Meyer Franz. A Handbook of Ornament

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FREE ORNAMENTS.

191

«^.'

?:i1^

The Fringe, and the Valence.

Plate 119.

192

FREE

ORNAMENTS.

Plate

120.

The

Lace

Border.

The Lace Border.

193

Lace belongs in most cases

the

Free-ornaments. More

rarely

it is manufactvired

as an

Insertion, with

the character of a ribbon,

for

independent

use as a

Shawl

Wrap.

Compared with Fringe,

the

applications

of Lace are freer and more varied, and by no means

con

fined

the

character

of a

pendant

termination. The reader

may be

assumed

to be acquainted with the various uses of lace.

we exclude the allied Crochet-work

not strictly

belonging

this section,

shall find

that

the

manufacture

Lace may

divided

into

two groups:

(1)

sewed

or Point lace; and

(2)

bobbin

Pillow

lace. The former method has chiefly been practised in Italy,

Spain,

Ireland, and France;

the latter

in England, France, the Nether-

lands,

Schleswig,

Switzerland, -and

Saxony.

The

chief

centres of the

lace

industry

were and

some extent still are: Venice, Genoa, Milan,

Ragusa,

Devonshire, Buckinghamshire, Ireland, Alengon, Valenciennes,

Brussels,

Mechlin,

Binche, Tondern,

Annaberg,

&c.

As in

other branches,

the cheap

Machine-made

article has nowa-

days

reduc^

the

manufacture

of the dearer but

far

more valuable

Hand-made

lace to very modest limits. See Eeports

on Lace,

Alan

Cole (Department

of Science

and Art).

Among

the

numerous kinds of Lace for which no generally

re-

cognised

terminology

yet

exists,

have selected

some, principally

older

date, among

which the best

patterns are

found:

Point coup6

(punto tagliato). The linen ground

is cut-out and

the

edges worked with

the

needle.

Point tir6

(punto a

maglia quadra).

Single compartments

quadrangular knotted

or woven net are filled-up.

Point tir6

(punto tirato). The threads

of the linen fabric

are

partially

pulled-out, the

others connected together

and sewed

round.

Point

coup6. (punto a reticeUa).

Groups of threads sb'etched

lengthwise

and

crosswise like a net, are spun

round and

connected.

Point

nou6

(punto

a groppo). Produced by

plaiting

and knotting

the

threads.

Point

lace. The threads are

sewed together, following

the

pattern,

and

joined together

by "brides". This

almost the only

kind

lace which can

now be found

ladies*

work-tables.

Plate

120.

The Lace

Bordee.

1. Venetian

guipure,

old pattern-book.

2. Point none,

end of the

15th century.

—4,

Old,

point.

—

Modern,

pillow,

old

patterns.

Modern,

knotted,

with

fringe, (Macrame lace).

Meyar^

Eaodbook

Ornament.

194

4:--t^^

%*z-=

SUPPORTS.

All

those elements

ornamental

art which express the idea of

supporting

bearing, are here

gathered into a

special

group

which is

given the

name

"Supports".

Supports, in

the strict sense

the word, are piers or

columns.

But

does

not

fall within

the scope of

this

work to treat these

forms

from the

architectural point

of view, or

to enter

into the

details

and

proportions

the so-called

"Orders

of Architecture".

All

that

required

this

point may be

gained

from the works

architectural

specialists:

BOtticher, Tektonik

der

Hellenen;

Mauch

and Lohde,

Die

Architektonischen

Ordnungen;

Phene

Spiers, Tlie Orders

Archi-

tecture;

Vignola;

Durm and

others. We

will

therefore

disregard

the

undecorated

forms,

and discuss

only the

decorative

details of these

supports.

Like a tree

which

consists of root,

trunk, and

crown.

Piers

and

Columns

necessarily

have a base,

a shaft,

and a

capital.

(The

Doric

Column

is an

exception as

has

base.)

The

natural model

for the

Pier

and

the Column is

the

trunk

of a

tree

hewn into a

cylindrical

prismatic form.

The

motive

of the

channellings

and

flutings

of the

shaft of a support is

found in

the channels

and

flutings

of Endogeneous

Plants.

