Meyer Franz. A Handbook of Ornament
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SUPPORTS.
221
The
Candelabrum Shaft.
Plate 136.
222
The
Candelabrum Capital.
—
The
Balauster.
The Candelabrum
Capital.
(Plate
137.)
The Capital of a
Candelabrum has
a
plate
or cup -like form,
according
as it is destined
to
receive a lamp,
or a
candle. The tops
of the Antique
bronze Candelabra,
as a
rule,
are
profiled like
the
so-called Krater
(figs.
1
—
5).
The profiles,
and
ornamentation
already
given, may be re-
garded
as standards.
The
insertion of real
capitals,
or of
figures, as
bearers (fig.
6)
is
rarer.
The marble
Candelabra
of the Antique
usually
terminate
in a plate
or table
(fig.
7);
and this
is also the
case
with the
Renascence Candelabra
intended
to receive candles.
These
were
not placed in a
cylindrical
socket but
stuck on
a co-
nical
pricket.
On the
decoration
of Candelabra
the
reader may
compare
the
plates
dealing
with this
subject in Division
III, (Group
of Utensils).
Plate
187. The Candelabrum
Capital.
1
—
6. Antique, Museum, Naples.
7.
Roman.
8. Renascence, drawing
in the Uffizi, Florence.
The
Balauster.
(Plate
138.)
Balausters are
small squat columns
of circular
or
square
plan-
Sometimes they
are only
symmetrical
around
their
axis,
sometimes
however
they
are also
symmetrical in
an upward
and downward
direc-
tion.
In
most cases
their construction
is that
of
the candelabrum.
They
may be
divided
into base, shaft, and
capital.
Ranged side
-by
-side in a row, balausters
are
employed
by the
Renascence
and modem art in Parapets,
Balconies,
Attics,
and
Stair-
cases.
When the Balausters are placed
on a
Stair-case:
the
bases
and capitals are
either slanting,
or the
• horizontals of
the
Balausters
follow
the slanting lines of the
stair-case.
The latter method
was
adopted
in
the Decadence of the
Renascence,
but is unjustifiable;
and
can,
in any
case,
only
be
adopted
with Balausters of
a square
or
oblong
plan.
A rich variety
may
be obtained
by the use of
square
and
cylindrical forms in the same
Balauster (fig.
5).
The
Balauster
is occasionally used as a support for Stalls,
and on Furniture.
Ra-
guenet's "Documents et
Materiaux"
contains a large
number
of
Ba-
lausters;
from
which we have selected some examples.
SUPPORTS.
223
The
Candelabium
Capital.
Plate 131
224
SUPPORTS.
it
w
2.
Plate 138.
The Balauster.
The
B.ilaiistor.
—
The Tmniinus. 225
Plait: 138.
The
Balauster.
1.
Square
plan, Italian
Retiascencb, Sta. Maria della Salute,
Venice.
^
2. A
system of
square Balaustcrs, Palazzo
Pesaro,
Venice.
8.
Circular plan,
Modern
Italian.
4.
Wood, Italian Renascence,
stalls in Sta.
Maria Novella, Flo-
rence.
'
5.
Modem
French, Architect
Roux, Paris.
6
—7.
Square
vvooden, (Bethke:
"Der
decorative
Holzbauer").
8
—
9. Modern, teiTacotta.
The Terminus.
(Plate
139.)
The Terminus is a pilaster
-like
support,
the fundamental
form
of which
is
characterized
by tapering
downwards in a manner re-
calling
an inverted Ohelisk.
The name is
derived
from
the fact that
similiar
constructions were
used in the Antique
as milestones and to
mark
the Terminations of fields,
&.c.
The
Terminus consists
of the
profiled
base, not
infrequently
supported on
a special pedestal (figs. 3
and
7);
the shaft tapering downwards
and
usually ornamented with
festoons (figs.
3,
4, 5, 10);
and the
capital, which
is
often re-
placed
by
a bust
or
half- figure (figs.
4, 5,
9).
In this
latter
case,
it
assumes
the
appearance
of a
caryatid; and, as the bust i3
that of Hermes
(the God
of letters), this
application
is often
termed
a
"Hermes".
Standing isolated,
it serves
as
a
Pedestal
for busts
and
lamps,
as a Post
for railings, and in gardens and
terraces. The last
was
exceedingly
popular in the Rococo
period. Joined to the
wall,
the Terminus often takes the place of the pilaster.
This is especially
true of
the
furniture and small architectural
constructions
of the
Renascence
period.
It
is also
not
uncommon on
Utensils, e.
g.
tri
pods, handles
of pokers, seals,
&c,
Plate 139.
The Terminus.
1. Upper part, antique,
silver
treasure of
Hildesheim, Berlin
Museum, (obviously from
a
Roman tripod).
2.
Stone Terminus
bust, Italian
Renascence, Villa
Massimi, Rome,
(Raguenet).
3.
Stone
Terminus
bust, German
Renascence,
mantel-piece,
town-
hall,
Liibeck.
4.
Stone
Terminus bust,
German
Renascence,
Otto
Heinrich
build-
ing,
Heidelberg Castle.
