strap ,

work shields Th ese latter were never in actual use but are orna
mental inventions mostly based on the Tilting shi eld Figs 1 9 —26
_
.
,

. .

give a number of such shields belonging to diff rent periods of the e

Renascence epoch Shap s like figs 1 1 and 1 2 are very comm on in

. e .

Italy at that time Elliptic circ lar and almond shaped shi elds
.
,
u ,
-

are not rare especially in the Barocco period a time in whi ch

, ,

Heraldry was treated in a somewhat arbitrary fashion Of shapes .

that are Specifically modern we may mention figs 1 6 and 1 7 the ,

: .
,

former of which was used for the Arms of Great Brit in Ireland ; a

and of France ; whi le the latter is the best adapted for the blaz oning
of comp licated coats Th Loze ge shape (fig 1 8 ) is especially the
. e n -
.

Shield of ladi es ; in France wher it has been common since the ,

e

1 3 th century it is frequently surrounded wi th a knotted twisted

,

girdle .
 hap e
S s of the Shie ld . Ordinarie s .

PL ATE 28 2 . TH E S H AP E on TH E SH I E L D .

1 —3 T riangular pointed and half round -

—6
, ,
. .

4 Simple shapes Renascence

—
,
. .

7 10 S imple shapes Tilting s hi elds -

—
. .
,

11 12 Italian Renascence
1 3 —1 5
. .

Elliptical almond and circular

—1 7
.
, .
,

16 . Modern .

18 . Lozenge shaped -
.

19 . German Mi chel Milll 1 5 6 4

,
er , .

20 . German unknown master of the l 6 th century

, .

21 . German Daniel L i dtm i 1 5 9 5

,
n a r, .

22 . German Jost Amman end of l 6 th century

, , .

23 . German school of Holbein 1 6 th century

, , .

24 . German Hans W agm ,

1 5 6 5 (Warnecke) an n , , .

25 . German l 6 th century ,
.

26 . German 1 6 th century (Formenschatz)

, , .

ORDINARIE S .
(Pl a t e

Heraldic represent tions may be divided into Ordinaries and a ,

Charges .

Th Ordinaries are the geometrical figures whi ch are formed

e

when the Shield is divided into different fields by straight or curved

lines whi ch extend to the margin of the shield Th number of . e

such figures is infinite Plate 28 3 contains a collection of the ordi .

naries whi ch most commonly occur We shall not discuss each figure .

in det il Th following blazoning or description of the figures on

a . e

the Plate will no doubt give the reader all he req i res to know
-

, ,
u .

Th bla z o ing begins from the upper dex ter angle of each hield
e n S .

PL ATE 28 3 . TH E OR D I N ARI E S .

1 . Per pale sable and or ,

.

2 . Paly of four argent and sable , .

3 . Argent the dexter tierce gules

,
.

4 . Gules a pale or ,
.

5 . A gent a pallet (narrower than a

r ,

6 . Per fesse or and gules ,

.

7 . B arry of five a zure and argent ,

.

8 . Or a chief a zure
,
.

9 . Argent a base g les ,

u .

10 . A rgent a base vert ,

.
 O di nari es
r .

Or a fesse gules
,
.

A gent a barrulet sable

r ,
.

Per pale ; the dexter half argent the Sinister half per fesse zu ,
a re

and or .

Per fesse ; the upper half per pale sable and gules the lower ,

argent .

Quarterly or and a zure ,

.

Ch ky of nine vert and arg nt

ee ,
e .

Checky of twenty or and gules ,

.

Quarterly the l st and 4 th per pale argent and g les ; the

:
,
u

2 d and 3 d or
n r .

P erfesse gules and argent a pale counterchanged

, ,
.

Per p l ba y of five or and azu e counterchanged

a e, n
'

,
r
,
.

Paly of six argent and sable a fesse counterchanged

, ,
.

Or a cross gul es
, .

A rg nt a dexter canton sable

e
,
.

A zu e a c hi ef point vair
r
,
.

Per bend or and vert ,

.

Per bend sinister argent and a zure ,

.

Or in the dexter chi ef a triangle sable

, .

A rg nt in the sinister base a triangle g les

e , u .

Or a bend gules
, .

B endy Sinister of six azure and argent ,

.

Per saltire vert and argent ,

.

Per bend the dexter half argent the sinister per bend sinister
, ,

v ert and or .

Per bend sinister bendy of six sable and argent count r , , ,

e

changed .

Lozengy argent and azure ,

.

F silly argent and azure

u ,
.

Or a pile azure
,
.

A zure a pile argent iss i ng from the sinister side

, ,
u .

Gyronny of four argent and g les issuing from the dexter hi f ,

u ,
c e

poin t .

Or a chevron vert
,
.

Chevronny of six azu e and argent ,

r .

Party per pale and saltire gules and argent ,

.

Gyronny of eight or and azure ,

.

A gent a gyron a z ure moving from the dexter Sid

Q

r e .
, ,

Per pall Sable argent and g les , ,

u .

Per pall rev rsed or argent and az ure e , ,

.

Arg nt a pall gules

e ,
.

Pily barwise argen t and a zure ,

.

Per fesse angled argent and g les ,

u .

Per fesse t ly azure and or e sca r e ,

.
 E
H RAL D RY .

O dir i
n a r es .
P l at e 28 3 .
 Ord i arie n s . Charge s .

Or a pile indented sable also Per chevron indented or and sable

, , , .

Per bend indented , a z ure and argent .

Per pale pot t d argent and azure en e , .

Per fesse p ot t d or and gules en e ,

.

Per fesse d tilly gul s and eg t en ,

e ar n .

Per fesse nebuly azure and argent , .

Sable a chief engrailed or also Per fesse engrailed or and sable

'

, , , .

A gent a pale raguly

r ,
.

Or a bend indented
, .

Argent a bend sinist r wavy a z ure

,
e .

A zure a cross engrailed or

, .

Gules four wolf s teeth argent moving from the sinister side
,
’

, .

A zure a g ge issuing from the S inister base

, ur .

