Meyer Franz. A Handbook of Ornament

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BANDS. 141

The

Interlacement Band.

Plate

90.

142

The

Interlacement Band.

—

The Rosette Band.

Title border

of a mathematical work, printed

Paris, Oronce

Fine,

1544,

(Hirth).

Soffit ornament, entrance of

the Otto Heinrich

building,

Hei-

delberg,

1556

1559,

(Musteromamente).

Plate 90.

The

Interi.acement

Band.

—

Angles

of Border,

Modern

French, (Raguenet).

Edge

of a modem

Damask border,

(Gewerbehalle).

—9.

Modem

borders,

(Botticher,

"Ornamentenbuch").

10.

Modern

wood

intarsia,

(Gewerbehalle).

The

Rosette Band.

(Plate

91.)

The term "Rosette

Band" is a

general name

for rosette, spray

and

other bands, when

the rosette is the leading characteristic. The

single rosettes, which are similar to conventional roses

seen

in front-

view, are either in immediate juxtaposition

(Plate 91. 1 and

3),

divided

channels

(Plate

91.

2),

by calices (Plate

91.

5, 7,

12),

or by

stalks

and sprays

(Plate 91.

10, 11).

The Rosette

bands

are

either current, that

is, they have a definitive direction sideways;

they are entirely

without direction, that

is,

they are symmetrical,

not

only

from top to bottom

but

also from right

to left. By

allow-

ing the rosettes

to overlap we get a band more or less identical

with the

so called Strung-coin, or "money-moulding", (Plate

91.

and

14).

Rosette

bands are especially common

the Assyrian style,

Antique

vase painting,

in the

Medieval enamels (Cologne enamel),

in the Indian style,

in the Renascence, and

the Modern styles.

Plate 91.

The

Kosette Band.

Antique

vase painting.

Modern

decorative

pattern.

3 Antique

bronze shield.

and

Antique

patterns, after

Jacobstbal.

Neck

of a Greek

hydria.

Latin

Evangeliarum,

written

Godescald

for

Charlemagne,

8th

century,

(Racinet).

Enamel

ornament,

the great reliquary,

Aachen. (Racinet).

9. Indian

enamel border,

(Prisse d'Avennes).

10. Indian

carving, (Owen

Jones).

11.

Intarsia

border,

Sta. Maria

in Organo,

Verona,

1499,

(Muster-

omamente).

12.

Popular

Renascence

pattern.

13.

Pattern,

Persepolis.

14.

Plastic

border,

Louis XVI. style, (Raguenef).

BANDS.

143

Syll UJ

The

Rosette Band.

Plate 91.

144

BANDS.

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Plate 92.

The

Palmette Baud.

The

Palmette

Band.

—

The

Vertebrate

Band

The

Pal^iette

Band.

(Plate

92.)

The

Palmette is a specifically Greek

kind of

ornament. Like

the fin-

gers of an

outspread hand

(palma,

the

palm of the

hand)

group,

odd in

number,

of narroW; entire

leaves

combined into a

symmet-

rical

ornament. The centre

leaf

is the

largest;

and

the leaves

diminish

gradually as

they approach the sides. The tips

the leaves lie

regular curve. The

lower ends of the leaves are

disconnected,

divi-

ded from each

other by

slight intervals, and

usually

spring

from a

tongue-shaped

leaf.

The delicate sensitiveness -of Greek

artistic

fueling

finds

striking

expression in this ornament. It is

applied in

mani-

fold

ways, e.

Antefises

and

Akroters,. as

Cornice-decoration

(comp.

the group of

Free

ornaments),

and as Palmette borders.

rare

cases

the

Palmette ornaments

are in

juxtaposition without

an}i;hing

between

them

—

this

usually the case

the Lekythos (a

Greek

vessel for

Oil,

&c.)

Plate 92.

—

the

majority of

cases

the pakn-

ettes

are connected or

bordered by

spiral bands

(Plate 92. 1. 2 &c.).

Palmette

ornaments are

of frequent occurrence on

Greek

vessels,

and on the

friezes of

their architecture.

Where they

occur

in later

styles: it is

only

sporadically;

and

the severe

classical

beauty is

not

retained.

