Meyer Franz. A Handbook of Ornament

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The

Undulate Band.

—

The

Evolute-Spiral

Band.

151

Plate

95. The Undulate Band,

&c.

—

2. Leather stamping, 16th century, Schwabisch Hall,

(Muster-

omamente).

Terracotta

frieze,

castle

Schalaburg,

Lower

Austria,

(Wiener

Bauhiitte).

Intarsia

frieze, from the

same

castle.

—G.

Borders

robes,

tombs in Niederstetten and Lensiedel,

16th

century,

(Musteromamente).

Renascence, manuscript ornament.

—

German Renascence, (Hirth, Formenschatz).

10.

Archivolt of door,

Otto-Heinrich

building Heidelberg

castle,

German Renascence.

11.

French, Renascence.

Plate 96.

The

Undulate Band,

&c.

Border, picture by

Domenico

Zampieri, 16th century,

(Muster-

omamente).

Border,

half

-columns, Sta.

Trinita, Florence, Italian Ro

nascence.

Intarsia

frieze,

stalls, San

Domenico,

Bologna,

Italian

Re-

nascence.

Wrought

iron trellis of balcony,

Milan, (Gewerbehalle).

Frieze, Italian

Renascence.

Modern, (Cesar Daly).

Modern.

—9.

Laurel and

oak

borders,

(Gewerbehalle).

—

11. Modern Borders, (Gewerbehalle).

The Evolute-Spiral Band.

(Plate

97.)

The wave of the sea has

been suggested

as the

motive

this

"wave" pattern; but its origin

is purely geomotrical. Tbo

line

of the

Evolute-

spiral pattern divides

the surface of the

border

.into

two

parts,

which in Hat ornament

are

coloiu-ed

diflercntly.

plastic

work,

lor

which the pattern

also

suitable,

the

lower part

projects.

wrought- iron -work: the

curved line

runs

freely

between

two

bars.

Tliis pattern

adapted

for borders

of robes,

shields,

and

plates;

for

nso

on vessels,

friezes, cornices,

and

tablets

in architecture;

and also

borders, for

t;ipestrics, and

nuiral-paintiugs.

rosette is often

placed at

the

volute-centres

(Date

97.

and

4);

the

interstices

between

the

lines

are

sometimes decorated

with leaves

and

flower- buds

(Plato

97.

—

12).

This

occurs chiefly

the Renascence period, when

(ho

Antique seemed

loo

simple. How

152

The

Evolute-Spiral

Band.

—

The Enrichment

the Bead

Moulding.

far

this

may be carried, in

some cases, in shown

by fig.

14,

in which

the

evolute-spiral

line is nothing

more than

the

skeleton

of the orna-

ment. The

Middle Ages did not use

this form

all..

Angles,

and centres are arranged as

shown

on figs.

—7. This

band

is excellently adapted for the framing

round

circular

panels.

Plate 97.

TnE

Evolute

Spikal.

—

Paintings,

antique vessels.

—

6. Angles.

Central

junction.

8. Pattern

roimd

circular

panel.

PaintiCg

a stove tile, German

Renascence,

Germanischos

Museum,

Nuremberg.

10. Modem

borders.

11 Border,

by Sebastian Serlio,

16th

century.

Frieze,

'Otto-Heinrich building

Heidelberg

castle.

13 Wrought-iron

trellis, temple

of Apollo in the garden

ol the

castle

at Schwetzingen.

14. Painting,

Palazzo ducale,

Mantua, Italian

Renascence.

The Enrichment

the Bead Moulding.

(Plate

98.)

Bead,

Astragal, is

the name given

to those small

half-round

Mouldings,

which

are

often

enriched

ornaments like

Pearls,

strung

together,

&c.,

as turned bands

a'/id cords. Generally

they

are

only used

in plastic

art,

and as a rule not alone;

but below

the Egg-

and-leaf

ornaments,

and similar

cornice profiles

(Plate

100).

They

also occur

as intermediate

members

between the shaft and

the

capital

of columns.

Beads

are enriched

with

balls, discs,

or ovals,

in rather

than

half relief.

The simplest

bead-enrichment

formed

of round

pearls,

either

together

or permitting the representation of

the

thread

show

between

them.

Disc and oval enrichments

are seldom

used alone,

but arranged

alternately,

as shown

figs.

1 to

addition

the simple

examples

of the Antique, the Renas-

cence

uses

richer

forms,

the

single

members being

again

ornamented,

profiled

and

arbitrarily

fashioned

(Plate 98. 8

and

12),

finished-ofi"

with

small

leaf calices

(Plate

98.

and

10).

Wood

carving

avails

itself

strung discs

seen in perpectlve (Plato 98.

11).