5.
Stone
Terminus bust,
German
Renascence,
monument, church,
of the castle, Pforzheim.
Meyer.
Hanribook
of
Ornament
'w
226
SUrPORTS.
Plate
139.
The TermiuDs.
The
Terminus.
—
The Parapet
—
The
Railing
Post.
227
6
—
8.
Wooden Terminus, Renascence.
9.
Small
Terminus
figure, German Renascence,
National
Museum,
Munich.
10.
Terminus
with mask, modem chimney-piece,
(Gewerbehalle).
The Parapet. (Plate
140.)
Besides the
Parapets which are formed
by rows of balausters,
there are others which
are arrangements of
pierced or perforated
tsone
or wood,
and cast or wrought
iron. The
Gothic style prefers
Tracery,
the
Renascence
prefers
Scrolls for stone parapets (figs.
1
and
S).
Parapets of
perforated wood, which are typical of
Swiss
architecture,
are
composed
of strips
of
boards, with shapes
more or
less
rich, care
being taken that the intervening spaces also form
pleasing shapes.
To construct Parapets in
the form
of
bi-axial trellises, was & popular
custom of the Renaseence; and it has
continued
so to
the
present
day.
But the
function of the supports is only
fully
shown when
the
pattern
has
an upward
direction. This, however, does
not ex-
clude the
use of other
treatments,
e.
g.
panels.
Raguenet has nume-
rous examples.
Plate
140. The Parapet.
1. Modern Gothic, stone,
Viollet-le-Duc, (Raguenet).
2. Modern Gothic, stone,
Viollet-le-Duc,
Castle of Pien-efonds,
(Raguenet).
3.
Stone, German Renascence,
-
Dagobert
tower,
new
Castle, Baden-
Baden.
4—5,
Trellis, Schinkel, (Vorb. f.
Fabr.
u.
Handw).
6.
Modern
French,
Hotel Mirabeau, Paris,
Architect Magne,
(Raguenet).
7.
Trellis, Barocco,
wi-ought-iron, French.
Railing Post. (Plate
141.)
V
staircase
railings, are
formed of
rows
of
upright
Posts. These
are of slender,
delicate
form; and take
the
place of the stouter
balauster.
The usual materials
for
balausters
are stone, terracotta, and
wood;
the
Railings, on
the
other hand,
are
of metal, or, in their
simpler forms, of wood.
In the
last
decades,
cast-iron was the ma-
15*
228
SUPPORTS.
^V
-JW^-V;'
^
Plate
140.
The
Parapet.
SUPPORTS.
229
^tl.
The Railing
Post.
Plate 141.
230
The
Hailing Post,
—
The Furniture
Leg.
terial
most often
used; but lately
a return has
been made to
the more plastic wrought
-
iron. The ornamentation
depends on
the
material selected.
Wrought
-
i/on Posts
are decorated with
scrolls
and
tendrils, while cast-iron
uprights
are decorated
in
bas
-
relief.
If the Eailing-post
has to
stand
on a horizontal plane,
it is
ad-
visable
to
construct the foot in the manner
-shown in figs.
8,
4,
and
5;
if it is to be
affixed
to
the
sides of the
treads of a staircase,
arrangements
similar
to
those in figs.
2,
7,
and
8,
are necessary. Where
the
upper end has
to
support
the
hand-rail, independent
terminations,
like
figs.
2
and
5,
may
be adopted. Spherical heads may
be
applied
to
all
angles
(fig.
4).
Plate
141. The Railinq Post.
1.
Modern Post, cast-metal,
Architect
v.
Leins,
Stuttgart,
(Ge-
werbehalle).
2.
Modem
Post, cast-metal, Architect
v.
Hoven, Frankfurt,
(Ge-
werbehalle).
3. Modern Post,
wrought-iron,
(Gewerbehalle).
4.
„ „
cast-metal.
5.
„ „
architects Gropius and Schmieden.
6.
Plain wooden
Post.
7
—
8.
Modern
Posts,
cast-metal. Architect
v.
Hoven, Frankfurt.
The
Furniture Leg.
(Plate
142.)
The Legs of
wood
furniture may
be divided into two
classes
according to
their
height.
Tables and
chairs have high
Legs; low
Legs or
Feet serve
as supports for
all
kinds of cabinet and
box-like
articles.
The
general
plan
is
that
of a
balauster-like body
of revolution
as
turned on the lathe.
Angular forms, however, are also used.
High Legs
are frequently
decorated
vnth
carved ornaments;
low
Legs
are usually left
plain; and this would seem to
be
in
accordance
yfiih
their character.
Metal Feet are
sometimes used
for small
pieces
of
furniture like
caskets.
Where the
Legs
have to
stand on
the floor:
it
is
advisable
to
taper
them downwards
(figs.
5
—
10);
where
they
have
to
stand
on
raised
platforms
and
seldom require to be
moved:
it is better
to
furnish
them with a
pedestal
(fig.
1).
It has
lately
become fashion-
able
to apply
metal
casters
to
pianos, heavy chairs,
couches,
&c.