Supports

which, like piers

and

columns,

are

intended to

bear

considerable

weight,

usually have a

strong

cylindrical or

prismatic

structure,

generally

tapering towards

the top;

the

fundamental

forms

tlie Candelabrum,

which is meant

bear

only

inconside-rablp

weight, like

Lamps,

&c.,

are

freer, have

variety,

and offer

wider field for

decoration

than the

forms

the

former

group.

The

Candelabrum is

also

divided into

foot,

shaft,

and

crown.

The

shaft,

Supports.

—

The Foliated Shaft. 195

again,

frequently composed

several distinct

parts.

The cande-

labrum

whole

will

receive a

more detailed

consideration

Division III,

(Utensils).

Small Pillars,

shaped like

pier,

column,

candelabrum,

are

also

used for

the construction

of balaustrades

;

in which

case

they

have

to support only a

Rail.

The

small Pillars

have thick,

compact forms; Balausters,

the

contrary,

are slender

bodies of

revolution, with great variety

the

profile.

Very peculiar

forms of

support are the antique

Trapezophors or

table-legs;

the

Legs

of modem

furniture bear more resemblance

balauster

pillars.

Terminus

the name

given

supports which

widen

out in

upward

direction

inverted Obelisk,

and

terminate

bust

or capital.

Beside

the

geometrical and plant elements, the

human

form

also

used as

a motive

of supports.

Male forms thus used are termed

Atlantes; and

female

forms Caryatids.

The various

forms

of Consoles are included in

the

group of

Supports.

The Foliated Shaft.

(Plate

121.)

We have already mentioned

that the Plant-world

furnishes the

motive

for the forms

of Supports. Reeds, Canes,

Tree-trunks

with

knots,

&c.,

were

copied in the Antique.

The mural paintings

of Pompeii

show lofty airy

constructions

with extremely

slender, foliated

supports. The bronze

Candelabra

and Lampadaria,

intended

hold

lamps, are often

direct imitations

of plant

stems, while the Roman

State-Candelabra

are often decorated-

with

Artificial foliage.

Later epochs have

made little change in

this

respect;

it may be

said

in general that,

as regards delicacy

feeling,

and moderation

in the

application of natural forms, they

have

seldom

reached and still

more seldom

surpassed the Antique

models.

Plate

121.

The

Foliated

Shaft.

Finial

the

choragic

monument

Lysikrates,

Athens, (in-

tended

for the reception

of a bronze tripod), Greek.

2. Part

the

shaft of a

Roman

State

-candelabrum,

marble,

Vatican

museum,

Rome.

—

Supports,

mural

paintings,

Pompeii, (Jacobsthal).

Graeco-Italic,

Lamp-stand,

bronze.

Upper

part of

shaft,

Graeco-Italic

candelabrum,

Brondsted

collec-

tion, (Vulliamy).

196

SUPFOETS.

^^^

§)

Plate 121.

The

P^oliated Shaft.

The

Fluted

Shaft.

—

The

Base. 197

The

Fluted

Suaft. (Plato

122.)

Columns,

Piors,

Candelabra,

and

similar Supports

frequently

have

channellings or

flutings. The

object

of these

give animation to

the smooth

shaft, and to

emphasize

the

expression of the principle of

weight-bearing.

This

latter is

specially true

of the channellings.

In the Doric

style the

Flutings are

shallow without

any interval, only

divided

from each

other by a

sharp

edge,

(figs.

and

2).

The Ionic

and Corinthian shafts,

have deeper

flutings (figs.

and

4),

separated

from

each

other

fillets formed

the untouched surface of the

shaft.

The

channellings

terminate

upwards like small niches, with

semicircular or

elliptical

heads, (fig.

5).

Leaf-like terminations, like

that

fig.

are

rarer-

The

termination downwards is

similar

those

shown on figs.

—

The

number

of channellings

a shaft varies

from

18 to 24

smaller

constructions,

such

as Furniture,

Balausters,

&c.,

the

number is

reduced; but

seldom

less than 8.

The Channellings taper

proportionately

with the

shaft.

Pilasters are

also channelled

match

the

Columns. In

strict

Architecture,

rich

and composite channellings

and

flutings are

rather

injurious

than otherwise

(figs.