CHARGE S .
(Pl a t e s 28 4

second class of heraldic representations are Charges We

Th e .

disting sh natural imaginative and artificial charges according as

ui , , ,

they belong to the kingdoms of nat e the heavenly bodies phe ur , ,

no men a of nature or to fantastic forms ; or again to art trade

’

, , ,

mecha i cs &c Contrary to the Ordinaries whose outlines usually

.

n
, ,
.

touch the edge of the shi eld the charges usually stand free in the ,

field at any rate on two or three sides

,
d fill the field as much
, ,
an

as possible Th charges are all more or less convention lised ; d

. e a an

Show conventional forms agreeing with the style of the times Atten .

tion m s t be paid to this point so that the unity of style may be

u
,

preserved between shield and charges They are mostly shown in profile ,

an d vigorously drawn and outlined Th tinctures at least in older . e ,

heraldry are not those of ature but one of the nearest heraldic n ,

tinctures so that the idealisation extends not o ly to the form but

,
n

also to the colour Complicated objects are often comparatively sim

.

p lified ; trees for example appear with

,
few leaves and fr i ts 8 0 ,
u ,
5 .

S ome charges such s the lion and eagle are of extremely f

,
a ,
re

q uent occurrence ; others the following are rarer .

Among a i mals the following are represented

n

PL ATE 28 4 .

1. Th Lion (rampant) wi th Open jaws and protrud ing tongue

e

the body lean especially t owards the hinder q arters ; the tail ,
u

curled upwards natu al or split but not arbitrarily ; the teeth ,

r , ,

claws & are gules on metal or and argent on colors ; the

,
c .
,

entire fig e is generally or or g les more rarely sable and

ur u , ,

still more rarely a zure .

 Charges .

Th e L eopard a lion walki g (passant) the head frequently

,
n
,

tu rned to the spectator (guardant) ; the tail curled over the

back (see also Plate
,

Th Ibex jumpi g (salient) the horns large and (like the

e n
, ,

claws) of a different colour to the body which is usually sable ,

.

Th Horse (rampant) mostly without saddle and harness ;

e ,

mane and t il flying ; gener lly sable argent or gules

a a ,
.

Th B oar (rampant ) bristles er ect and (like the tusks and

e , ,

claws) of a different tincture to the body .

Th D og (rampant) generally with a collar wi th ears erect

e , ,
.

Th Eagle (displayed) the talon sp read ; the he ad usually tur

e
,

ned to the dexter side the beak open ; the tongue prot di g ; ,
ru n

frequently barbed ; the tail is sometimes ornamentally t eated ; r

generally sable gules or or (see also Plate

, , ,

Th G oose (like the swan) with reverted neck generally ar

e ,

gent o sable,
r .

10 . Th Martlet (whi ch is a Swallow without beak a d feet ) the

e n ,

two upper are passant the lower one is displayed ,

.

11 . Th Dolphin (rising) often with dorsal crest and orn mental tail
e
,
a .

12 . Tw o Dolphins (rising and respecting each other) wi th Open ,

m ouths .

13 . Th Serpent (nowed) generally arge m a z e or vert

e , ,
ur ,
.

Oth er animals of frequent occurrence are the Stag B ear Wolf , , ,

Fox Bull Cock Raven D ove Stork Crane

, , , , , , ,
Pelican Crab Whelk 8 0 , , ,
5 .

Parts of animals are also not infrequent ,

such as the wings head , ,

and claws .

Both the entire human body and its several members are used
in heraldry ; we may mention as examples
14 . Th e Triquetra 3 legs with bent knee conjoined and regu
, , ,

l ly disposed ro
ar d a point ; a badge on antique Shields in
un

Greek vase painti gs and the A ms of Isle Of M

-
n ,
r an .

Th Moor s head with ear rings and crown

’

15 . e -
,
-
.

16 . Th Monk with extended arms the Arms of M chen

e ,
un .

In addition to the above arms hands legs trunks clasped : , , , ,

hands &c ; also angels saints deities fools maidens knights kings
,
.
, , , , , , ,

savages &c ,
.

Am ong plants are

17 . Th Lime uprooted with few leaves (also fruit trees the oak
e , , ,
-
, ,

fir
18 . Th Oak branch gnarled with few fruits and leaves
e -
(also , , ,

withered branches or logs , ,

 Charges . 51 3

19 . Rose idealised as a rosette single or double in five to

Th e , , ,

eight parts .

20 . Th Lily or Fleur de lis conventional consis ting f three petals

e - -
, ,
O ,

with or without stamens ; us ed in art long before the birth

of heraldry ; com mon in French coats .

In addition to the above Clover Nettle Water lilies Grapes Pome : .

, ,
-
, ,

granates Fir cones &c

,
-
.

P L ATE 28 5 . CH AR GE S .

Th e most frequent imaginary fig es and monsters are ur

Th Griffin (rampant) with eagle s head and wings lion s body ’

1
’
. e
, , ,

tail curved upward or downward the upper and lower halves ,

often of different colors .

2 . Th Panther s imilar to the griffin

e but without wi ngs us ually
, , ,

spitting flame (turned towards the sinister side ) .

Th Dragon a winged reptile with two lion s paws or eagl s ’ ’

3 . e ,
e

claws (Th wivern is similar but with hinder feet )

. e ,
.

Th D ragon with wolf s jaws serpent s body and fi h tail

’ ’
4 . e ,
s -
.

5 . Th two headed Eagle (an ordinary eagle wi th two heads turned

e -

away from each other each with nimbus) the coat of the Holy , ,

Roman Empire .

6 . Th eS eiren (an eagle with the bus t of a virgin) the arms of ,

Nuremberg .

7 . Th Mermaid (a naked female figure terminating below the breast

e
,

in a fish tail) the figure is als o found without arms and lso ,
a

symmetrical with two tails curved upwards ,

.

8 . Th S e lion with the fore part of a lion termina ting in a fish

e a- ,
-

the heavenly bodies there occur

Of

9 Th S
. ewith face and Sixteen rays straight and wavy alternately ;
un , ,

always gold .

1 0 Th Moon waxing or waning with or without face (in the first

. e , ,

case the crescent is argent and the face or) .

1 1 Th Star with rays of five to eight points ; or

. e ,
.

Less common are Comets and the Earth with the lines of latitude : , ,

an d longitude .

Among the phenomena of nature we have

1 1 Th Cloud ve ry conventional argent or azure

. e , ,
.

1 2 Th Rainbow g ules
. e or and a zure (shown in the Plate above a
, , ,

triple hill) .

M ey er, H a n db oo k of Orn a m en t .
 HE RALDRY .

Pl ate 285 . Charg es .

 Cha ge r s . Form of the
s H elm w

statant when all four feet of an animal touch the ground

: .

semé or powdered when an arbitrary number of one fig e is : ur

scattered over the shield .

