Meyer Franz. A Handbook of Ornament
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FPvEE OKNAJIENTS.
181
^,
V
"':"'a,
The
Pendant
Knob.
Plate
114.
182
The Kosette.
The
Rosette.
(Plate
115.)
The Rosette, strictly so
called, is
an
artificial Rose. In a
wider
sense
any ornament
of a
circular
shape, which
radiates
from
a
centre,
may be termed
a
Rosette.
According
to
its
execution and use:
tlio
Rosette may be
considered
either
as a
Free-ornament,
or
a
Panel-
ornament.
In
the first case,
it
must
always be
plastic, project
pro-
minently
and have
some
resemblance to
the Knob
or Pendant.
In
the latter case,
it
may be
in
low
relief
or be
a
flat ornament.
Here
we have
only to
deal
with
the Rosette as a
Free-ornament.
Considering
the
Rosette
from
this
point of
view: its
most
im-
portant
application is
as
the Boss in
the
centre of
Romanesque
and
Gothic
ribbed
Vaultings;
and as
the centre-piece
of
Ceilings,
of
which
we
find
numerous
examples in
the
temples of
the
Antique,
the
palaces
of the
Italian
Renascence,
and the
vaulted
Cupolas
of
ecclesiastical
and secular
architecture.
"Besides this,
Rosettes
are
found on
Fur-
niture,
Gates
and
Doors
(the
Italian
Renascence
makes the
most
lavish
use
of
them in
this
capacity),
and as
the
centre-pieces
of
modern
Ceilings, &c.
In these
cases,
however,
their
quality as
Free
-ornaments
is
less
prominent.
As
regards
the formal
plan of
Rosettes:
tl
e
Flower
motive is
the
commonest;
geometrical
motives are
rarer,
and
motives
from
figures
rarer
still.
The
arrangement
is
usually
in a
series
of
zones;
the
growth is
from
the
centre,
outwards;
and
in
the
majority
of cases
is
radial,
that is at
right
angles to
the
bordering
circle;
but
sometimes
the
leaves
are
curved.
The
Rosette
may
have any
number
of
divisions;
but
3, 4,
5,
6,
8,
10,
12,
or
16
divisions
are the
rule;
divisions
into
7,
9,
11,
&c.,
are as
rare
as
divisions
exceeding
the
number
16.
The
Divisions
may
vary
in
the
_
separate
zones;
but
generally
only so
that
the same
divisons
interlock,
that
is
to
say,
the
points
of
the
leaves
of
one
zone
fall on
tl^e
intervals
between
the
leaves
of
the
next.
Plate
115.
The
Rosette.
1.
Antique,
of
four
divisions.
2.
Roman,
of
five
divisions.
3.
Naturalistic,
of six
divisions.
4.
Romanesque
Boss,
of
four
divisions,
chapter-hall
of
the
monastery
of
Heiligenkreuz
near
Vienna,
13th
century,
(Mustorornamento).
5.
Early
Gothic
Boss,
of
three
divisions,
S;iiute-Cbapelle,
Paris,
1240
6.
French,
of
four
divisions,
Louis
XIII, (1010—1643),
(Muster-
oi'namente).
7.
Italian,
of
five
divisions,
the
door
of
the
baptistery,
Parma,
Re
nascence,
(Musterornameuto).
8. Modern
French,
ceiling-flower,
stucco.
FREE
ORNAMENTS.
183
The Rosette.
Plate
115.
184
FEEE
ORNAMENTS.
Plate
116.
The
Crocket,
and
the Gargoyle.
The
Crocket,
aud the
Gargoyle.
185
The
Crocket,
and the
Gargoyle.
(Plate
IIG).
Crocket
is the
designation
applied to
those excrescences which
appear on the edges
of Spires,
and Pinnacles, and on the raking
lines of-
Gables,
in the
richer Gothic styles. Occurring at
regular
intervals,
they
form an ornamental
interruption
to
the bald architectonic
lines.
At first of a
rather naturalistic character
(figs.
3
and
4),
they
evolved
during
the decay of
the style a more
artificial character,
as-
suming
bulbous forms
(fig.
5),
which
have their own special
peculiar-
ities
in Eugland, France, and Germany.
Crocket
-
ornamentation
has
more or
less
been copied
from
stone
Architecture in
Fui-nlture, Choir-stalls,
&c.
The arms of
the
latter
(figs.
G —
10),
and
the
mIserere-seats, are often foliated
like a
Crocket.
!Metal, aud
i)artlcularly
wrought-iron work,
frequently makes
use
of Crockets, in forms suited
to
the nature of
the
material,
(figs. 11-12).
Contrary to the
modern
method,
by which the
water that collects
on the roofs of buildings is conveyed
to
earth through Pipes,
the
builders of the Middle
Ages
and the Renascence discharged
the rain,
clear of the wall,
by means of long projecting Spouts.
The spout
was used in
the
Antique style in the form
of lion
heads, &c.
