Meyer Franz. A Handbook of Ornament
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132
BANDS.
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134
BANDS.
1
The
Chain 13and.
—
The Interlacement Band.
135
jcg,
which
have found
expression elsewhere, and often unconsciously,
seem to
point to
this
conclusion.
The construction
of
such bands
is
simple;
and in the
case of
those illustrated may be understood
from
the plate itself.
Plate
85.
'The Chain
Band.
1
—
-5. Modern
decorative
painting.
C
—
8. Carved
wooden ceiling,
Townhall,
Jever,
German, Renascence.
Tee
Interlacement
Band. (Plates
86—90.)
The
Interlacement
Band includes all
those bands
which are for-
med
of
a
number
of" lines
interlaced or plaited together.
They are
usually
symmetrical
to
the
longitudinal axis;
and may be
produced
indefinitely.
The
principle
is that the interlacing
broad
lines
shall
pass
over
and
under
one-another
alternately.
Rope
patterns
are used as borders
in painting,
in
textiles,
in
pottery,
intarsia,
and
the ornamentation
of
manuscripts; in
architect-
ure
on the
under
sides of
stays and
beams, on archivolts (the
arches
of
doors
and
windows),
in
the soffits
of arches, 'sometimes in
a
frieze,
I
and
often
as
the
enrichment
of
the torus moulding.
Interlacement
patterns
are
used in all
styles, though in some they
are
more
popular
than
in others.
And
in this ornament
the indivi-
duality of
each
style is very strongly marked.
In the
Antique: the ornament consist of wavy
interlacing
bands
round regularly-
placed
knobs or eyes.
The wavy
lines
are composed
of
arcs or
of
arcs
and straight lines, in which
latter case
the arcs
make
tangential
junctions
with the straight lines (Plate
86).
In flat
ornament
the
interlacing lines are
distinguished from
each-other by
shading
or by
colour; in
plastic
ornamentation they
are fluted or
channelled.
The
Interlacement
patterns of
the
Middle Ages
—
chiefly of the
Byzantiue
and
Romanesque periods
—
make use
of Ajitique
forms;
adding
to them
the angiilar bend (Plate 87.
1
—
3).
In
the so called Northern
styles
—
Celtic,
Anglo-saxon,
Norman,
Scandinavian,
and
Old Prankish: it is the
most conspicuous
ornament.
Here
we meet
extremely
complicated and
richly combined
interlacings,
mostly
freely
drawn, without
the aid of
the
compasses.
It is
cha-
racteristic,
and remarkable
in regard to these styles,
that the
same
band
appears
in
sections of difi'erent colours in
theii* ornament.
The
works of
Owen
Jones
and Racinet contain numerous
examples,
mostly
from
old
illuminated
manuscripts:
our
Plate
87 (4—
8)
reproduces
some of the
simplest
(reconstructed with the compasses).
136
The Interlacement
Band.
The Moorish
style favours a
peculiar interlacement.
It is
cha-
racteristic that the
bands, which are always
straight,
make angles
of
90**
or
1350,
and
are
adapted
to a
network
as shown
on Plate
1,
6g.
5. Here, too, we find the alternate
colouring
of
the single bands.
Numerous examples
will
be
found
in Owen
Jones, Racinet,
and Prisse
d'Avennes,
"L'Art
Arabe",
a
selection from
these
being given in
Plate
88,
figs.
1—6.
The
other Oriental
styles exhibit
greater
variety in
this respect;
and also
employ
round forms,
(Plate
88. 7
und
8).
The
Renascence developed
great variety.
Besides the traditional
forms of
the Antique, peculiar
constructions appear, chiefly to be
met-with
in the
arts of
inlaying,
on book-cover
decoration, in
pewter
chasing,
and
typographical borders,
(Plate
89).
Modem
art borrows from
all styles;
and, as was
also
the
case
in the Middle
Ages
and the Renascence,
intersperses its patterns
with
foliage,
(Plate
90).
Plate 86.
The Interlacement
Band.
1
—3.
Ordinary
antique patterns,
single,
double,
and triple.
4
—6.
Elongated
antique patterns,
single,
double,
and triple.
7. Antique pattern, doubly
interlaced,
with unequal
waves.
8.
Antique
pattern with two rows, terracotta
painting.
.
Construction: First mark the centres of
the eyes:
in
2 and 3
these lie
on the points
of
intersection of
a
triangular
net;
in 5 and 6
on those
of a
diagonal
square
net.
The rest
will be understood from
the
figure.
Plate
87.
The Interlacement Band.
1.
Romanesque
patterns,
decoration of archivolt,
Segovia.
3.
Byzantine pattern,
Sta.
Sofia, Constantinople.
4
—
7.
Northern
patterns. Manuscript
ornaments of the
8th and 9th
century,
(Racinet.)
Plate
88.
The
Interlacement Band.
1
—
6. Simple
Moorish patterns, Alhambra,
Granada.
7.
Persian
pattern, metal vessel, (Racinet).
8.
Russian Oriental
pattern, (Viollet le Due,
"L'Art
Russo"),
Plate
89.
The
Interlacement,
Band.
1
—
3.
Patterns, wood
and
ivory
inlaid work,
Italian
Renascence.
4.
Pattern, by Domenico
de
Fossi, of
Florence,
16th
century,
(Raguenet).
5.
Intarsia pattern, Sta.
Maria in Organo,
Verona; in
the
original
the interstices are enriched
by
plant
sprays.
BANDS.
137?
The
Interlacement
Band.
Plate
86.
138
BANDS
Plate 87. The
Interlacement
Band.
BANDS.
139
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x^ k K >{ )rwi\
The
Interlacement Band.
Plate
88.
140
BAl^DS.
Plate
89. The Interlacement Band.