2 d 1 three figures placed thus

an :
,

2, 2 and 1: five figures placed thus ,

1, 3 and 1: five fig es placed thus ur

,

2, 1 and 2: five figures placed thus ,

and so on .

F O RMS OF TH E H E LME T .
(Pl a t e

In the earliest days of Heraldry the shield by its lf formed the e

coat ; and it is down to the present time sufficient for the presentment
, ,

of the bearings To a complete coat however belong further th

.
, ,
e

Helmet and the Crest Sometimes particulary on seals the Helmet

,
.
, ,

a nd Crest are used alone as a badge B ut just as we saw that all .

shields are not suit ble for heraldic purposes so here too there are
a , , ,

only a few helmets whi ch have found acceptance in heraldry ; such

as the Tilting helmets We have to consider four forms The oldest
-
. .

is the Salade (fig Th Heaume the lower half of which is

,
. e ,

c ylindrical and the upper half a truncated cone rests on the sho lders ,
u ,

(figs 2 . Th Tilting helmet (figs 6 eis more elegant than -

.

the hea m e ; it fits better t o the form of the head and has a slit for
u
,

the purpose of vision (fig 5 shows an intermediate form between the

,
.

Heaume and the Tilting helmet) Th latest form is that with the -
. e

barred Visor (figs 1 0 This fits closer to the head than the
.

Tilting helmet ; the slit has been enlarged to a broad pening guarded
-
O ,

either by vertical bars or by a grating Th Armet (fig and . e .

other helmets like the B rgonet are u h eraldic ; and are seldom seen
,
u ,
n

in Arms .

Speaki g generally the Salade belongs to the 1 3 th ; the Heaume

n :

to the 1 4 th ; the Tilti ng helmet to the i 5 th and l 6 th centuries ; the -

Vi z or also belongs to the two latter centuries Th first three helmets . e

are known as closed the Vizor helmet as Open “ -

“ ”
.

PL ATE 28 6 . TH E H E L ME T .

1 . Salade fi st half of 1 4 th century Armory B erlin

,
r , , ,
ins .

high
—3
.

2 . Heaume front and side view 1 4 th century

, ,
.
 HERAL DRY . 5 17

F orm s of the H lm t
e e . Pl ate 28 6 .
 F rm
o s of th e H lm t e e . He m l et Trap pi g n s .

Heaume second half of the 1 4 th ce nt ry fr om the ll

,
u , co ec

tion of Gustav von Decker Berlin ins high (Warnecke) , ,

.
, .

Heaume approxi m ating to the form of the Tilting helmet

,
-
,

1 4 th century
—9
.

6 Tilting he lmets
1 0— 1 1
. .

. Helmets with barred Vizors .

12 . Armet .

H E LME T TRAPPINGS .
(Pl a t e s 28 7

Plates 28 7 and 28 8 show the Helmet in co junction wi th the n

coat of Arms As the Helm et was only worn by knights it belongs

.
, ,

strictly peaking only to the coats of knightly famili es ; towns and

S ,

corporations the clergy and ladies do not bear the helmet although
, , , ,

there are exceptions .

A regards style the Helmet should match the form of the Shield
s ,
.

Th Salade and the Heaume belong to the Triangular shield

e the : ,

Tilting helmet also belongs to these and still more to the Tilti g n v

shield Helmets wi th barred Vizors are most suitable to Half round

.
-

shields Th size should also be in proportion to that of the Shiel d :

. e

Th e height varies between and the height of the Shield ’

Th usual position is over th

e centre of the upper margin of th e e

shield and resti g upon it (not free) so that it covers a little of

,
n ,

the field (Plate 28 7 If the shield is represented in a slanti g

,
n

attitude ; the helmet rests on the highest angle (Plate 28 7 6 7 .

, ,

When the coat is composite several Helmets may be placed upon the
'

Shield ; they are then proportionately smaller in size When the .

number of Helmets is 2 4 they turn their profile to each

.

6 , ,
or :

other ; when the number is uneven the central one is shown in full ,

face Only one helmet c be placed on a slanting shield Helmets

. an .

may als o be placed at the side of the shield or borne by the sup ,

porters Th helmet is coloured as if made of polished iron frequently

. e ,

with decorations of silver or gold ; or the entire helmet may be gilt :

or silvered If the bearer was entitled to wear any Collar he might
.
,
“

show it on the Helmet (Plate 28 7 but these appendages are non .

essential ; and are not met with before the 1 5 th century The Helmet -
.
.

is usually depicted as lined with red cloth .

Th essential trappings in a complete coat of Arm s are

e 1 the : .

Crest 2 the Mantling

,
. .

Th Crest probably originated from the custom of painting

e

heraldic figures on the helmet At a later date plastic ornaments .

,
.

were added to the helmet ; they have some figurative connection with
the
—
coat I f the coat is bl . d with heraldic figures : these are a z on e .

repeated either wholly or partly in a simple manner as a crest , , ,

 Helmet Trapp ings . C ow r n s, &c .

PL ATE 28 7 . TH E H E L M E T TR A PPI N GS .

1 . T ilting helmet with rich Mantling and Crest of double wings

-
, , ,

Al brecht D urer coat of arms of D eath 1 5 03 , ,

.

2 . Coat wi th Tilting helmet rich Mantling and Crest of a virgin

,
-
, , ,

Germ an Renascence (Formenschatz) ,

.

3 . Half rou d shield with Vizored helmet Mantling like ribbons and
-
n -
,
-
, ,

Crest two swans necks ’

4 . Tilting shield inclined to the sinister side Vizored helmet M tl

-
, ,
-
,
an

ling like ribbons d Crest two horns decorated ,

an .

5 . German Shield with Vizored helmet and Crest a C p f main

,
-
, a -
o -

ten a n ce .

6 . S hield inclined to the dexter side with Vi z ored helmet Mantling

, ,
-
, ,

and Crest a cushion .

7 . Triang lar Shield inclined to the dexter side with S alade Mant
u -
, , ,

ling and Cres t double wings

,
.

8 . Half round shield inclined to the sinister Side with Vizored helm et
- -
, ,
-
,

and hi gh Crest and Mantling (Dietz) ,

.

(Figs 3 to .8 are from S i bm ch s Wappenbuch ) e a er

’

PL ATE 28 8 . TH E H E L ME T TR APPI N GS .

1 . Tilting Shi eld with Vizored helmet Mantling and Crest an

-
,
-
, ,

eagle .

