Meyer Franz. A Handbook of Ornament
Подождите немного. Документ загружается.
ARTIFICIAL
OBJECTS.
121
The
Kibbon, and
the Liibel
Plate 78.
122
ARTIFICIAL
OBJECTS.
Piate
79.
Tlie Elbbon,
AETIFICIAL
OBJECTS.
123
Miscellaneous
objects. Plate
80.
124 The
Ribbon.
—
Miscellaneous objects.
tbe
Gothic, make
them
curled and quaint; in
the
Renascence
they axe
developed
in various
free
and elegant styles, often divided at
the ends
like a
pennon. In
the Louis
XVI. style they ar6 often
peculiarly
crinkled, but in
spite
of this
mannerism they are
not
vrithout a
cer-
tain
decorative
charm, (Comp.
plates
78
and
79).
Plate 78.
The Eibbon,
akd the Label.
1.
Label for
motto,
on
the seal of
the town of Schiltach,
Gothic,
Inscription on the ECroU: "S.
opidi
schilttach".
2.
Ribbon,
from Jost Amman's
Wappen- und
Stammbuch,
German
Renascence.
3.
Ribbon,
painting
by
B.
Zeitblom, Carlsruhe
gallery, Gothic.
4.
Label for motto, old
Germain painting, School
of
Cologne, Carls-
ruhe gallery.
5.
Label for motto,
triumphal car,
by
Hans
Burgkmair,
1473
—
1530,
German, (Hirth).
6.
Label for
motto,
Albreeht Diirer's "Der
Eiilen seyndt
alle
Vogel
neydig und gram,"
German
Renascence, (Hirth).
Plate
79. The
Kibbon.
1.
Ribbon and knot,
After
Daniel Mignot, German
Renascence.
2.
Ribbon
and knot,
the Louis
XVI. style,
(Lifevre).
8.
Ribbon
and knot for a
bunch of
fruit, after Prof.
Sturm
of
Vienna,
(Storck's
Zeichenvorlagen).
4. Drapery
Festoon, (Raguenet).
Miscellaneous
objects. (Plate
80).
Finally,
among
the
artificial
objects
v/hich
are used
in decora-
tion,
especially of
pilasters,
we
may
mention
those
forms
like cande-
labra and vases,
from
which
ornaments,
like
growing
plants,
usually
rise,
(Comp.
plates 80
and
131).
Cornucopias,
Torches,^
small
inscription
Tablets,
and
many
other
objects,
are
introduced.
Plate
80.
Miscellaneous
objects.
1.
Vase, window
pilaster
of
"
the
Cancelleria,
Rome,
by
Bramante.
Ita-
lian Renascence,
(De
Vico).
2.
Vase, pilaster
of a
door,
San
Angostino,
Rome,
(De
VicoV
3.
Vase, lower
part of a
panel,
Italian
Renascence.
4.
Vase, tomb
of Louis
XIL, St.
Denis,
French
Renascence.
5.
Vase, Louis
XVL style,
(F.
A. M.,
Cours
d'ornement).
6.
Crossed Torches,
upper
part
of
pilaster, by
Benedetto
da
Majano,
Italian
Renascence.
7.
Crossed
Torches,
Renascence.
ORNAMENT
APPLIED TO
FEATURES.
A.
Bands.
B.
Free Ornaments.
C.
Supports.
D.
Enclosed Ornaments,
or
Panels.
E.
Repeating
Ornaments,
or
Diapers.
126
Introduction.
The second
division
of
the
Handbook
deals
with
ornament
as
applied in
decorative
Features. They
will
be
arranged
according
to
their function,
and treated in
accordance
with the
mutual
relations
of
the
decorative
form and its
application.
Every
one
acquainted with Decoration,
must
have
been struck
by
the fact
that on certain
Objects
and
on
certain
parts
of them
the
decoration
invariably
appears
to
have
been
modelled
on
the same
principle, no
matter how
much the selected
motives
may vary
from
each
other or
belong to special
styles. In
decoration,
as
elsewhere,
there is
a
right and
a
wrong use
for
everything;
each
object, even
the
very smallest,
requires its
own proper Form
and
Decoration,
and
the
artist who
understands style
vrill give these,
though
in
many cases
unconsciously; artistic instinct
guiding
one
man
where
another
must
study
laboriously.