The

enricbraents

may

also

suggest torsion.

After

the

moulding

made,

it is

set-out

a screw,

indicated

by the

auxiliary

constructions

in figs.

—17.

Leaves

pearls

sometimes lie in

the

hollows

and

the

thread of the

screw (Plate 98.

17).

BANDS

153

The

Evolute-Spiral

Band.

Plate

97.

154

MOULDINCiS.

Plate

98.

The

Enrichment

the

Bead

Moulding.

The

Enrichment

of the

Astragal,

the Toms, and other Mouldings.

155

Here

also

must be

grouped

those ribbons rolled

spirally

round

rods,

such as

find

in the art of

the Middle Ages and

the

Re-

nascence

(fig.

18).

Corners

are generally covered

with a

small

leaf.

Plate

98.

The

Enrichment

the Bead

^Moulding.

—

Simple

enrichments, Antique.

—

12.

Richer

enrichments, Renascence.

—

17.

Beads enriched

like twisted ropes.

18.

Spiral-ribbon enrichment.

Louvre, Paris.

The Enrichment

of the Torus

Moulding. (Plate

99.)

Torus is

the name given

those

larger

mouldings

of semi-

circular

semi

-elliptic

section,

such as

are specially used

in Archi-

tecture on

the

bases of

coluttins and pilasters,

on socles, on

Mediaeval

door and

window arches,

and on

the ceiling

mouldings of the

Renascence

and

Modern

times.

While the smaller

beads are

ornamented

with

pearls and

twisted

cords, these

important

mouldings

are dec-

orated by

enrichments

which resemble

a bundle

of rods

round

which

ribbons are

twisted at

suitable

places

(figs.

and

2);

surrounding

them

with

plaited or net

work

(figs.

8, 4,

7);

clothing them

with

foliage

(figs.

9, 10);

combining

the

various

systems (figs. 8

and

11).

modern times

the Torus is

enriched

bound

clusters

of fruit.

"Water -leaves,

artificial

leaves

with

serrated

margins,

laurel,

oak, ivy, &c.

are

most in use

for

the leaf

ornaments.

in the case

fruit clusters:

ribbons are

twined

spirally at

suitable

placed

round

the fruit or

foliage

(figs.

and

12).

these

examples are drawn

by first

marking-off the

divisions on

the

profile, as

indicated on

the

figures.

Plate

99.

The

Enrichment of

the

Torus

Moulding.

—2.

Modem.

—4.

Antique.

—6.

Antique, decorated

with

laurel and oak,

Mediaeval.

Mediaeval,

decoration of

an archivolt,

Gelnhausen,

13th cencmy.

Temple

of Jupiter, Rome.

—

12. Louvre, Paris,

French

Renascence,

(Baldus).

The

Enrichment of

other

Mouldings.

(Plate

100.)

The

Egg-and-tongue

enriches,

in architecture,

the ovolo

mouiding

of capitals,

and the lower

members of cornices,

&c.

156

MOULDINGS.

Plate 99.

The Enrichment of the Torus

Moulding.

MOULDINGS.

157

The

Enricbment

the Cymn,

nnd

Ovolo

Mouldings.

Plate

100.

158

The

Enrichment of

Mouldings.

these

cases

harmonises

the

support

aud the weight; and

has

also a

decorative

purpose

as a

bordering

member.

The

Leaf

enrichment

may be

explained

in the following

way:

row of

leaves,

growing

upwards,

supports

the* weight,

and is bent

outwards by

its

pressure

(fig.

1).

If this only occurs partially, we

have the

Doric

form

(fig.

2).

If the leaves are bent -down tow-

ards

their lower

ends

(fig.

3),

we obtain forms like the so-called

"Lesbian

cymatium."

A false

conception,

which

regarded

the leaf-shape merely

geometrical

element,

afterwards gave

rise to

the

corrupt

forms

the

late Greek

and

Roman styles

(figs.

and

b).

If the

simple

waterleaf be

replaced by more richly

serrated

ones

like the

Artificial

leaf,

obtain examples 'like fig. 7.

Figure 8

shows

the egg

pattern, from which aU the more

less

misunderstood

varieties

have, in

course of time, been

derived.

The

dart-shaped

intermediate

leaves

have often been developed into

actual

darts;

and the

eggs

curved surfaces

of the leaves have also

been covered

with independent

ornamentation, in complete

defiance of

their origin (figs.

and

14).

The comer is

treated,

either by freely

carrying

the pattern over

into a

pahnette

anthemion

(figs. 15

and

16),

or by

covering it

with

independent

leaves.

Further

details on

the

subject of

this chapter

will

found in

Botticher's Tektonik

der

Hellenen.

Plate

100.