2 . Tilting shield with Vizored helmet Mantli g and Crest f a

-
,
-
,
n ,
o

naissant figure G erman Renascence (Formenschatz) , ,

.

3 . Tilting shield inclined to the dexter side with Tilting helmet

-
, ,
-

and naissant bull as Crest Italian Renascence palace in Florence , ,

.

4 . Tilting shield inclined to the dexter side with Tilting hel

-
, ,
-

met Mantling and crest of horns

—6 ,
.
,

5 . Coats by Hans S ebald Beham 1 5 4 4

, ,
.

7 . Modern coat on seal by A von Werner , ,

. .

CROW Ns, &c .

(Pl a t e

principal heraldic badges of rank and dignity are the Crow

Th e : n,

Hat Cap f maintenance Wand Sword Key &c

,
-
o -
d the insignia of , , ,
.
,
an

the various Orders of Knighthood .

Th Crown of rank whi ch is not to be confounded with th

e - -
,
e

crown of the shield is placed above the shield in the place of the
,

Helmet ; the same holds good of the Coronets and Caps (figs 1 1 ,
.

These latter have partly a conventional form appertaining to the ,

dignity ; and they have Special forms for special cases .

 HE RAL DRY .
5 21

Hel m t Trapp i g
e n s . P l ate 28 7 .
 HE RAL DRY .

P l ate 288 . Helmt Trapp ing

e s .
 E
H RAL R D Y .

Pl ate 289 . Crow n s, Coronet s, &c .

 525
HERALDRY .

He aldic Acc
r i
es sor es .
Pl ate 29 0 .
 Her ldic Acce rie
a ss o s .

H ERALDIC ACCESS O RIE S .

(Pl a t e

nder this title we group such decorations as form do not an essen

U ,

tial pa t of the Coat but rather give an artistic finish to it Th prin

r , . e

cip l area Supporters Tents Mottoes &c

: , , ,
.

Support rs are figures of human beings o e animals angels ,

r :
,

knights ladies savages lions g iffi & On old tombstones d

_

, , , ,
r ns , c . an

the seals of knights the possessor of the coat appears as the bearer ,

of it Supporting angels are usually placed behind the shield (figs 1

. .

and L adies knights savages & stand at the side of the , , ,

c .
,

Shield either ingly or in pairs ; and the same rule applies to ani
,
s ,

mals (figs 3 and .

Tents are draperies in the form f a B ldacchino serving as a o a

,

background for the Shield Th outside is generally p ple the i . e ur ,

n

side of ermi ne and they are hung w ith golden tassels and fringes
, .

S uch accessories are only suited to the coats of S ove reigns d St ,

an a

t s ; and are of comparatively Modern introduction

e .

Mottoes War cries &c are written on fillets or bands beneath or

,
-
,
.

round the shield (fig Examples of such mottoes are the English .

“
Honi soit qui mal y pense the Am erican E pluribus unum or ”
,
“

the W ttemberg Furchtlos und treu

ur
“ ”
.

There are also de finite rules for the heraldic composition of a

number of coats in one (for example in a double coat the figures ,

must be affront d but we need not enter into the details of

e , ,

these Th artistic execution is very various and a bitrary (fig

. e r .

PL ATE 29 0 . H E R AL D I C A CC E S S OR IE S .

1 . An gel as Supporter by H J G ti 1 6 28 (Warnecke)

, ,
. . an nn, ,
.

2 . Angel as S upporter Italian l 6 th century (Formensch t z)

, , , ,
a .

3 . L ady as S upporter ,
H B km i Triumphal Procession of th , .
. u rc a r
,
e

Emperor M ximilian (Observe the repetition of the tinctures on

a ,

the lady s dress the crest and the banner)

’

, ,
.

h-
l Griffins as Supporters b y Hans B ckm i (Formenschatz)
, ,
ur a r, .

fl
C Coat with Mottoes 1 5 29
, ,
.

D
C Composite coat within a quatrefoil D s school (Formenschatz)
, ,
u r er
'

,
.

Q Modern Tent .

D
C Coat of Arms of the Artists designed by L L sk In couse ,
. e er .

q c
u en of an a ffronte o ffered by t h lords of R pp ltst i to the e a o e n

artists employed in the building of Strassburg minster it is said ,

that the Emperor Sigismund granted the artists called the Y k ,

“
un e rs

of Prague perm ission to bear the same coat of arms

”
,
or three ,

escutcheons azure (Martin Crus ii S ch w abi ch Chronik ) ,

s e .
 Writi g Printing
n , , &c .

brought with it the decadence in the forms of letters whi ch is most ,

clearly seen in the middle of the 1 8 th cent ry Since then and u .

,

especially in recent days a gratifying progress has been made to some

,

thing better although it cannot be said that every attempt at im

,

provement has been successf l It must not be forgotten that p

u . ra c

tical needs sho ld be considered quite as much as aesthetic aspirations

u , ,

especially in a domain of such great and general import nce as letters a .

It should always be borne in mind that the first req i ement is easy u r

reading ; and that this is dependent on simplicity and characteristic

shape in the letters .

As regards the decorative e ffect for in this work we have chiefly ,

to deal wi th decoration it has first to be observed that the Antique

,

did not recognise the principle of ornamental writing either because ,

no one thought of the possibility of ornamenting writing or because ,

they intentionally preferred the greater legibility or f r some other ,

o

now unknown reason At a later date almost ll civilised nations

. a

and periods have occupied themselves more or less with the decorative
e ffect of writing This may take two different directions either the
. :

letter may be decorated in its component parts which eventually ,

leads to the extravagance that fishes birds human forms &c , , ,

.
,

in all imaginable contortions form the outline of the letters ; or

,

the letter in its ordinary form may receive a decorative finish by

means of decorative accessories by being set in a frame which theen
,

appears as a free ending or a s a picture Th second treatment is

,
. e

especially suitable for Initials ; and has led to very ingenious com
hi mations ; e g the background wi ll frequently be an illustration of
. .

th subject of the chapter which the initial begins (F ig 2 Plate

e ,
.
,

Both kinds of decoration may be combined The first mode of .

d ecoration frequently leads to the loss of the real character of the

letter ; in the second mode it not infrequently happens that the letter
cuts the picture or vice versa in an unpleasant manner Colour is
, ,
.

a n important factor in the decoration of writing Gold Silver and .