—

11);

but

on Candelabra,

and

Mouldings they

often

produce

good effect.

When

applied

the Torus

and the

Cavetto:

the

former

(convex)

should

decorated by

Nurls;

and the

latter

(concave) should have Flutes.

Plate

122. The

Fluted

Shaft.

—

Sections

of Doric

Fluting.

—

Sections

of Ionic

and

Corinthian

Fluting.

—

Construction

of the

terminations

Fluting

cylindrical

shafts.

—

11.

Composite

Fluting,

with sections,

and

terminations.

12.

Part

of an

Antique

Candelabrum,

with

tapered

Fluting.

13.

Termination

of the

Fluting,

monument of

Lysikrates,

Athens.

(The

construction is

clearly

indicated on

the

drawings.)

The Base.

(Plate

123—124.)

unquestionably more

beautiful

when

something in

the

shape of

Base is

interposed

between

the

shaft

of a

column

and

the substructure

which it rests,

than

when,

as in

the Doric

style,

the column

rises

without any

such

base.

Bases

suggested

the

radical leaves

of plants, are

common

Oriental

styles.

Plate

124,

fig.

gives

Egyptian example

this

kind.

Decorations

this

Eort are,

however,

oftener applied to

the

lower

end of

the

shaft

than

198

SUPPOETS.

W^lrTr¥rr?T9f^f¥Tpf?

—

vm.

—

Plate

122.

The Fluted

Shaft.

The

Base.

199

the

Base

itself.

This

natural method of

decoration is

also met-

with on

richly

decorated

examples

of Roman

style, where a

row

Artificial

leaves

encircle

the

shaft,

(Plate

123.

3).

Antique Bases

are

composed

of a

square

foundation

slab (the

plinth); and some

mouldings

which

follow the circular

plan of

the

shaft. The

well-known

and

oft-used

Attic Base,

consists,

beginning

from

below, of a

plinth, a

great

torus, fillet, scotia,

fillet, upper

torus,

fillet and

apophyge.

The

last,

as a quarter-

hollow

forms

the

transition between

fillet

and

shaft.

When

the plinth

decorated,

which

the

case only

very

rich

examples,

the motive is

either a

band

a scroll.

The

tori

are de-

corated

with braided

work,

shown on

Plate

99,

the

hollow

"scotia"

sometimes

decorated

with leaves,

the

smaller tori

may

treated

as astragals;

and

on.

Plate

123

shows

three

rich

Roman

examples.

Others

will be

found

Botticher's

Tektonik

der

Hellenen.

The Byzantine and

Romanesque

periods follow

the

Antique

the treatment

of Bases.

The

spaces

which

remain

the upper

sur-

face

of the

square

plinth

are,

however,

filled

with

ornament

(Plate

124.

7, 8,

10),

with

small

animal

figures, (Plate

124.

9).

the later

Gothic

style

the torus

overlaps

the

sides

the

plinth,

which

reduces these

spaces;

the

comers

the

plinth are

also some-

times

finished

shown on

Plate

124. 6.

The

Gothic period

prefers

geometrical

organic

form;

and se-

cures

good effects by a

variety

of profiles placed high up

com-

posite clustered columns,

(plate 124.

11)

gives an

example

this.

Remark

the

similarity

with the Chinese example, fig.

which

would

seem to have been

suggested by

a cluster of juxtaposed

shafts.

The Renascence

and modem

styles resort

direct copying

from

the Antique; but, as

rule, do not use ornamented

mouldings.

The

treatment of

the

Bases

of piers and pilasters

is usually

identical with that

of columns; so that there

necessity for

dealing with these separately.

Plate

123. The Base: Roman.

Capitoline Museum,

Rome,

(De

Vico).

Temple of Concord, Rome, (De

Vico).

Baptistery

Constantine, Rome, (Vorbilder fiir

Fabrikanten

uod

Handworker).

Piu\.TE 124.

The Base:

Romanesque,

&c.

Egyptian, Temple

Tutmes III,

Karnak, (Raguenct).

Chinese, (Raguenet).

Romanesque, coupled,

Schwarzach.

—

Mediaeval.

7. Romanesque.

200

SUPPORTS.

Plate 123.

The Base.