Meyer Franz. A Handbook of Ornament
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The
Eagle.
—
The Wing.
81
Plate
52.
The
Eagle.
1.
YouBg
Eagle, in a
scutella
(dish),
Roman.
U.
Roman
Eagle,
pedestal of Trajan's column,
Romo,
(Raguenet),
3.
Roman
Eagle,
Vatican, Rome, (Raguenet).
4.
Roman
Eagle in
an oak
garland, Bas-relief originally in Trajan'3
Forura, now in SS.
Apostoli,
Rome,
(De
Vico, Trenta tavolo,
&c.).
5.
Sitting
Eagle, modern,
(Gerlach,
Das Gewerbemonogramm).
Plate
53.
The
Heraldic Eagle.
1.
Romanesque
Eagle,
Germanisches Museum,
Nuremberg.
2.
Eagle, Gothic
style,
Viollet-le-Duc,
(Dictionnaire de
I'arcbitec-
ture).
3.
Eagle,
Gothic style,
oil
painting, Germanisches
Museum,
Narom-
berg.
4.
Eagle, Gothic
style,
by
Albrecht Diirer,
(Hirth, Formenschatz).
5. Eagle,
Renascence,
by
Albrecht Diirer,
(Hirth).
6.
Eagle,
Renascence,
(Hirth).
7.
Eagle,
Renascence,
by
Wenderlin
Dietterlin, (Hirth).
8.
Eagle,
Modem,
German,
(Heraldische Meisterwerke).
Plate
54.
The
Eagle.
1.
Eagle,
as Akroter,
Flora
pavillion,
Louvre, Paris,
Architect
Lefuel,
(Baldus).
2.
Eagle,
in
a
laurel
garland,
Modem,
German, by
Ranch.
3.
Eagle, with
oli^e branch,
in
medallion, Louvre,
Paris, (Baldus).
4.
Eagle,
high
relief, by
Rauch,
on
monument,
Berlin.
5.
French
Eagle,
Modern, new
Opera
House, Paris,
Architect Garnicr,
(Raguenet).
6. Flying
Engle, from
Nature,
(Raguenet).
7.
Eagle, from
nature.
TuE
Wing. (Plate
55.).
As
the
small scale
of the
preceding plates does
not
admit
of
the
details
of the Wing
being
fully shown;
and
as
draughtsmen,
aa
well
as
modellers, are
often
called-upon to
design
winged shapes (be-
sidos the
Eagle, Angels,
Amorini,
Genii, Grottesques,
the
Caduceus of
Mercury,
the symbolic
Wheel
of the
railroad,
&c,:
we
have
thought
it
advisable to
add a
plate
showing the details of
the
Wings on a
somewhat
larger scale.
They
are taken from
nature; but
will
be
found
helpful for
idealised
renderings.
Plate
55.
The
Wing.
i.
Wing of a
duck.
2.
Wing of a
wild goose.
Meyer,
Handbook
of
OrnameDt.
D
82
NAT[IKA1.
FORMS
Plate
52.
The Eagle.
NATURAL
FORMS.
83
The Eagle.
Plate
53.
6*
84 NATURAL
FORMS.
Plate
5t. The Eagle.
NATURAL
FORMS.
85
The
Wing.
Plate
55.
86
The Dolphin-
The
Dolphin.
(Plates 56—58.)
The
Dolphin (Dclpliinus
delphis, French, dauphin)
has enjoyed
an unnsnal
share of
attention. This sea
maromal,
which has
some-
times been
erroneously
classed among
the
fishes, lives in the
seas
of
the
northern hemisphere,
swarms round ships, swnms in shoals,
and
is fond of
sport.
In
ancient times the Dolphin enjoyed, and
enjoys
even
now in
some parts, a
kind of -feneration which
protects
hini
from persecution.
We
meet
him occasionally on Antique coins, on
Graeco-italic terracottas, on
Pompeian
mural
pajntiugs,
on
furniture
and utensils, and in the
architecture of the Greeks and Romans.
Guigo
rv.
of Viennois
(1140)
took
to
himself the
title
of
"Dauphin", and the Dolphin as crest.
One of his successors, Humbert II.,
sirrrendered the Dauphiny in 1349 to
Charles of Valois, in exchange
for a
legacy and on the condition
that
the
heir
to
the throne should
always bear the title "Dauphin";
which condition was faithfully
kept.