‘

, ,

a great variety of colours but ab ove ll gold and red along with
,
a
, ,

bl ck play an important part in writing in the miniat re painting of

a ,
u

t h e Calligraphists as well as in Typography In the present work

,
.

we are unhappily compelled to leave this aspect out of consideration .

In the Middle Ages it was principally monks and nu s who

: n

d evoted themselves to the art of Writing ; from the i 3 th cent y ur

onwards it was also practised by laymen A long series of celebrated

,
.

C alligraphists might be named Calligraphy retrograded gradually

.

with the introduction of Printing ; but on the other hand the best
artists of the Ren scence such as Holbein and o thers did not disdain
a , ,

to design Initials and other letters for printers as may be proved ,

from a countless number of old books As Christianity was intro .

d ced into G ermany by the Irish

u northern influences may also be ,
 Writing , Printing ,
&c . 5 29

traced in writing Up to the 1 0th century the decorations of

.

Writing have almost exclusively the character of interlaced work and -

fantastically interlaced figures of anim ls ; but from this period a

-
a

vigorous plant decoration begins to be developed eventually ter ,

m i ti g in later Gothic in the endless int rlacing f confused lines

na n
, ,
e o .

Th Renascence period prefers to set its initials in square frames ;

e

and these creatio s are among the most beautif l that writing has
n u

ever produced The interlaced and artificial ornaments which after

.

wards became so common in Typography especially in the 1 7 th and ,

1 8 th centu ies (Plate 29 4 2 3 and

r are either the invention of .
,

th e Calligraphists of this period or are the transfer of their chie ,

ar ve

ments to Typography Here too as in so many other things .

, , ,

Modern times revert to the models of the most different older periods ;
rightly when good is selected and wrongly when the objectionable is ,

re i ed Over those sins of Modern Writing which c lminate in

v v .
,
u

deforming our houses and the titles of our books wi th rows of shaded
letters in all manner of possible and impossible places and positions ,

it is best to draw the charitable veil of silence Compared with these .

S ins of style those sentimental garlands of roses and forget me nots

,
- -
,

into which the last century formed its lines are tolerable ,
.

As regards the te chnical names of the kinds of letters now in

general use we c only say that they are so arbitrary that we sh ll
: an a

do best to refrain altogether from attempting to enumerate the m

Whoever wi hes for inform ation on this point may be recommended
s

to consult the Specimen b ook of some good Typ e fou dry - -

n .

A ttempts were early made to construct Alphabets on a definite

system ; to base them on network to determine the height and breadth ,

of the entire letter the dimensions of its component parts &c ; among
, ,
.

others D urer devoted himself to this task Space has not permitted .

us to reproduce all these constructions ; but as a specimen we have

given on Plate 3 00 the constructions of a few .

Th notation of Numbers was introduced at the end of the Middle

e :

A ges . Our Numerals are an Arab ian invention when e their name ,
c .

Plate 3 00 shows two collection of numerals of old times which are

not sensibly different from those now in use It is well known that .
,

be fore Numerals were generally employed recourse was had to the ,

Latin letters (Roman numerals) for the indication of num bers It is .

really remarkable that thi s latter apparatus in Spite of its unprac tical ,

character has remained in use down to the present day

,
.

Finally we may say a word or two bout the Monogram This a .

name is given to letters and i t l i g of letters intended to replace n er a c n s

or to indicate a name It may be formed either by Single ornamented

.

letters usually the initials of the first and family name (Plate 3 00
,
.

5 or by all the letters contained in the word (Plate 3 00 .

It is not imperative that all the letters should be of the same Si z e

M eye r , H a n d b o o k of Orn a m e n t .
34
 R m o a es que L etters n . Gothic Uncial L ett e r s .

or style ; and if necessary some of them may be reversed A Mono .

gram hould be well arranged and clear so that it need not require
S , ,

to be guessed t like a riddle A good e ffect is produced by adding

-
a .

attributes and badges of dignity to monogram s Artistic sense and .

feeling must here supply the place of rules Numerous and excellently .

ornamented monograms will be found in G erlac h D a s Gewe bemono : r

gr a mm .

here are various books on Writing as well as numerous col

T ,

lections of Initials and Alphabets Prof H howi s I nitia len ‘

. . ra c na
’
'

A lp ha bete a n d R a n d leis ten (Vienna G raeser) will be found very useful

in teaching D Lamprecht s I itia l O n a men tik des 8 —1 3 J h hun
:
'
-
. r . n r . a r

d a ts (Leip z ig
r A D ii ) is an exhaustive study of the older styles
: . rr

of writing .

TE 29 1 . R OM AN E S QU E L E TT E R S .

A lphabet beginning of the 8 th century S Cuthbert s evan

, ,
.
’

g liei m B ritish
ar u Museum (Shaw )
, ,
.

Al phabet l 0th century MS British Museum (Shaw)

, ,
.
,
.

Initial 1 2th century Berlin Museum

, ,
.

Initial 1 2th cent y B reviarium Cassinense B ibliotheque Ma

,
ur , ,

zarine Paris (L art pour tous)

, ,
'
.

Initial 9 th or 1 0th century

,
. .

Initial 1 2th century B erlin Museum

, , ,
.

Initial 1 2th century (A nold Knoll)

, ,
r .

Initial 1 2th century

,
.

Initials 9 9 0 Echternach, g li m G otha

, (L amprecht) ev a n e a ru , ,
.

P L AT E 29 2 . GOTH I C UN CI AL
L E TT E R S .

Al phabet 1 3 49 S Margaret s King s Ly n England (Shaw)

’ ’

1 n

—5
.

, ,
.
, , ,

2 Ini tials 1 4 8 0 Rouen

—
.
.
, ,

6 7 .
Letters stalls of S G eorge s chapel Windsor end of 1 5 th
,
.
’

, ,

century (Shaw) ,
.

8 G othic initial .

9 G othic initial 1 4 9 4
—
.
.
,

10 17 .
Initials 1 4 8 0 P o tific l of J ohann IL Archbishop of
, ,
n a e ,

Trier (Shaw) ,
.

P ATE '

29 3 . GOTH I C UN CI AL L E TTE RS .

1 phabet 1 4 th century (John Weale)

Al
—3 Initials 1 5th century (H h wi )
.
.
, ,

2 ra c o na

4 —7 Initials 1 4 th century 1 3 3 0
.
.
, ,
‘
.
.
, ,

8 Initials end of 1 5 th century (F ormenschatz)

, ,
.
 ORNAMENTAL L E TTE RS .

