Meyer Franz. A Handbook of Ornament
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The Trophy.
—
The
Symbol.
Ill
field
of battle.
These tokens
of victory,
or
Trophies,
have also found
a
place
in decoration.
The
Romans
erected
artificial,
symbolical
Trophies
of stone
or bronze
in
the form
of columns,
pyramids,
and
similar
architectural
structures.
Since
their
time
Trophies
have been
used not
only
to decorate
all
monuments
connected
with war and
victory,
e.
g.
arsenals,
the offices
of the
ministry
of war,
guard-houses,
barracks,
and
weapons, especially
shields;
but they
have been
used
up
to
the
present
time
for purely
decorative
purposes,
as
elegantly-
arranged
and
prettily-grouped
weapons
of
war,
in the architecture of
the
pilasters of
castles,
town-halls
and
tombs,
in
the
intarsias
of
the
Renascence,
on
woven
fabrics and
tapestries,
as vignettes;
and, above
all,
in plastic
ornament.
It was also
natural
that Trophies
should
also
be formed
of hunt-
ing-weapons,
which
have much
similarity
with
weapons of
war, and
also
of
objects connected with
the
navy. The original meaning of
the
word
(rgoTtaiov
=
token of
victory, from
rgoutj,
turning,
flight)
has, it
must
be admitted,
been lost sight
of
in these applications.
Plate 71. The
Teophy.
1
—
6.
Decoration
of
chased metal
dish.
Renascence.
7
—
8.
Decoration
of
clock panel,
French
Renascence, Louis
XTTI
style, (Lifevre).
9
—10.
Panels
of
door,
Otto-Heinrich
portion of the Castle, Heidel-
berg,
German
Renascence,
(Pfnor).
Plate
72.
The Teophy.
1.
Panel,
tomb
of Galeazzo
Pandono,
San Domenico maggiore,
Naples, Italian
Renascence,
(Schiitz).
2. Part of Panel,
Italian
Renascence.
3. Part
of Panel of
a stall, Dordtrecht,
Dutch Renascence.
4. Pedestal
of monument
to
a Margrave, Pforzheim,
by
Hans
von Trarbach,
German
Renascence.
5
—6.
Panels,
Quay front,
Tuileries, Paris,
(Baldus).
7,
Part of design
for
a
monument,
by J. Ch. Delafosse.
The
Symbol.
(Plates
73—77.)
The
grouping
of tools and instruments,
to
symbolise
some special
idea,
leads
to
the design
of Symbols.
Thus we
find,
disregarding-
those
of
war and hunting,
which
we have treated of as trophies,
Symbols
of art,
both of Art in general and of
the special arts;
Music,
Painting,
Sculpture,
Architecture,
&c.;
Symbols
of
Science,
11? ARTIFICIAL
OBJECTS.
Plate
71
The Trophy.
ARTIFICIAL
OBJECTS.
113
Meyer,
Handbook
of Ornament.
The Trophy.
Plate
72.
8
114
The
Symbol.
either
as a whole
or
for individual
sciences:
Mathematics,
Astronomy,
Chemistry,
&c.;
of
Commerce, of Technical
Science, and
finally
of
Handicrafts
and Trades.
Singing,
for example,
is
symbolised
by a
lyre
with
or without
sheets
of music:
Music
by
violins, flutes, horns,
Pan's pipes,
&c.;
Dancing
by
the tambourine
and
castagnettes; Acting
by masks; Paint-
ing
by
brush and
palette; Sculpture by the hammer,
chisel, and
works
of
sculptxxre, busts, torsi; Architecture
by
square, straight-edge
and
compasses,
usually in combination with capitals.
The
Railroad
and
Steam
are symbolised by a
vdnged
wheel, the Telegraph
by
coils
of
wire,
which
radiate
lightning.
Trade is represented
by casks
and
bales
of
goods on
which the caduceus (a staff round which winged serpents
are
twining
—
the attribute of Mercury) is resting; Agriculture
has
the plough,
the sickle, the scythe,
&c..
Vine
culture the vine
press.