This
is
the explanation
of,
the
frequent appearance of the Dolphin
in
French decoration;
but its
frequent appearance in
Italian
decoration,
is
due
to
its artistic capabilities. The Dolphin is
often
used in
pilasters, panels, in intarsias, in ceilings and
mural
paintings,
in
enamel, in niello work, and in typographical
ornaments.
In
modern styles the Dolphin often masks the spouts
of
fountains.
In
symbolic representations
he is
the companion of
Nymphs,
Nereids,
and
Tritons, and of Arion,
Aphrodite,
and Neptune, with whose
trident he is often combined
in
ornament.
Plate
56. The Dolphin.
1.
Portion of
frieze, Graeco Italic, Campana collection, Paris.
2.
Shield of
the French kings, 15th century, (Raguenet).
3.
Castle at Blois, French Renascence, (Raguenet).
4.
Italian
Renascence, Louvre, Paris, (Raguenet).
5.
Head, from
a relief, French,
by
Clodion
(1738—1814).
6.
Pair of Dolphins,
by Schinkel,
(Vorbilder
fiir
Fabrikanten
utid
Handwerker).
7.
Head, as spout,
by
Barbezat, Paris,
(Raguenet).
8
—9.
Heads, as spouts, face
and
profile,
(Hauptmann,
Modeme Orna-:
mentale
Werke im
Stile der
Italienischen
Renascence).
Plate
57. The Doij'hin.
1. Frieze, Sta.
Maria dell'
Anima,
Rome
(1500
to
1514),
Italian,
(Raguenet").
2.
Panel
ornament,
French
Renascence.
3.
Choir
seats,
Certosa near
Pavia,
Italian
Renascence,
(Teirich,
Meurer),
NATURAL
FORMS.
87
The
Dolphin.
Plate
56.
88
NATURAL
FORMS.
Plate
57. The Dolphin.
NATURAL
FORMS.
SO
The Dolphin.
Plate 58.
90 The
Dolphin.
—
The Shell.
—
The Serpent
4.
Part of Frieze,
Rome, Arco della
chiesa nuova,
Italian
Re-
nascence, (Weissbach
und Lottermoser, Architektonische
Motive).
5
—
6. Heads.
7
—
8. Parts of Address
by
German
artists,
to
king Humbert of Italy,
by
Director Gotz.
Plate
58. The Dolphin.
1.
Panel,
Venetian Renascence.
2.
Lower
part
of
panel.
Ducal
Palace, Venice,
Italian Renascence.
3.
Part of
frieze, Sta. Maria
della
Pac^, Rome,
by
Braraante,
1504,
Italian.
4. Part
of Majolica Tile,.
Sta.
Caterina,
Siena, Italian
Renascence.
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
(1527).
The Shell. (Plate
59.)
Among
molluscs: the
Nautilus (Nautilus Pompilius)
and
various
shells,
principally of
the
family of the
Trochoidae, are
placed on
feet;
and,
elegantly
mounted in
metal, serve as
Drinking-vessels.
The
Scallop shell is
used as the
top
of cylindrical
niches,
as a
waterbasin in
the form
of
a
shallow dish,
and as
a
decorative
back-
ground for vases
and busts.
It was
extensively
employed
for
these
purposes
in
the later Renascence.
Plate
59.
The
Sheix.
1.
Nautilus, from
nature.
2.
Snail
(Turbo
marmoralus)
, from
a
Renascence
driuking-veFsel.
B.
Exterior
of the Scallop (Ostrea
Jacobaea
—
Peden
Jacobaeus),
from
nature.
4.
Interior of the
Scallop, after Jost
Amman,
(Hirth,
Formenschatz).
5.
Scallop
design,
Louis
XVI.
style,
lower
end
of a
panel.
6.
Scallop design,
by
the sculptor
Lehr,
of
Berlin.
7.
Scallop
design,
for
the decoration of
a
niche.
The
SEiirENT.
(Plate
60.)
The
Serpent is
occasionally
used
for
symbolic
and
decorative
purposes.
It
is
developed
ints
an
antique
Bracelet,
and
to a
Handle
for
vessels,
a pair twine
round
the
Staff of
Mercury (the
Caduceus,