Pl ate 29 2
. Gothic U ncia l L etter s .
O RNAMENTAL L E TTERS . 53 3

Gothic Un cial L etter

s . Pl ate 293 .
5 34 O ld English Letter s . O ld German L etter s, &c .

P L ATE 29 4 . OL D E N G L I S H L E TTE RS , &c .

1 Old English text tomb of Richard H Westminster

.
, , A bbey ,
about 1 4 0 0 (Shaw)
— , .

2 4 Initials 1 6th century Plantin Museum Antwerp (Y s en dyck

)
—
.
, , , , .

5 8 Initials 1 6 th and 1 7 th centuries (Ra g e et)

.
, ,
u n .

9 Modern initial Di G ot z Carls he ,

r .
,
ru .

PL ATE 29 5 OL D GERMAN L ETTE RS

. .

1 . German text 1 4 6 7 (H chow i ) , ,

ra na .

2 . German text alphabet composed from several documents , .

P L ATE 29 6 . MOD E R N TEX T .

1 S . chwabach type .

2 G . utenberg Gothic .

3 . Fr Thiersch (M le j o l)
.
,
a r u rn a .

4 . Ribbon ornament as Typographical Tail piece ,

-
.

PL ATE 29 7 LE TTE R S
. R E N A S CE N C E .

1 Roman Renascence alphabet

. 1 5 4 7 specimen book of J ohn of , ,
-

Y ci D ango B iscaya
a r, ur ,
.

2 Renascence alphabet lower case Roman letters specime book of

.
,
-
,
n-

Wolfgang Fugger Nuremberg 1 5 5 3 (H ch w in ) , , ,

ra o a .

Renascence initial 1 5 3 1
e
c ,
.

a Renascence initial 1 5 0 0 (Formenschatz)

n
,
.
,

e Initial 1 5 3 4 Lucas Cranach the elder (F orme n schatz)

, , ,
.

m Renascence initi l Ged uckt Z A gSp g Durch J ost D e Ne cker a ,

“
r u u ur
”

(Wessely ) .

- R enascence initial Italian (Formenschatz)

q
, ,
.

Initial i 7 th cent ry El z e vi r printing office (Yse dyck)

o
c ,
u , ,
n
o Initial 1 7 th cent ry Specimen book of Paul Furst of Nuremberg
c
,
u ,
-
,

(L art pour ’
tous ) .

1 0 Initi l B arocco period French (H chow i )

. a , , ,
ra na .

1 1 Modern initial by P Koch

.
,
. .

1 2 Modern i tial by Dir C Hammer

.
i n ,
. . .

PL ATE 29 8 . R OM AN I N I TI AL S .

1 . Renascence ,
1 5 3 7, (H ra ch ow in a
) .

2 . Renascence ,
1 7 th cent ry Plantin printing office
u , ,
A t n werp,
n dyck
(Y se ) .

-
3 Mod ern F ench r »

—
r
.
,

4 13 . Modern Paris ,
.
 O RNAMENTAL L ETTE RS .

Pl ate 29 5 . Old German L etter s .

O RNAME N TAL L ETTE RS . 53 7

M d ern Text
o . Pl ate 296 .
 O RNAMENTAL L E TTE RS .

Pl ate 29 7 . R enascence L etters .

 O RNAMEN TAL L E TTERS .

P l ate 29 9 .
R oman L ett r
e s .
 O RNAMENTAL L E TTE RS . 5 41

C tructi n Num eral and Mon g am

on s o s, s, o r s . Pl ate 3 00 .
542 o an L etter
R m s . Co tructi n
ns o s, N m u eral an d Mon g am
s, o r s.

PL ATE 29 9 . R OM AN L E T TE RS .

1. Modern .

2. Modern .

3. Renascence italic G ottlieb Munch Ordnung der S chrift 1 7 4 4

, , , .

4. Renascence lower case italic Michael Bauernfeind Nuremberg

-
, ,

H a ch ow in a )
1 7 3 7, ( r .

CON STR U CTI ON S , N UM E RA L S , AND M ON OGR AM S .

Roman capitals .

G erman text and large G othic uncial letters

,
‘

Arabic numerals i 5 th and 1 6 th centuries

,
.

Modern monograms of two and three letters (R gu e et) ,

a n .

Modern monogram Dir G otz , . .

Monogram of a name Laugier (R g e t) :

“
a u ne .

Monogram of Christ ; formed of the Greek initials of

the name of Christ found in the Catacombs It is ,
.

frequently combined with the letters A Q in llusion .

,
a

to Rev X X I I 1 3 I am Alpha and Omega (compare

. . :
“ ”

Plate 21 3 Of later date is the monogram IHS

.
,

the first three letters of the name J esus I H EOYE , ,

when written wi th Greek letters which was afterwards ,

selected by the Jesuits as the badge of their order It .

has been variously explained as meaning J esus :

“

h om i m salvator (J es s th saviour of men) ; In H oc

“
nu u e

S alus (in Him is salvation) ; Jesus H b mus Soci m

” “ ”
a e u

(we have J esus for companion ) ; or In H c S igno

our :
“
o

vinces (in this sign thou shalt con quer)

”
.
544 In d ex .

Cap it l (p il a t r an d anta )
a ,
s e ,
: 21 4 . Crown Cor net & 520 , o , c : . .

Caryati d 242 : . Cr zier 3 8 4

o : .

Cen er 3 8 2
s : . C ucifi 3 8 4
r x: .

Centaur 1 06 : . Cruet 3 1 6 : .

Chain Band 1 29 : . Cup 345 : .

( J E W ELR ) 4 8 6 Y : . Cyathu Kyathos s: s ee .

Chair 4 22 : . Cylix Kylix : se e .

Chali ce 3 45 : . Cym a Enrichment of 1 55 , : , (1 64 .

Chand e lier 3 73 : .

Charge (Heraldic) 51 0 , : . Dagger 394 : .

Chate l aine 499 , 4 04 : . Dam a k eni g (Heraldic) 503 s e n , : .

Cherub hea d 1 09 -
: . DECO RATED OBJECTS 295 : .

Che t 451s : . De k 451 s : .

Chim aera 70 : . Dia d em 499 : .

(hea d ) ( 7 8 : . D ER 27 7
I AP S: .

Circl e Diap er 278 28 3

, : , . p atte n 9 r s: .

Pane l 256 (1 1 5 6 : , . Dip hr os Okla dia s : 4 34 .

