Meyer Franz. A Handbook of Ornament

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211

The Capital.

Plate 130.

212 SUPPORTS.

Plate

131. The Pilaster Panel.

The

Capital.

—

The

Pilaster

Panel.

213

12.

Romanesque

Cushion-capital,

monastery,

Lippoldsberg.

—

14. Late

Gothic,

triforium of

the choir,

minster

Freiburg,

Plate

130. The

CAPiTAii.

Renascence,

drawing by

Holbein,

(Guicbard).

—

3. Renascence,

designs by

Heinrich

Voigtherr, (Hirth).

Composite,

Italian.

Renascence,

Palazzo Scrofa,

Ferrara, Italian.

Renascence,

Tomb in

Sta.

Maria

del Popolo,

Rome, by San-

sovino.

Renascence, Italian,

Palazzo

Zorzi, Venice.

Modem,

municipal baths,

Carlsrubo, Architect Durra.

Modern

French,

Vaudeville theatre,

Paris, Architect

Magne.

The

Pilaster

Panel.

(Plate

131.)

In many cases

the Pilaster or

wall-pier sbaft

devoid of orna-

ment. Unlike the

column, the Pilaster does not,

as a rule, taper

uji-

vards;

and

if the Pilaster

is ornamented with

fluting

the

tapering

never

permissible.

The Pilaster

frequently has cinctures, generally

two,

the lower at

^/j,

the upper at

-^/s

its

height.

The ornamental

decoration, when present,

takes the form of an

elongated,

sunk panel

bordered

by a

moulding. The

ornamentation

may

be of three kinds:

firstly:

ascending plant motive may

used,

rising symmetrically

in the

form of a wavy line

from calices, vases, &c.,

animal

and

human figures being not infrequent

accessories; secondly,

the

decora-

tion may

consist of festoons

of flowers,

fruits,

trophies,

shields,

&c.,

varied

by knots and ribbons, the

points of

suspension being

rosettes,

rings,

lion heads,

&c.;

thirdly, the

panel may be decorated with

flat

strapwork, as

in the

Elizabethan

manner.

Of these

three

kinds of

decoration the first is

the

most used;

and

the most

suitable. Few

Antique examples

have

come down

us; the Middle

Ages make scarcely

any use of the

Pilaster;

but

the

Renascence is much richer in

such examphs. Stalls, Altars,

Sepulchral

-monuments are scarcely to be

found

without

Pilasters.

Plate

131 offers a small selection

from

the copious

material;

all the

panels

show the first

of the three

kind3 of

decoration.

Plate

131. The

Pilaster

Panel

1. Italian

Renascence.

—

5. Italian

Renascence,

Sta.

Maria del Miracoli,

Venice.

—7.

Italian

Renascence,

Benedetto da

Majano.

—

9. Modem

Panels, in

the style

of the Italian

Renascence.

214

The Pilaster

Capital.

The

Pilaster

Capital.

(Plates

132—134.)

Generally

speaking,

the

structure

of the

Capital

the

pilaster

follows

that

of the

Colvmm;

and,

to a certain

extent,

translates

the

forms

the latter

from

the round

the flat.

This

observation

true

the

Renascence

period;

but

not in the

Antique.

Pilaster-capitals

in the

Doric

style one

or more

leaf

egg-

and-dart

mouldings

run

under

the

abacus, and

are

covered at

the

corners

with palmettes

or leaves.

Beneath

this

proper

part

the

Capital

a neck

less high

usually

found,

decorated

with

rosettes

or with

other

ornaments

(Plate

132.

1).

modem

Capitals

this

class the

neck may

even be fluted

(Plate

134.

7);

not

infre-

quently

the

centre of

the

Capital is still

further

decorated

the

addition

masks,

symbols,

&c.

(Plate

134. 7

and

8).

While

the

Renascence adopted

the form

of the

Ionic

Capital

with

scarcely

any change

for

its

pilasters (Plate

134.

4),

the

Antique

possessed

a special

form

of pilaster Capital

of this order

(Plate

132.

2).

The

most

numerous,

varied

and beautiful Capitals

pilasters

are

the Corinthian

order.

The profile and

general arrangement

are

the

same

as with

the

columns; generally,

however, the

pilaster

broader

in proportion

to its height. The

lower part is encircled

Artificial

leaves which

sometimes

dwindle

to the two corner

leaves

supporting

the volutes.

The volutes are

of the most varied

descrip-

tions,

sometimes replaced

by cornucopias,

dolphins, chimeras,

and

other

figures

(Plates

132.

and

133.

5).

Leaf-ornaments,

vases,

garlands,

calices

of flowers,

&c., are

arranged

the

centres

(Plate

132.

—

8),

also masks (Plate

133,

and

8).

Neckings are

rare on

Corinthian

capitals (Plate

133.

7).

The

egg -and -dart mouldings,

which run alo;ig

the bottom of

Antique examples (Plate

132.

—

5),

are

reminiscences of

the Doric style,

so that these forms

may also

be regarded

as a

kind

of transition

Capital.

Plate

182. The Pilaster Capital.

1. Greek-Doric anta, Erechtheiim, Athens.

Greek-Ionic

anta.

3. Greek-Corinthian.

—6.

Roman

-Corinthian,

(Botticher).

Roman-Corinthian,

Pantheon, Rome.

Roman-

Corinthian, Temple

of Mars Ultor,

Rome, (De Vico).

