Meyer Franz. A Handbook of Ornament
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The
Link
Border.
—
on
Mouldings.
—
The Cresting 161
4.
Arabic,
mosque
of
the
Sultan Hassan, Cairo, 14th century.
5.
Italian
Eenascence,
Marble
frieze, tomb
of the
Conte
Ugone,
Badia,
Florence,
(Weissbach
und Lottermoser).
6.
Italian
Eenascence,
Intarsia
frieze, (Meurer).
7.
Modem
decoration,
(Kolb und
Hogg, Vorbilder fiir das Oma-
mentenzeichnen).
The
Link
Border
on
Mouldings. (Plate
103.)-
The
cyma in
architecture
is the topmost or
concluding
member
of
a
cornice.
It
is
frequently used as a
gutter. The section
is some-
times a
concave or
convex
quadrant,
but in
most cases
consists of
two arcs curving
inwards and
outwards respectively,
(fig.
3).
The
ornamentation was
merely
painted in
the earlier periods;
but
afterwards received a
plastic
form.
It
is
ctiefly composed
of
palmette leaves,
either
unconnected
(fig.
1
and
2)
or
connected (figs. S,
5
and
6),
with Lily cups
between.
Artificial leaves,
pointing up-
wards and lying close
on
the
profile with calices or
water-leaves peep-
ing out between them
(fig.
4)
are
also used.
The
Middle Ages used
both
systems,
especially the
latter, with the
latter, with the
modifications
required
by
the
changed forms
of the
leaves,
(figg.
7
and
8).
Both the
Renascence
and
Modem
art follow the
tradition of
the Antique; but give
the
Palmette
ornament
a
richer form,
(figs.
8—12).
Plate
103. The
Link-border
Enrichment of
]\IouLDmQ3.
1
—
4.
Antique,
(Botticher).
5.
Roman
altar.
6.
Graeco-Italic
terracotta
ornament, (Li6vre).
7.
Romanesque cornice,
house,
Metz, 12th century,
(Raguenet).
8.
Cornice,
Notre
Dame,
Paris,
13th century,
(Musterornamente).
9
—
10.
Cornice,
Louvre,
Paris,
French Remscence.
11.
Marble
frieze, tomb
in Sta.
Maria sopra
Minerva, Rome,
Italian
Renascence.
12.
Modern,
(Arch.
Skizzenbuch).
The
Cresting
Border. (Plate
104.)
Crcstings
are
intended to
ornament
the
ridge or fop of the roof.
Such
ornaments
have been
especially
popular
in France from Gothic
Meyer,
Handbook
of
OrDamint.
11
162
FREE
OENAMENTS.
Plate
101.
The
Link Border.
FREE
ORNAMENTS.
163
The
Link Border.
riate
102.
11*
164
FREE ORNAMENTS.
7
Plate 103. The Link-border EDrichment of
Mouldings.
FREE
ORNAMENTS.
165
The
Cresting
Border. Plate
104.
166
The
Cresting.
—
The
Akroter, &c,
times to
the
present
day.
They
are mostly
of
perforated
work,
and
the top
has
usually a
varied
mass-shape.
The
materials
used arc
stone,
lead,
-WTOUght-iron,
and,
in
modern times,
zinc.
Similar
ornaments
are
also found
as
Finals
of
entablatures
and
attics, as
well as
on the
Balaustrades
of
galleries.
Cresting
ornaments
appear
on
Gothic
Altars,
Shrines,
Chim-
neypieces,
&c.,
and
in
cast-iron
on
our
modern
Stoves,
Railings, &c.
The
Antique
made no
use
of
this form,
although
similar
forms
occur,
as,
for
example,
on
the
entablature of
the
well-known
monu-
ment
of
Lysikrates.
On
the
other
hand, we
must
mention
those
Valence-like
borders
which
are
seen
on
the
terracotta
reliefs
of
the
Campana
collection,
represented
on
figs.
6
and 7.
In
most
cases,
these
latter
ornaments,
if
reversed,
may
be
used
as
crestings.
Plate
104.
The
Crestdjg
Border
1.
Gothic,
(Jacobsthal).
2.
Modern Gothic,
cast-iron.
3.
Modern
French,
castle
of
Pierrefonds,
restored
by
VioUet-le
'
Due,
(Raguenet).
4.