Subdi v ision 27 : . Di h 308 see 4 76

s : , .

Ci t 3 1 8
s : . Dog hea d (79 , : .

Cla p 4 9 2
s : . Dolp hi n 8 6 : .

Cl aw foot (220
-
: . 1 (Hera ldi c) (51 1 : .

Cl ock ca e 4 53 (475
-
s : , . Do r K ocker 408
o -
n : .

Clu ter of Fruit 59

s , : . Dorm er (463 : .

Coat of Arm (525 s: . 1 Dre s p in 4 8 0 s -

: .

Co k (tap) 4 1 7
c , : . E agl e (N at ra l) 8 0 (4 54 . u : , . 1

C ll ar (Herald ic) 51 8
o ,
: .
(H eraldic) 8 0 512
7,
: . .

Column S RT : see UP P O S .
(hea d (3 43
7,
: .

Com b 49 9 : . Ear ri g 49 6 -
n : .

Com p a e 41 7 ss s : . Ea el 4 53 s : .

Con ol e 235
s : . Egg and tong e & 1 55
- -
u , c : . .

Co truction of L ett rs
ns e Ela p h os : 3 4 2 .

Con v o lv lu 52 u s: . E LEME NTS OF DECORATIO N : 3 .

Corn 52 : . Ellip e Con tr ction an d S

s ,
s u , u bdi

Cornucop ia 1 24 : . v i ion 30 s : .

Coronets 520 : . Pane l 267 : .

Cothon K th : see o on . Enamel 28 1 s: .

Couch 438 : . EN C L E O RN M EN T 246 OS D A S: .

Cra dl e 4 57 : . E v olute p iral B n d 1 51 -

s a : .

Crat r see Krater

e : . F an : 412 .

Cre t (Heraldi c) 5 1 8
s , : . Faucha d 3 9 6 r : .

Cre ti g B d 1 61 1 72
s n or er z .
, . FEATURE S of Objects : 1 25 .

C ocket 1 8 5
r : . Fe toon 59 (221
s : , .

Cro 1 7 2ss : . Fibul a 480 : .

(Herald ic) 5 1 5 : . Fini l 1 75 a : .

Panel (275 : . Fl wer Natur l 56

o s, a : .
 I dxn e . 5 45

Fl ower p ot -
: 315 . Ham m e 4 1 7 r: .

va e -
s : 31 2 . Hanap 3 47 : .

Fly fl a p p er : 4 1 4
-
. Ha d b e ll 404
n -
: .

F old ing chair : 4 38 -

. Hand mirror 4 1 2 -
: .

Foliage Artifici l 39 ,
a : . Ha gi g cab i et 449
n n -
n : .

Natural 3 4 : . Hat (Cardinal & Heral di c)

,
’
s, c .
, : 5 23 .

Font 320 : . . Hea d dress (J EW ELR ) 4 99

-
Y : .

F oot (220: . 1 Hea ds of Anim al 7 6 s: .

Fork 400 : . Heaum e 39 0 5 1 5 : , .

Fox, hea d (7 9 : . He lm et 3 90 51 6 : , ,

FR E 4 61
AM S: . Tra pp i g 51 8 n s: .

(architect ra l) 4 6 2 u : . H R L R 500
E A D Y : .

(m irror) 46 5 : . Herm es Term i us : se e n .

n (strap Hexagon Subdi v i i 1 8 , s on : .

(ty p ogra p hica l) 47 1 : . Hinge 1 8 6 : .

F R EE RN M N T 1 59
O A E S: . H ipp otra gela p h os : 3 4 2 .

Fret Ban d 1 28 : . H ly water Stoup 3 20

o -
: .

Frieze (104 : ( )
1 6 2 . Hop l eaf 52 , : .

Fringe 1 88 : . H orn Dri king 3 42 ,

n : .

Fruit in Fe toon 59
, s : . Hor e hea d (79
s , : .

F nel 3 24
un : . Hum an b dy 93 , o : .

F RN T R E 4 20
U I U : . Hyd ria 3 20 : .

L e g : 23 0 . Hyacinth gl a 3 1 5 -
ss : .

G abl e or am ent 1 6 6
-
n : . I m pl ement Tr p hy Sym b l s: s ee o , o .

Gargoyl e 1 8 5 : . I itial
n L etter : se e s .

Garl and see in (8 2 : . I k tan d 3 1 6

n -
s : .

Gate :Grill s ee . I chair (4 26

nn -
: .

GE M TR C L E LE M EN T
O E I A S: 3 . In trum e t
s Tro p hy Symb l n s: s ee ,
o .

German Drinki g gl a e n -
ss s : 3 52 . Interl acem ent Band 1 3 5 : .

Girdl e 49 2 1 8 8 (48 7
: , , . 14 I y l e f 51 (203
v , a : , .

Gl a diator H lm fi 3 90 ’
s e : . Ja r : 3 1 8 .

Gl a s Drinking 35 5
s ,
: . J EW EL R 4 78 Y: .

Stai e d Gl ass
s ee n -
. Jug Pitcher
: s ee , P ot .

G bl et 3 45
o : . Kal athos (3 44 : .

Gothic Tracery 30 : . K alp i (323 s: .

Griffin 7 0 (51 4 : , . K an p hor s 242e o : .

Grill 29 4 : . K antharo 340 s: .

G tt q
ro Ani m a l 1 00
es u e : . Ka p ros : 3 42 .

Fig re 1 01 u : . Key : 4 1 0 .

Ma k 9 5 s : . K ettl e : (33 5 .

Gryp s : 34 5 . Kli mo 4 22 s s: .

Guilloche Interl a ment Ba d : se e ce n . K ife 400

n : .

H ai p in 4 80
r- : .
K b (finial) 1 7 9
no ,
: .

H al f fig -
1 01 u re : .
Knocker 408 : .

H alb erd 3 9 4 : .
Kn ot ee Ribb on : s .

M ey e r . H an db oo k of Orn a m en t .
Koth on : 3 40 . Me maid (514
r : .

Krater 3 08 : . ME T L O C T 3 59
A B JE S: .

Ky atho 3 40 s: . Mi erv a hea d (108

n , : .

Ky l ix 34 0 (3 1 1 : , . Mi ror frame 46 5
r -
: .

L ab el 1 20 : . Mirror Hand 4 1 2 , : .

L ace : 1 90 . Miserere eat 43 1 -

s : .