In the
ecclesiastical and monumental
architecture of the
Middle Ages
they
are termed Gargoyles;
and are mostly of stone. In
dwelliug houses
they are of sheet-metal;
and they are either architectonically
decorated
(fig.
14),
or human,
animal, or
fantastic figures, treated in
a comic
manner, the
water flowing
through the mouth
or
other
orifices of
the body.
Copious material
on ihs
subject of crockets and gargoyles
will
be
found in Eaguenet's "Materiaux
et
Documents
de I'Architecture".
o^
Plate IIG. Tue
CnocitET,
and the Gargoyle.
1
—2.
Front and
side view
of a
plain
Gothic
Crocket, Amiens
cathedral,
restored
by Viollet-le-Duc,
(Raguenet).
3.
Gothic Crocket,
14
th
century.
4.
Modem
Gothic Crocket,
Paris, (Raguenet).
5.
Gothic
Crocket Milan
cathedral, (Raguenet).
6.
Arm
of a Stall, Salisbury
cathedral,
(Raguenet).
7
—10.
Arms
of Stalls,
monastery,
Maulbronn.
11
—
12. Wrought-iron,
Gothic,
Augsburg.
13. Gargoyle,
Viollet-le-Duc,
Egllse d'Eu, (Raguenet).
14. Gargoyle,
bell-tower,
St. Sernin, Toulouse, restored
by
Viollet-
le-Duc,
(Raguenet).
15. Gargoyle,
Meaux
cathedral, (Raguenet).
16
—17. Gargoyle,
St. Eustache, Paris,
(Raguenet).
186
TliO
Decorated
Hinge,
&c.
TuE
Decorated
Hinge,
&c. (Plate
117.)
The
Middle
Ages,
and after
them the Eenascence, brought
the
dovelopemcnt
of
wrought ruetal-work to
the highest state of
perfection.
Here
we
have
to
consider the diflcrent
kinds
of
bands, technically
known, according
to
their shape, as Hinge, Strap,
&c.
Although
these
bands were originally intended only
to
bind-to-
gether
the
underlying
wood construction of
gates,
doors,
caskets,
chests,
&c., the
bald,
practical form was soon made decorative;
and
this
the more readily that the Gothic principle of wood
construction,
with
its
narrow stave-like
or
matched strips
of
wood, offered only
scanty
opportunities of artistic decoration.
Delicate series of lines, designed as Free-ornaments, start
fiom
the Hinge and terminate
as
leaves
and
flowers.
The
heads of
the
necessary
rivets
and
screws, themselves shaped as rosettes
in
the
richer
examples, give a pleasing relief. Gothic usually
applies the
extended Strap-hinge (figs.
7
—
8);
while
the
Renascence, in accord-
ance with
its
principle
of
bordering
in wood constructions,
prefers the
shorter
Butt-hinge (figs.
11
—
12).
In the latter epoch the
surface
of the meial received
further decoration
trough the
arts
of
etching,
engraving, niello-work,
&c.
Book-mounts, in
particular, offered
a
wide field
for the application
of
these arts.
Modern times
have with justice devoted
increased attention
to
these objects;
and have restored them
to
the
domain of art
from
which
various causes had excluded them for almost a
century.
The plate
gives a-
small
selection from
the copious material
to
bo
found in
museums
and
publications.
Plate 117. The Decorated Hinge,
&c.
1.
Gothic hinge, church-door, Viersen near Cologne, 15th
century.
2
—
3.
Plain terminations
of hinges,
Hefner -Alteneck
collection,
16th
century.
4
—
5.
Terminations
of binges. Town-hall,
Miinster.
6. Termination of hinge,
Prie-dieu,
Gelnhausen, 15th
century,
(Musterornamente).
7. Gothic hinge.
Door of a cabinet,
Town-hall, Zwolle.
8. Gothic
hinge.
9.
Renascence hinge,
old
Kaufhaus, on
the
Limmat,
Zurich,
1618.
1-0.
Renascence
hinge,
Town-hall,
Augsburg,
17th century,
(Muster-
ornamente).
11. Renascence
hinge.
Door in Ettlingen, United collections,
Carls-
ruhe.
12. Door-hinge,
German,
1580,
Free imitation
by
Prof.
Storck,
(Zeichenvorlagen).
FREE
ORNAMENTS.
18Y
^
The
Decorated Hinge, &c.
Plate
117.
188
The
Tassel.
—
The Fringe,
and
the Valence.
The
Tassel.
(Plate
118.)
The
chief
contributions
of
textile
art to
the
group of
Free-orna-
ments are
Tassels,
Fringes,
and
Laces.
The
two latter
are
current
edgings,
the
first, on
the
contrary,
are
the
termination of the lower
end
of cords
or of
shaped
draperies.
Thus we
find Tassels used on
Girdles,
Bell-pulls,
and
Curtain
-holders;
as
pendants from
Flags,
Standards,
Valences,
Cushions,
Table-covers,
Palls, and
Tent-covers;
also on Pouches,
Hoods, Caps,
Harness,
&c.