Plate

92. The Palmette

Band.

and 5.

Paintings,

Greek, terracotta vessels.

4. 6

and 7.

Greek, friezes.

Intarsia, Italian Renascence.

Modem,

wrought

iron

trellis.

The

Vertebrate Band, &c. (Plates

—

96.)

Leaf bands are

generally

numerous in all styles; and

varied

are

the modes of

their

application. The leaved stalk, with or

without

flowers,

fruits, &c.,

the simplest natural motive. The

various plants

are used as a

basis,'

partly with, partly without,

symbolical reference.

The

Antique

chiefly availed

itself of

the laurel,

olive, and ivy; the

Middle Ages

used the vine, clover, thistle, and

maple;

the Renascence shows

the Artificial leaf.

To these traditional

patterns:

Modern art has added some

others which

are specially adapted for

naturalistic representation, such as

the

convolvulus, the

passion-flower,

the

hop,

&c.

Thus

find in the Antique: a succession

of buds

(Plate

93.

1);

straight stalks

viath

leaves,

either attached or free

(Plate

93.

3);

undulating stalks, with leaves, fruit, or flowers

(Plate

93.

6).

Meyer,

Handbook of

OrnameDt.

146

The

Vertebrate

Band,

& the

Undulate

Band.

The

latter

mode -was

retained in the

Medieval

style; in the

nornan-

esque

style

the

stalks are

compressed,

and

the

lobes

of the

leaves

fully

rounded

(Plate 93.

8);

in the

Gothic style

the former

are

tliin and

extended,

the latter

slit

and pointed.

Extremely

common

are the

two

forms

depicted on

Plate 94. 7

and

Characteristic

the late

Gothic is

the

example

13,

Plate

94;

this

kind

ornament-

ation

excellently

adapted for

simple wood

-carving

and

stamped

leather-work.

The

Oriental

conception,

in textile

fabrics

and by

the engraved

and inlaid

metal-work,

shown

(Plate

94.

—

4).

Intarsiat

technique,

leather-stamping,

weaving,

and the

ornamenta-

tion of

manuscripts

offered

the Renascence

opportunity to

make

vise

of, and to

vary

the floral border

with"

advantage

(Plate

95).

Inter-

lacement

and floral

patterns are

frequently

combined in

the

same

example (Plate 95. 5

and

6).

examples

of Modern

art, the

naturalistic

borders

figured

Plate 96.

—

11.

are given.

When the

main-stem runs

longitudinally

along the

centre of

the

Band"

like the vertebral-

column

in the

skeletons

animals,

then the

arrangement

termed Vertebrate.

When the

jnain-stem

oscillates

from

side to

side (as in

Plate 93.

4, 5,

8),

then the

arrangement

termed

Undulate.

Plate

93.

The

Vertebrate

Band,

&c.

—6.

Paintings,

Greek,

terracotta

vessels.

—

French,

mural

paintings,

13th

century,

(Eacinet).

Glass

window,

Cathedral,

Bourges,

14th

century,

(Eacinet).

10.

Medieval.

11.

Intarsia,

Sta.

Maria in

Organo,

Verona,

1499.

12.

Modem,

plate-border.

Plate

94.

The Undulate

Band.

—

Persian, metal

vessels,

(Racinet).

Indian.

Byzantine,

glass mosaic,

San Marco,

Venice,

(Musterornaraecfe).

Portion of

Romanesque

initial, 13th

century,

Berlin

Museum,

Romanesque,

portal

cathedral,

Lucca,

(Musterornamente).

Gothic flat

carving,

end

of 15th

century,

(Musterornamente),

Medieval, mural

painting, Swedish

church.

*10.

French, mural

painting,

13th century,

(Racinet).

11.

Early Gothic,

French.

12.

Gothic,

manuscript

ornamentation.

13.

Late Gothic, flat carving,

15th century,

(Musterornamente).

BANDS.

147

The

Vertebrate

Band, &o.

10'

Plate

93.

148 BANDS.

Plate

94.

The Undulate Band.

BANDS.

149

5.-

BANDS.

Plate

96.

The

Undulate

Band, &c.