Meyer Franz. A Handbook of Ornament
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SUPrORTS.
201
The Base. Plate 124.
202
The Base.
—
The Ornamented
Shaft.
8.
Romanesque,
St.
Remy, Reims,
(Raguenet).
9.
Romanesque, Cistercian
monastery,
Maulbronn.
10.
Romanesque, Abbey "des
Dames",
Caen,
(Raguenet).
11. Gothic, church, Brou-Asn,
(Raguenet).
The Ornamented Shaft.
(Plates
125
—
126.)
The simplest,
most natural and
perhaps
the most
'beautiful de-
coration of
a
Shaft
is fluting, beyond
which the Antique very seldom
goes.
Where
it
does: it clothes the
stem in naturalistic fashion with
plant-forms, (Plate
125.
4).
In the Byzantine,
Romanesque, and Scandinavian styles: we
often
find the shaft
covered
with
a geometrical network, and
ornamented in
a corresponding
style, (Plate
125.
2
—
3).
The Gothic style
prefers
to
leave the
slender shafts smooth.
The
Renascence is not satisfied with
the
simple flute
especially
on small architectural work like Altars, Monuments,
&c.
The
craving
to
give the Column a decoration comnaensurate with
that
of
the other
parts of
the architecture became irresistible.
It is
raised on
a pedestal;
the
shaft
is
banded, being divided into parts by
projecting Cinctures,
generally
two, the' lower at about
one-third,
the
upper at about two-
thirds
of the height. On the lower part are
suspended festoons,
weapons,
trophies, cartouches,
&c.,
the
upper
part is channelled or
decorated with Artificial
foliage (Plate
125.
1);
finally, festoons
of
fruit
or drapery are suspended
from the capital.
Where
the Columns are
not large, especially in Furniture, the
cylindrical shaft
is
replaced
by
the richer profiling of a
more candelabrum-
like
form, (Plate
126.
5).
Flat ornamentation is
also
used,
as well
as plastic
decoration, by
means of painting,
incrustation,
or
inlaying,
(Plate 125.
5).
All
these methods of
application are
more
or
less in
agreement
with the object and
principle of construction of
the Column,
but the
same cannot be said
of the Renascence
and the following styles
of
the
Decadence,
which build
up
their Columns
of large and small drums,
alternately
ornamented and
plain,
or even
give the Shaft a spiral
twist
and decorate it with spiral
flutings.
Plate
125.
The Decorated
Shaft.
1.
Italian
Renascence, Tomb in Sta.
Maria del
Popolo,
Rome,
by
Sansovino.
2.
Romanesque.
3. Shaft,
church, Tournus,
(Raguenet).
4.
Roman, marble.
5.
Column,
with intarsia decoration,
German Renascence,
(Hirth).
SUPPORTS.
203
The
Decorated
Shalt.
Plate
12"
204
SUPPORTS.
^?^i^
^m
Plate
126.
The
Profiled
Shaft.
The
Ornamented Shaft.
—
The Capital.
205
Plate 126. The Profiled
Shaft.
'l.
Candelabnim-like column,
tester-bed, French
Renascence.
2.
Lower part of a column, Mayence
cathedral.
3.
Lower part of column, Palais
du
Commerce, Lyons, (Raguenet).
4. Column,
diploma. Modern.
5. Column, Modem, (Gerlach).
The Capital.
(Plates 127—130.)
The upper
termination of the column
is the
Capital.
The
Capital
forms
the
transition
from the supporting Shaft to
the
superincumbent
Weight.
This transition may assume either geometrical
or organio
forms.
Very frequently
both
systems are combined;
so
that,
strictly
speaking, we
can only say that one system or the
other
predominates.
The
Egyptian
-capital
is suggested
by
the
cinctured
bundle
of
Papyrus
stems with
buds
(Plate
127.
4,
5),
or
with opened
Papyrus
or Lotus flowers,
(Plate
127.
2, 3).
Abnormal
capitals
are
found in the Old Persian style.
Plate
127.
1,
gives
an example
from Persepolis, composed of the
fore-parts
of
Bulls.
As examples
of Oriental forms: two
Moorish
capitals from
the
Alhambra
in
Granada
are given on figs. 6
and
7
of
the same plate.
Antique
art adopts
three
general
types
of Capitals: Doric,
Ionic
and
Corinthian.
The Doric Capital
consists of the
abacus, which
is square in plan,
and the echinos,
which is circular. The
transition
to the shaft is
effec-
ted
by
hollow mouldings
and astragals.
The Graeco-Doric
Capital
was
painted.
Where the sides of the abacus
are
decorated: a Fret
pattern
is
employed (Plate
127.
8).
The
echinos is a member of
conflict,
and
is ornamented accordingly.
In
the Roman and
Renascence
styles
plastic
ornamentation takes
the place of
painting.
The
band
of
leaves
becomes an egg-and-dart
ornament
(Plate
127.
10).
Leaves
pointing
upward
are sometimes used (Plate
127.
9).
At the top
of
the abacus
a small moulding
is used.
A
necking,
generally
decorated with
rosettes,
is interposed between Capital and Shaft.
Similar
rosettes
decorate
the
spaces on the under side of the abacus (Plate
127.
9-10)..
The lonrc
Capital
replaces
the
square abacus by a sqroll rolled-
in
on both
sides, in
great volutes. The intervals, between the
egg
band
and the
scroll, are
marked by palmettes. A neck
may
bo added
as in
the Doric Capital,
and
it is frequently decorated with
a
pal-
metto
ornament
(Plate
128.
4—5).
The side view of the
scroll
shows
plain
profilings
as on Plate
128.
1,
decorated with leaves or
scales
Ir
the richer exarriples.