The

Enrichment

the C-i-MA

and

Ovolo

Mouldings.

and 3.

Drawings to

illustrate

the

origin of

the pattern.

Graeco-Doric,

painted.

Leaf,

Erechthemn,

Athens.

and

Corrupt

leaf,

(Botticher).

Roman

leaf,

(Jacobsthal).

Greek

egg-and-tonguQ,

Erechtheum,

Athens.

Campana

egg-

and

-tongue,

Graeco-Italic,

Campana

collection.

10.

Colossal

egg-and-leaf,

temple

Jupiter

Tonans, Rome.

11.

Roman

egg-and-dart,

Aries

cathedral,

(Raguenet).

—

13.

Renascence

egg-and-dart,

(Raguenet).

14.

Modem

egg-and-dart,

(Raguenet),

159

FREE

ORNAMENTS.

Those

ornaments,

which

are

applied to

suggest the end

or finish

an object,

may be

classed

group

which,

following an ex-

pression

already

introduced,

are

termed "free

ornaments", the

word

"free"

implying not

severely-enclosed

Baud or

Panel, but a

freely-

treated

Edge-omament.

The

Edging may

arranged to

grow

.in an

upward,

downward,

lateral

direction;

the character

the

ornamentation

will be

depen-

dent

these

conditions.

Endings

with

an upward

direction

are most

numerous;

and as

plants,

with

their natural,

upward

g^o^vth, are

adapted for

this purpose,

foliated

ornament is the

usual

decoration

Akroters,

Antetixes, Steles,

Ridges,

and

Finials.

Crosses,

Knobs,

Rosettes,

and Pendants, are

independant

Free-

ornaments,

which are

generally

geometrical in their

treatment.

Tassels

and

Fringes,

which

form endings in

downward

direction,

the

organic

plant

motive

is,

course,

excluded;

while Lace

(woven,

pillow, itc.)

avails itself

of both motives,

either

singly

combined.

Crockets

are

foliated

excrescences which

are

popular in

the

Gothic

style

as an

ornament

of the edges, and ribs

of buildings

Gargoyles

(as

are termed

the Rain spouts

which occur

fre-

quently in

the

architecture of

the Middle

Ages

and

the

Renascence)

are also Free

ornaments

with

lateral direction;

they have

often the

form of figures,

less

often

those of decorated

channels.

lUO

The Link BordLT.

The

Link

Border.

(Plates- 101—102.)

Link

Borders

are

termed

because the

transversely

growing

foliage

connected

together by Scrolls

which serve this purpose,

the

"Links"

chain. Of

this class are much decoration

cornices,

crestings

architecture, and fringes in

textile art. Besides

these,

Link borders,

which may be

enlarged

will, and

have

de-

6nite direction

upwards or

downwards,

are used in

similiar

manner

Borders as

edgings for carpets,

plates,

and panels; as borders

for

walls, floors, and

ceilings (in

which case the

edging almost

invariably

grows outwards);

on the neck, body,

and

feet of vessels;

and fre-

quently in

architectural

friezes.

Palmette

leaves,

connected by

circles or by

links, are adapted

for edgings. The

tyi)ical

form is

found on

Antique

vessels and

friezes;

its

forerunner is

seen in

the connected

lily and pomegranate

of the

Assyrian style.

The

Link -border is

found

in every

subsequent

style, both flat,

and in relief.

generally composed

identical

details,

symmetrically re-

peated.

Unsymmetrical

and

naturalistic

forms

are rarer,

(Plate

101,

10).

Plate

101. The

Link

Border.

Assyrian,

painted bas-relief,

Khorsabud.

External

margin,

Greek

kylix, (Lau).

Greek

hydria,

(L'art pour

tous).

Greek,

cyma.

Mosaic

ornament,

San

^larco,

Venice,

Byzantine,

(Musteroma-

mente).

Medieval,

mural

painting,

Swedish

church,

(Racinet)

Old

embroidery,

Eisloben,

(Vorbildor

fiir

Fabrikanten

und Hand-

werker).

Painted,

Cathedral,

Brandenburg,

(Vorbilder

fiir Fabrikanten

und

Handwerker).

Illumination of

Koran,

tomb of

the

Sultan El-Ghury, 16th cen-

tury,

(Prisse

d'Avennes).

10.

Majolica

dish,

Germanisches

Museum,

Nui-emborg.

11.

Majolica

dish,

16th century,

(Kunsthandwerk).

12.

Modern,

(Gewerbehalle).

Plate

102.

The Link

Border.

Greek,

carved

frieze,

Erechtheura,

Athens.

Roman,

frieze,

(Fragments

rarchitocture

antique).

Romanesque,

frieze,

13th

century,

(Musterornamente).