L a chrim a tory : 3 1 2 . Mitre (524 : . 11

La dl e : 3 24 . Monogram 542 : .

L am p : 36 4 . Mon trance 3 8 4
s : .

Pe d ant 3 73
n : , (3 1 4 . Morion 3 90 : .

Tabl e 3 7 5 : . Mosaic 278 : .

L ance 394 : . Motto 526 : .

L a tern 3 7 3
n : . M uldi gs E i hm t of 152 1 6 1
o n , nr c & 1 s : , .

L a re l 4 3 (3 44
u : , . Mug 3 53 : .

L azy tongs 404 -

: . Mural Painting 28 6 : .

L eaf Ban d 1 45 : . N T R L F RM
A U 34 A O S: .

(Natura l) 52 : . Nautilu he ll (9 1 ) s-s : . 1

L ectern 4 53 : . N e k l ace 48 8
c : .

Le tus C bi l i
o 43 8 u cu a r s : . N eck ri g (4 8 9-
n : .

L g (Furniture) 23 0
e , : . N ee dle case 4 9 9 -
: .

L ekythos 3 28 : . N etwork 4 : .

L etters 5 27 : . Num eral s 54 2 : .

L ink Bord er 1 60 : . O k l eaf (55

a , (1 50 ( 56
1 : . . .

L ion (Heral dic ) 510

, : . OBJECTS DECORATE D 295 . : .

(N atu a l) 63 r : . O bl ng Pane l 262

o , : .

hea d 70 (233 : , . Subd i v ision 1 8 : .

L izard (9 2 : . O tagon Sub di v ision 1 8

c , : .

L ock escutcheon (4 7 5
-
: . Oin och oé : 326 .

L otus 48 (1 62 : , .
(208 . 2 O l iv e 4 3 : .

(28 8 .
(3 27 . O lp e 3 26 : .

L ozenge Pane l 272 (88 , : , .

(464 . 3 ) Ord er (Heraldic) 523, : .

Sub di v i ion 21 s : . Ordinary (Heraldic) 506 , : .

Lunette Pa e l 268 , n : . O RNAME NT APPLIE D TO FEA

L ynx head (7 7 , : . TU RE S 1 25 : .

I lla ce : 3 9 6 . O v a l Con truction

,
? 33
s .

Maeand er see Fret : . O v ol o E i hm ®t of 1 55

,
nr c : .

Mantling (Herald ic) , : 519 . Ox hea d (79

, : .

Ma pl e l eaf (55 , : . P ainting see Mural p ai ti g : n n .

Margi see 4 7 7 n : . P lmette Ban d 145

a : .

Mar hea d (1 08
s
’
: . Palm leaf 48 , : .

Marte l axe 39 4 -
: . P EL 246
AN S: .

Ma k 94 s : . Panther (Heraldi ) (51 4 s) , c : .

Match hol d er 41 7 -
: . h ad 73 e : .

Me d allion 1 09 (49 5 : , . 1 2, Pap er knife 402 -

: .

Me dusa hea d 1 00 , : . Papyru 48 s: .

 Ind ex .

S quare Subdivi ion 1 4 ,

s : , (252 . 1 Tong 4 1 7 s: .

Staine d Gl a 283 ss : . Too l 4 1 7 al o Trophy

: , see s , S
Stall 428 : . Torch 1 24 : .

S tanda rd 523 : . Toru E ichment of 1 55

s, nr : .

Star Pane l 249

, : . Tracery 2
(8 8 (29 : . 1 . 1

Subdi v i i n 1 3 s o : . (259 .
(275 .

Ste l e cre t 1 6 7
-
s : . Tra g ela p h os : 3 42 .

Stoo l 4 3 1 : . Tra p ezium Panel 276 , : .

Stoup 3 20 : . Subdi v i ion s : 21 , 26 .

Stra p Hi ge 1 8 6 Tra p ezoi d Pane l : 27 6

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n : .
, .

S t a p work Bord er 4 77
r -
, : . Tr a p e z 0 p h oron : 231 .

Fram e 4 68 : . Tri ngl e Subdi v i i n

a ,
s o : 18 .

Pane l (260 .
(26 4 . Pane l 27 6 : .

(27 1 . 6 Tri p o d 3 79 : .

abl t 4 74 T e : : T o p hy 1 10
r : .

Margi 4 77 n : T li p t ee l af (55
u -
r e :

Subd iv i ion of Shap es see 1 4 —

.
, .

s33 : . Tum b ler 3 52 : .

SUP P OR T 1 94 S: . Typ o g a p hical Fra m er : 47 1 .

Supp orter (Her ld ic) , a : U ncia l L etter s: see s .

S w ord 3 9 2 : . Un dul ate Ban d 1 4 6 : .

Sym b ol 1 1 1 : . Uraniscu 14 s: .

T abl e 4 40 23 1 : , Urn : 3 06 .

Tabl et FR M E : se e A S . T EN L 3 59
U SI S: .

Tab oret 4 3 1 : . V a l e ce 1 8 8 n : .

Tankar d 3 55 : . Va e forms Chart of 304

s -
, : .

T p a : C ck see o . V E 29 7 (1 23
AS S: (1 80 , . ,

Ta e l 1 8 8
ss : . Vertebrate Ban d 1 4 5 : .

Te l amon 242 : . Vine 43 : .

Tent (Hera ld ic) 526

, : . Vip er see Serp ent : .

Term inu 225 s:

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. Vi or helm et 3 90 5 1 6
z
-
: , .

Text L ett r
: S ee e s . W all p a p ers 28 6 -
: .

Textil W a vi g
e: se e e n . War cythes & 3 9 4
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s , c : . .

Three centre d Arch Co truc tion 3 3

-
, ns : . Water p ot 334 -
: .

Throne 4 25 : . Wa v e scroll E v o lute p iral B

-
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s ar

Thyrso (1 07 s: . Weap n 3 86 o s: .

Tiara (524 : . Weav i g 289 n : .

Tiger hea d (77 , : . Wings 8 1 : .

Tiles 28 3 : Wreath (Heral dic) 51 9 ,

: .

Til ting He lmet 3 90 5 1 6 : , . WR G 527 IT IN : .

Tinctures (Her ldic) 502 , a : . Writi g tabl e 443 n -

: .

Toil et tan d or ca b inet 45 5

-
s , : . Wrought i on 1 75 -
r : .

P rin t e d in Ge rm a n y by R AMM 8: S EEMA N N , L EI P Z I G .