Thu Ionic
Ccpital
has two
faces,
and
206
The
Capital.
two si3es.
For this
reason
it is of only limited
application,
as,
when the
capital is
applied to
the corner column of
two adjacent^
sides of
a building, it is
impossible
to
avoid
a
bad
effect
from the
two
reentering volutes
on
the inner faces.
The
fundamental form
of
the Corinthian
Capital is
the calix.
The decoration
may be
designed
on two
methods. Firstly
a row
of
leaves,
or
two
rows
arranged
alternately
one above the
other, clothe
the lower
cylindrical part
of the
capital,
and plain broad
waterleaves
form the transition to
the
square abacus.
To
this class
belongs
the
capital of the
Tower
of
the
Winds in Athens, and a capital
found
on the
island of Melos,
which is
shown
on Plate 128. 7.
Or, secondly:
volutes rise from the
rows
of leaves and unite in
pairs under
the
comers of the abacus,
which are
then extended, so
that the sides are
rendered concave in
plan. The centre
of each sides of
the
abacus
is
decorated
with
a
palmette or
rosette (Plate 128.
8
—
9).
The fusion of the
Ionic and
Corinthian
capitals produced the
Composite capitaj; whose
appearance is
more interesting
than beautiful
(Plate
128.
10).
Early Christian, and,
to
a certain
extent,
Byzantine and
Roma-
nesque
art, models
the
forms of capital
on those of the
Antique.
The
Corinthian Capital
is
the one
mostly followed. The
details are
made
correspondingly simpler and ruder
(Plate
129.
6
—
11).
But
along side
of
these
reminiscences of the
Antique, new and
independent
forms
appear. The
antagonism between
the cylindrical
under part
and the square upper termination is
adjusted by
geometrical construc-
tions. Thus originated the
Cushion and
the Trapeziform Capital.
The
Cushion capital is specifically
Romanesque.
A half sphere is cut
by
planes below and on the four sides.
Its
simplest form is given
on
Plate
129. 1.
The decoration is
sometimes
geometrical (Plate 129.
2
and
12),
and sometimes contains
foliage
and figures (Plate
129.
5).
Th'e Double-cushion Capital
is
a
variant of
the Cushion capital (Plate
129.
4).
The Trapeziform
capital
is
specifically
Byzantine. In this
style:
the cylindrical
shaft
is
continued to
the square abacus, which
causes
each side of the Capital to
assume a
Trapeziform shape (Plate
129.
3).
Very often these
Capitals are
richly decorated
vath figures.
The arrangement
of clustered-shafts,
so popular in
the Middle
Ages,
led
to the
Coupled-capital,
which appears, sometimes
as
con-
joined capitals
(Plate 129.
10),
and
sometimes as the
juxtaposition of
two ordinary capitals
with
a conjoined
abacus.
In
the Gothic style,
particularly in its
later
period, the
abacus
becomes octagonal.
Crocket-like knots
of leaves are loosely attached
to the
calis-formed
core.
The
vigourous projections of these leaf
ornaments give the Capital
the
appearance
of
an inverted bell (bell
capitals, Plate 129.
13—14).
The Renascence adopts the Doric
and Ionic
Capitals, and more
The Capital.
207
usually
the
Corinthian
Capital
directly borrowed
from the
Antique;
but the forms
become
freer
and more
varied;
and, compared with
the
overcharged
Roman
examples,
simpler.
The volutes
at the corners
develope into
independent
forms,
and are
often replaced by
dolphins,
cornucopias,
and other
fantastic
forms, scattered
instances
of which
may, however, be
found
even
in
the Antique.
Modern architecture,
like the Renascence,
also
follows
these
traditions.
Plate 127.
The
Capital.
1.
Ancient
Persian,
Persepolis.
2.
Egyptian,
Kom-Ombo.
3.
,
Philae.
4.
,
Memnonium
Thebes.
5.
n
Luxor,
(Owen Jones).
6
—7.
Moorish
capitals,
Aihambra,
Hall of the two sisters,
(Raguenet).
8.
Graeco-Doric.
9.
Roman-Doric,
thermae
of
Diocletian,
(Mauch and Lohde).
10. Doric,
Italian Renascence,
by
Barozzi
da
Vignola.
Plate
128.
The
Capital.
1. Graeco-Ionic,
(Jacobsthal).
2. Tonic, Bassae,
(Cockerell).
3. Ionic, Pompeii.
4.
Roman-Ionic,
(Musterornamente).
5. Graeco-Ionic,
Erechtheum,
Athens.
6. Ionic, Louvre,
Paris.
7. Antique
Corinthian,
found in
Melos,
(^''orbilder fiir
Fabrikanten
und Handwerker).
8. Greek -Corinthian,
monument
of
Lysikrates, Athens.
9. Roman-Corinthian,
palaces
of the
emperors
Rome.
10. Roman
Composite,
Louvre,
Paris.
Plate 129.
The
Capital.
1.
Romanesque
Cushion-capital,
St. Gereon,
Cologne,
(Otte).
2.
,
,
»
the abbey
church,
Laach,
(Otte).
3. Byzantine, Sta.
Sofia,
Constantinople.
4.
Romanesque
Double-cushion-capital,
Rosheim
church, XL cen-
tury.
5.
Romanesque Double
-cushion
-capital.
6. Romanesque
Cushion-capital,
Freiburg.
7
—
9. Romanesque, former
cloisters of
the
church,
Schwarzacb.
10. Romanesque Coupled
-capital.
11. Romanesque.
•208
SUPPORTS.
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Plate 127.
The
Capital.
SUPPORTS.
209
The
Capital.
Meyer,
Handbook of
Ornairipnt.
Plate
128.
14
210
SUPPOHTS.
Plate
129.
The
Capital.