The Tassel consists
of a
tuft of
threads or cords,
hanging straight
down from a core
of wood,
turned in
various
profiles, and
decorated
with twisted
threads.
The
original
may
be
assumed to have
been
the
cord
with a
simple knot,
the
knot being
intended to keep
the cord from
ravelling-out.
The
Tassel is
undoubtedly of great
antiquity. The
reliefs found in
Khorsabad,
Niniveh,
and elsewhere,
show that the
Assyrians were great
admirers
of
such kinds of
trimming.
And, althoiigh such
a lavish use
does not
occur
again; there
would
probably
be
little
difficulty in
finding
examples of tassels
from all
periods of Art.
Not
only form
but
also
colour
-contributes to
the effect of
Tassels,
so that
the examples
in
our
plate
really only
give half the
effect.
An
exhaustive study of
Trimmings, by
Jacob Falke, will be
found
in
Teirich's
"Blatter fiir Kunstgewerbe" 1875.
o
Plate 118.
The
Tassel.
1.
French
lady's
girdle,
12th century,
(Viollet-le-Duc)
2—3.
Tassels,
Holbein, (Teirich).
4.
Tassels,
Turkish harness, 17th century,
United
collections,
Carlsruhe.
5.
Tassel, old standard. United
collections,
Carlsruhe.
6.
Tassel,
Tunisian
pistol.
United collections,
Carlsruhe.
7.
Leather tassel, lady's bag,
German
Renascence.
8
—
10. Modern tassels, by Aug.
Topfer, (Gewerbehalle).
11. Modern tassel, by A. Seder^
Munich.
The
Fringe, and the Valence. (Plate
119.)
If,
at
the end of
a- piece of
material, the
weft-threads
(parallel
to
the end)
be
drawn-out,
the
remaining
warp-threads
will
form
a
simple Fringe. If we give the end greater
security, by
knotting
or
tieing the
threads together in tufts,
we
get
the
ordinary
Fringe.
The
Fringe, however,
is
not
always made
of the
material;
it is
often
manufactured
independently, and sewed-on to the
edge of
the
material.
In
this
case the Fringe is combined with a woven
heading-band
(gimp).
FEEE
OENAMENTS.
189
The Tassel.
Plate
118.
190 The
Fringe,
the
Valence,
and the Lace
Border.
Riclior types
of
Fringes
may be
produced
either by
variety
of
the
edge,
so
that
tufts
of
unequal
lengths form
rhythmically
alternating
groups (fig.
2),
or by
using
several
thicknesses of
Fringe, lying
one
behind the
other,
(fig.
4).
The
Fringe is
always
applied long,
when
a pendant
termination
is
required. In
other
cases as,
for
example,
where
the fringed- ma-
terial is to
lie
horizontally,
like
small
Table-covers,
Napkins,
&c., it
is
advisable to
keep
the
fringe short.
Fringes have
been
in
use
from the very
earliest periods; but it
is
again the
Orientals,
and especially
the
Assyrians, who
show a pre-
ference
for
this
form.
Fringes
occur
perpetually
in various
national
costumes,
and in
the toilet of
our
modem
ladies.
The Renascence
adopted
the
Fringe as
a
trimming for furniture,
and specially for
chairs;
although
not
always
with
true
artistic
feeling.
The
Valence is a
hanging textile
termination;
the lower edge is
ornamentally
cut,
and is often
ornamented
with cords,
tassels, em-
broidery, &c.
The
upper edge of
the
Valence is
generally
fixed
to
a
moulding.
Valences occur as
the
'interior
furnishing
of
Windows,
on
four-post
Beds,
Baldachins.
Canopies, Tents,
Marquees,
&c.;
of late
years,
they have been used on
Awnings, and
Outside-blinds.
Plate
119-
The Valence.
1.
Tomb of the Incas,
Ancon,
Peru,
United collections,
Carlsruhe.
2.
Indian -Mexican pouch.
United
collections,
Carlsruhe.
3.
Egyptian, (Ebers).
4.
Renascence, (Storck).
5.
Mediaeval maniple,
(Teirich).
6. Turkish saddle-cloth,
1690,
United colkctions,
Carlsruhe.
7.
Renascence, silver.
8
—
9. Modern
designs, by
Prignot.
The
Lace
Border.
(Plate
120.)
Of all products of
the textile art,
Lace
is
the
most
interesting.
There is
something
poetical about
it,
like flowers.
The
combination
of
the conventional
treatment with
those
accidental
features which
hand-work
confers
upon the
delicate,
light
material, gives them a
peculiar charm. Who invented
lace
manufacture,
and in
what year,
cannot now
be
determined.
Lace is
one of those
things which
the
Renascence
has
handed
down to
us
without having
inherited it from
the Antique. The stimulus,
to
the
invention of
lace and
the
basis of
its
manufacture,
is probably to
be
found
in the textile
hand-work
of
the Middle Ages,
such as
was
practised,
particularly in
convents,
for
ecclesiastical purposes.