The
different Trades have chosen their Symbols partly from
their
tools, partly from their finished products. The Guilds and
Companies
of
past centuries
introduced a certain system into these outward
and
visible
signs; a
large number of
guild
pictures, some of them
very
beautiful and ingenious,
are
preserved in the industrial art
museums
of
modern
times.
A far
more
detailed and extensive
treatment of Symbols than
can
be
given
in the
present work
vnW
be
found in Gerlach's Allegorien
und
Emhleme, to
which
we
are
indebted for
a
number of illustrations.
Plate
73.
The
Symbol.
1.
Angle ornament,
hall
of the Ministry ol State, Louvre,
Paris,
(Baldus).
2.
Louvre,
Paris,
(Baldus).
8.
Symbol of
the violin
makers*
guild, Klingenthal,
1716,
(Gerlach,
Allegorien
und
Embleme).
4
—
5. Pilaster
panels, by the sculptor Fomilini
of
Florence, Modern.
6
—
9. Medallions, by
the sculptor
Lehr of
Berlin,
Modem.
Plate
74.
The
Sytnibol.
1.
Carved
wood
Door-head,
French, 18th
century,
(L'art
pour
tons).
2
—
3.
Symbols
of
sculpture and
painting, by
the sculptor
Hauptraann,
Dresden,
Modern.
4.
Part of
Exhibition-programme, Miinchen, 1876,
by R.
Seitz.
5.
Address-card
of an ink factory,
by Prof.
Hammer of Carlsruhe.
6.
Title
to
an
edition of
Goethe's
works,
by
Dir. Gotz
of Carlsruhe.
Plate 75. The
Symbol.
1. Part of
Panel, court
of Ducal
palace,
Venice, Italian
Renascence,
(Schutz).
AETIFICIAL
OBJECTS.
115
The
Symbol.
Plate 73.
8*
116
AKTIFICIAL OBJECTS.
Plate 74.
The
Symbol.
ARTIFICIAL OBJECTS.
117
The
Symbol.
Plate
75.
118
ARTIFICIAL
OBJECTS.
Plate 76. The Symbol.
ARTIFICIAL OBJECTS.
119
u^^^kmkMtir -T T
4.
Af
The Symbol,
Plate
77.
120
The Symbol
2.
Ecclesiastical art,
3.
Architecture and
Sculpture,
4.
Painting,
5.
Antique art,
6.
Christian art,
7.
Art,
8.
Sculpture,
In Pilasters,
by
the sculptoi
Hauptmann,
Modern,
staircase
of
Museum, Dresden.
Plate
76. The Symbol.
1.
Banner,
of
the
architectural
school of
the
Polytechnicum, Carla-
ruhe.
2.
Chemistry.
3.
Mathematics.
4.
^Mechanical
Engineering.
5.
Civil Engineering.
6!
Forestry.
7. Post
and Commerce,
Polytechnicum at
Carlsruho, Designed by
G.
Kachel.
8.
Mechanical Engineering,
9. The Mechanic,
>
(Gerlach,
Allegorien und Embleme).
10.
Smithery,
11.
Navigation and Commerce,
Tuileries, Paris,
(Baldus).
Plate
77. The
Symbol.
1.
Navigation,
2.
Agriculture,
3.
Music,
4.
Farming,
5
—
6.
War, Border
of
a
copper plate
engraving, by
Heinrich
Goltzius
(1558—1617).
7.
Hunting and
Fishing,
by Stuck
of
Munich,
(Gerlach,
Alle-
gorien und
Embleme).
8.
Forestry,
9.
Sword-making,
10.
Musketry, >
(Gerlach)
11.
Farriery,
I
12.
Smithery.
J
The
Ribbon. (Plates
78—79.)
Ribbons
are
not
used alone,
but
are
frequently
employed
as
a
decoration of
garlands
and festoons
(comp.
plates
88, 39,
40),
of
sym-
bols (comp.
plates
71
—
77),
or
they are
Labels to
bear
some
motto
(comp. plate
78).
The
Piibbons
of
the
Antique
are
simple, often
ter-
minatiDg in a
ball or
acorn
like
knob;
the
Middle
Ages,
particularly
'
Court
front
of
the
Tuileries,
Paris, (Baldus).