Modern
French,
Cour
de
Cassation,
Paris,
(Raguenet).
5.
Modern
German, by
Gropius
of
Berlin,
(Arch.
Skizzenbuch).
6
—
7.
Graeco-Italic
borders,
downward
growth.
The
Akroter,
&c.
(Plates
105
—
106.)
The
Akroter
is
the
feature
which
serves
as
on
ornamental
finish
to
the
apex
of
a
gable.
Antique
temples
bear
this
decoration
in
a
great
variety
of
materials:
stone,
terracotta,
painted,
plastic,
and
cast
in
metal.
Groups
of
figures,
griffins,
&c.,
were
sometimes
used
for
this
purpose;
but
the
usual
features
were
slabs
of
Marble,
bearing
a
palmette
ornament,
the
central
decoration
of
which
is
sometimes
a
mask,
(Plate
105.
5).
Smaller
ornaments
of
a
similar
kind
are
found
ranged
along
the
lower
roof
line,
in
front
of
the
Imbrices;
and
these
are
termed
Antefixes.
The
Middle
Ages
and
the
Renascence
make no
general
use
of
the
Antefix,
but
it
occurs
on
Modern
monumental
buildings
in
the
Antique
style.
The
corner
Akroter
which
isusually
found
at
the
lower
ends
of
the
gable
lines,
consists
of
half
the
motive
of
the
central
one,
(Plate
105.
6).
Pl.\te
105.
The
Akroter,
and
the
Antefex.
1.
Greek
Akroter,
painted,
temple
of
Wingless
Victory,
Athens.
2.
Greek
Akroter,
painted,
Acropolis,
Athens.
The Akroter.
—
The Stele Crest. 167
3. Greek
Antefix, Parthenon,
Athens.
4.
Greek sepulchral
Stele-crest,
in the form of an
Akroter.
5.
Graeco-Italic
Akroter,
terracotta. Museum, Perugia.
6
—7.
Front
and side view
of
a comer
Akroter,
(Botticher).
Plate
106.
The Akroter,
&c.
1. Greek
Antefix,
Propylaea,
Athens,
(Raguenet).
2. Eoman
Antefix,
temple
of Jupiter
Stator, Rome.
3. Modern
French
Antefix,
Theatre des Celestines, Lyons, Archi-
tect
Renaud,
(Raguenet).
4. Modern
French
Akroter,
house in Pans, Architect
Renaud,
(Raguenet).
5.
Modern
French
Akroter,
Orleans railway
station,
Paris, Ai-chi-
tect
Renaud,
(Raguenet).
6
—
7.
Akroter
and
Corner-akroter,
fountain
in the Certosa
near Flo-
rence,
Italian
Renascence.
The
Stele
Crest.
(Plate
107.)
The Stele
is the
Greek tomb-stone.
It usually
takes
the form
of
an
upright
tablet,
sometimes
tapering towards
the
top; and
bears
an inscription. It
is sometimes
decorated with
rosettes, garlands
and
figures.
At
the top
is
a
plain cornice,
on which
an ornament,
similar
to the Akroter,
forms
the crowning finish. Although
the Akroter
and
the
Stele-crest often
have
a
perfectly
identical
form (Plate
105.
4
shows
a
crest
which might
just as well
have been
an Antefix),
still
the
style of the
crest is as
a
rule
more severe; and
it
is characteristic
of
a
great
number
of
Steles
that they
have not the
striking
palm-
etto
Centre, which
the Akroter always
possesses,
(figs.
2
and
3).
Very
often,
too, the
crest is
so
designed that
the
sides are
extended,
to
make
a
larger
feature,
(figs. 1 and
4).
These Monuments,
dedicated to the
memory
of
the
dead,
show
better than
almost
anything
else
the
special
individuality
and
beauty
of
Greek ornament.
Plate
107.
The
Stele-crest.
1. Stele-crest, (Stuart
and
Revett,
Vulliamy,
Jacobsthal).
2.
„ „
(Jacobsthal).
3.
„
„
C'L'art
pour
tous").
4.
„
„
(Li^vre).
168
FREE
ORNAMENTS.
Plate 105. The
Akroter, and
the
Autefix.
FREE OR>fAMEN'TS.
169
The Akroter, &c.
Plate
106.
170
FREE ORNAMENTS.
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Plate 107.
The Stele
Crest.