Be this as it may,
the relations are there.
A
socle
ornament
.
cannot be
reversed and used as
a
frieze
without
modification;
a
column,
which
looks
beautiful and even delicate on
monumental
archi-
tecture,
may
produce a
clumsy effect if reduced and
applied
to
furni-
ture; no
one finds
fault with the
20
or 24
flutings
of
it
in archi-
tecture,
but half of them would more than
suffice
for
the smaller
Cabinet.
And
so
on. The achievements of those
periods, in
which
the
intimate
connection
between form, aim and
material
was
either
unknown
or forgotten, are what might
be
expected.
The Empire
Style,
which
copied
the Antique
at
the instance of
an august per-
sonage;
and,
in
so
doing,
produced work which
is
classical
in respect
of
its mannerisms; is an
example.
A Greek
temple
and an arm
chair
are two different things; each
has
its
own peculiarities;
and must be
fashioned and decorated in
accordance therewith.
It
were an insoluble
problem
to
give
a
formula for
each case;
and
to attempt
to
do
so
lies beyond the
scope
of this
Handbook.
But we
v/ill
attempt
to
bnng together some
important
groups from
the entire
field; and by
means
of
them
to
illustrate the
principles
of
design.
127
A.
BANDS.
The
group
of Bands includes all those ornamental
forms
which
are used
to
give
expression to the ideas of bordering,
framing, and
connecting.
The
motives
are
partly
geometrical, partly organic,
chiefly plant-
forms; artificial
forms being more rarely used.
The Band
has
no
"up"
or
"down";
but only
an onward
or
an
outward
tendency.
It
has
no
limitation
in regard
to
length; but
is
generally
a narrow,
ribbon-like ornament.
The
proper
application
of
Bands
is to the
enclosing of ceilings,
walls,
floors,
panels,
on certain architectural
constructions,
on the
abacus and
the
plinth
of columns, and
as a
running
ornament round
the
shaft
of the
latter.
They
are
further
used as the
hem or border
of
garments,
carpets
and other
textiles; as borders
in typography,
on
the
rims
of
plates
or dishes,
or to
separate
the ground
from the
rim,
&c.
The
principal
ornaments
in this
group are:
the
Fret; Chain
and
Interlaced
patterns
(Guilloche);
Foliated
bands in
the
various
forms
of
Rosette,
Palmette,
Flower,
Leaf,
and Scroll bands,
&c.
The
Evolute Spiral
band
(Plate
97)
stands
to
a certain
extent
on
the
borderline
between
Bands
and
Free
ornaments.
Leaf
patterns,
and the
Egg-and-tongue
which has been
devel-
oped
from
them,
are not
Bands at
all, in the strict sense of the
word.
They
express
the
mediation
between the support
and
the weight,
for
which
reason
they
are
used as the enrichment of Mouldings.
They
are
here
included
among
bands in
order
to
avoid an independent
group
for
the
sake
of the one
plate.
As a
matter of fact, they
do
often
appear
as
bands
(the
Egg-and-tongue as a
decoration
of plate
medallions,
&c).
128
The Fret Band.
The Fret
Band.
(Plates
81—84.)
The
Greek Fret (or
Meander
border)
is,
as it
name indicates, a
specifically
Greek
ornament, and
no doubt
of
textile
origin.
Its
accomodation
to the
rectangular
network
suggests this.
The
name "meander" is
said
to
be
derived from
a
river of
Asia
Minor,
the Maeandros, now
the
Menderes,
which flows in sinuous
curves.
Although
the
forerunners
of
the
Greek border are to be
found
in the Assyrian 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
Koman style it was used for mosaics
on
floors
and
often
—
contrary
to
the principles of style of flat
ornaments
—
in
those
parallel
perspective
representations in
which
it seems
as
if
it
were a
plastic ornament,
(Plate 83.
8).
The Middle
Ages seldom used the
Fret
(one
example will be
found on Plate
83.
9);
but
similar forms
are
common in the Chinese
and Japanese
styles (Plate 84.
7).