Plate

133. The Pilaster Capital.

Corinthian, Italian

Renascence, Court

the

Scala\dei Giganti,

Venice, (Wiener Bauhiitte).

SUPPORTS.

215

The

Pilaster Capital. Plate

132.

216

SUPPORTS.

Plate 133.

The Pilaster

Capital.

SUPPORTS.

217

.^jj/^?L^l/V.:.-.I..l;.^-^^:^l.^!V,-.A^'-;":i./".,ub^^

'v"

V.'ij.t}.

I'i

'!;,

/Ai fiv. 'u

—

---

218

The

Pilaster

Capital

—

The Candelabra

Base.

2. Corinthian, Italian

Renascence,

Sta.

Maria

dei

Miracoli,

Venice.

Corinthian, Italian

Renascence,

Certosa,

Florence.

4. Corinthian, Italian

Renascence,

Scuola

di San

Marco,

Venice,

by Pietro Lombardo;

—6.

Corinthian, Italian

Renascence,

Chapel

the Palazzo

Vecchio^

Florence,

(Musteromamente),

7 Corinthian,

Italian Renascence.

8. Corinthian,

French Renascence',

Tomb

Louis

XII,

St. Denis.

Plate

134. The Pilaster Capital.

Corinthian, Italian

Renascence,

Portal of

San

Michele, Venice.

—

Corinthian, Italian

Renascence,

Palace

the

Doges,

Venice.

Ionic,

French Renascence,

(Lifevre).

5. Wrought-iron,

castle

at Athis-Mons,

French,

17th

century.

6. Wrought-iron,

Jean

Berain,

French, 17th

century,

(Raguenet).

Modem

Doric, Architects

Kayser

and

v. Grossheim.

Modem

Doric, new

Opera House, Paris,

Architect

Gamier.

Modem

Ionic, Rue Dieu,

Paris, Architect

Sedille.

10. Modem

Corinthian, atelier

painter,

Paris,

Sculptor Bloche.

The

Candelabrum

Foot.

(Plate

135.)

For

lighting,

the

Candelabrum

played

important

part in the

domestic and

religious life

of the Ancients.

In the House, they

mostly

employed slender,

delicate bronze Candelebra;

and for Religion,

the great

State-candelabra

of marble.

The Candelabnim, like

the

column,

consists of three parts:

the base, the shaft, and the capital.

To afford

the necessary

steadiness, the base of the Candelabrum

is planned

on a

comparatively

large scale, and divided into three

legs,

which

stretch-out,

towards the points

of an

equilateral triangle.

For

the

foot,

the claw of an animal, and

particular the

claw of the

Lion,

is used.

Not

infrequently the claws

rest on

balls

or discs

(Plate

135.

6).

The transition

the shaft

designed with

double

calix,

the upper leaves

of which rise and encircle the

shaft, and

the

lower

leaves

descend and mask the junction of the

three

legs

(Plate

135. 1 and

5).

delicate anthemion

may

be perceived

between

each pair of

feet on

richer examples

(Plate

135. 2

and

3).

In exceptional

cases the leg appears

grow from

the mouth of an

animal

(Plate 135.

6).

Occasionally a circular,

profiled and decorated

disc is

used instead of the double calyx and

anthemion.

Sometimes,

too, the shaft

is prolonged downwards beneath the

disc in the form

of a kuob,

but

does

not touch the ground.

The

Candelabrum

Base,

Shaft.

219

It is obvious

that

the

delicate

forms and

the

division

into legs,

whicQ

was so

suitable for a material

like bronze, could not be

trans-

ferred

directly to the

construction

in marble;

but

reminiscences of

may

be seen in the

retention

of the triangular ground-plan,

the re-

duced

claws, the double calyx,

&c.

(Plate

135.

8).

Plate

135. The Candelabrum Base.

Antique, bronze,

Museum, Naples,

(Botticher).

„

(Botticher).

„ „

Studj

publici,

Florence,

(Weissbach and

Letter*

moser).

—

Antique,

bronze. Museum,

Naples.

—

Legs from

antique candelabra: the former found

in the ruins

of Paestum;

the other in

the

Museum, Naples.

Roman,

State-candelabrum.

9. Renascence candelabrum,

Collection

of drawings, Uffizi,

Florence.

The Candelabrum

Shaft.

(Plate

136.)

The

decoration

of the Shaft of

the antique bronze

domestic

Candelabrum

simple;

and consists of

flutings or channellings,

some-

times

of naturalistic

buds and leaves.

Far richer is the ornamentation

the

Antique State-candelab-

rum.

divided into

zones

(Plate

136.

2),

or the shaft swells

and

diminishes alternately,

giving a richer profile (Plate

136.

1).

Smooth

"and fluted parts vnth

contrast

with foliage and figure;

and

the

ascending decoration

is varied by

trophies and festoons.

The

effect depends

the propriety

the

division.

The repetition

similar

masses

similar

forms becomes tedious.

The Antique

and also the Renascence,

particularly in Italy,

has

transmitted

to us a number of standard

forms

of Candelabra;

which

a few

examples are reproduced Plate 186.

Plate

136.

The

Candelabrum

Shaft.

1. Roman, marble.

Roman, marble.

Antique, (Botticher).

4. Mast -socket, Piazza of

Mark, Venice, bronze,

Italian

Renas-

cence.

Candelabrum-

like foot

of a holy water-stoup,

Pisa cathedral,

Italian

Renascence.

6. Italian Renascence, Badia near

Florence.

220 SUPPORTS.

Plate 135. The

Candelabrum

Base.