The Renascence revived
the Fret in
its ancient application; made
new combinations; and
sometimes
interlaced
it
with plant motives
(Plate
83.
10).
AJthough very
commonplace,
the fret still has
a
good
effect
when
it is
applied
in
the proper
manner.
Its
construction is
very
simple. In
general
—
although not always
—
the breadth of
the broad lines or
ornament
is
equal
to the distance
between them;
we
therefore
draw
a
square
network
as shown on
Plate
1,
fig.
1,
then draw all
the horizontal lines
(the measure-
ment
of the
lengths
and the
observance of
the rhythmic
regularity
peculiar
to each Greek pattern
are the only
difficulties),
and then
join
their
ends
by means
of
perpendiculars,
(Plates
81
and 82).
Centres
are
formed
by
arranging the
axis at a
suitable
place, and
reversing
the pattern,
(Plate
84. 6 and 10).
Angle junctions may
be
similarly
arranged by
cutting the
pattern
diagonally to the square net
at
a
suitable
place, and reversing
as
before, (Plate
84.
3,
4
and 6). The
angle-treatment of Current
Frets
is
more
difficult (Plate
84:
figs-
1, 2,
and 5).
The end
of
a
Fret with
only one
row may be
formed
by cutting
the pattern
short
at
a
suitable spot;
where two or more rows run
parallel to or
cross each other,
they may be
combined
so as to form
proper
endings (Plate
84.
11).
The pattern
is sometimes carried
round a
circle; but this ia an
arrangement
which
is quite out
of accordance
with its character.
The square
network
is
not always
applicable to
cases
in
which
the
Fret has
to
be repeated
within a
given length.
In
this
case the
divi-
sions
of
length are either
elongated
or
compressed
by
drawing
the
auxiliary lines at
a
greater or less
angle
than
450
(tj^g jg
shown
on
Plates
81
and
82).
The
Fret
Band.
—
The
Chain
Band.
129
Plate
81.
Unsymmetrical ob
Current
frets: Greek
vase
paintings.
1
—
4.
Ordinary,
simple
patterns.
5. Elongated
pattern.
6. Raking
pattern.
9
—10.
Patterns
which are interrupted
hj
rosettes,
stars,
&c.
8
—9.
Abnormal
pattern, formed
by
fragments,
instead
of
a
contin-
nous
line.
Plate
82.
Reciprocating
Frets.
1
—4. Ordinary,
simple patterns.
5.
Double
pattern, Greek.
6.
Intersecting
pattern,
Louvre,
Paris.
7
and
10.
Fragmentary
pattern, Greek,
and
modern.
7
and
9. Symmetrical
double
pattern,
Greek.
7
—10. Ornamented
patterns.
Plate
83.
Intersecting
Frets, &c.
1
—6.
Ordinary
patterns, Greek
vase
paintings.
•
7.. Abnormal
pattern, Japanese metal
vessel.
8. Pattern
in parallel
perspective,
Roman mosaic
pavement.
9. Mediaeval
folded-tape pattern, resembling
the
Fret,
(Racinet).
10.
Pattern
ornamented with laurel. Louvre, Paris.
Plate
84. Ends, Angles,
and Centres,
of
Frets.
1,
2
and
5.
Free,
unsymmetrical
angle treatment.
3,
4,
6,
7
and
8.
Symmetrical
angles.
9
and
10.
Centre treatments.
11
—14.
Ends of patterns.
Antique motives,
except No.
7
(Chinese), and
No.
8
(Modem).
The Chain
Band.
(Plate
85.)
The
basis of the design
is the Chain.
The
Chain Band
is
there-
fore cemposed
of circular,
elliptical,
square,
or
lozenge shaped
links,
which
are
either represented
all
in front
view (as in
1, 2,
4
and
8),
or^^ alternately in
profile
(as in
3,
5,
6,
and
7).
The Chain pattern probably
occurs sporadically
in
every
style.
That Chain-bands have not
been more frequently
used,
although
they
are a simple and efi'ective mode
of decoration, may be
due to
the
fact
that
the
chain appeared
to a certain
degree
to be
too
force-
ful,
too
vigorous in its effect.
At
any
rate, delicacies
of
artistic feel-
Meyer,
Handbook of Ornament.
9
180
J