Meyer Franz. A Handbook of Ornament

Подождите немного. Документ загружается.

The

Furniture

Leg.

—

Tlie Trapezoiihorou.

Plate

142. Tire FuiiNncniE

Leo.

Motlom.

2. Moilorn.

3. Moilern.

4. Modern.

—

10. Various old designs.

The TRAPEZopnoRON.

(Plates

143

—

144.)

"Trapezophoron"

is tho

name given to the

support of

the

Antique

table.

Tlioy

were usually

marble, the top

itself was

of wood or

stone,

sometimes ornamented mth mosaic.

We may distin;^uish

two

principal

classes of Antique tables: the

circular

table

with three legs (compare Plate 143.

1);

and the oblong

table,

resting on two end -supports

(compare

143.

and

144.

6).

The lower

part,

of the support of the round

table,

consists of a

great

leg which

generally passes into

foliated calyx with a small head of

a lion,

lynx,

panther,

other animal

growing out

of it

(143.

—

10).

The

heads are

sometimes human

(144.

human half-figures,

such

the genius

bearing

bowl on

Plate

144.

—

3. In

the early

period

Antique

art

find forms of more architectonic

character

like Plate

144,

fig

The end-support

for the oblong

table

is a

symmetrical

duplication of the

motive of the single leg

already men-

tioned,

with

the

addition of wings, and with the space between

the

animal

forms filled

either

figures

ornaments (Plate

143.

—

and

144.

6).

Very

striking in both classes of

support

the differ-

ence in scale

the

various

elements (a phenomenon

which also

appears

elsewhere

in Roman art).

On Antique

table-legs

the

reader may also consult Division III,

(Furniture).

Plate 143.

The Trapezophoron.

Three-legged table, Roman, Legs of marble, table

-top of

mosaic.

—3. Front and

side

view

the Support of a

Roman

table, found

the atrium

the

house

of Cornelius Rufus

Pompeii,

(Fragments

I'architecture).

Support

antique

table.

—6. Marble

support

Roman table, Lynx

head

and claw, Museum,

Naples.

—8.

Marble

support

of Roman

table, Panther head and claw, Bri-

tish

Museum.

—10.

Marble

support of Roman table, Lion

head and elaw, Vatican,

Rome.

232

SUPPOETS.

Plate

142

The

Furniture

Leg

SUPPORTS.

233

The Trapezophoron.

Plate 143.

234

SUPPORTS.

Plftto

144.

The Trapezophoron.

The

Trapezophoron.

—

The Console. 235

Pi^TE 144. The Trapezophoron,

Marble support of

antique table, Museum, Naples

(judging Irom

the symbolism

the

ornamentation, the leg

is probably from

table sacred to Zeus), (L'art

pour

tous).

—

Front and side

view

a small Roman

table-support, marble,

Naples Museum, Panther

claw,

Eros

garbed

with

the nebris.

Roman table-support, marble, British Museum.

„

Head of Hercules and lion

claw,

Vatican.

6. Antique Support, marble,

(Vulliamy).

The

Console.

(Plates

145—147.)

The form

of the Console is extremely

varied;

as are

its

uses

and

applications.

It is determined by

the function, and

the material

which it is made,

well as

the style of the period.

Architectural members of

the

character

of Consoles are

early

found

in the Chinese and Indian, as also in the Assyrian stylo;

but

in the Egyptian

style they

are

wanting.

Volute Consoles, very

beautifully developed,

^re

found

sporadi-

cally in the Greek style; but

the Roman

style was the first

to make

an extensive

use of

these forms.

The decorated

ends of Beams are probably to

regarded

the original model for Consoles.

The

S-shaped

double

volute, with »

large

and a

small spiral, is the standard form. In this

Console,

the

line of construction

and the space for the actual decoration are given

in the side-view,

while the front,

which

is subordinate, is ornamented

by scale motives,

and

leaves,

which adapt themselves in graceful

curves

to the

standard forms.

When

the

Console is used in

the

Console-band of a

Cornice, or

as the bracket of- a

Balcony, its attitude

recumbent. When

it sup-

ports the Cornices of doors

and

windows, its

attitude is

erect.

other application is known

the

Antique.

beautiful

example

occurs on the North door of

the Erechtbeum

Athens (Plate

145.

—

2).

Some examples of recumbent

Consoles, of Roman

style, are

given in figs.

—

of the

same

plate.

The example

—

of the

Late Roman

epoch, shows

decorative

accessories of

Swans.

The

bend

the

curve of the

volute

here

departs from

the

normal

example,

and

approaches a more convex

curve, which is

demanded

by the static

calculation

for these supports.

The Early' Christian and

Romanesque

art adopted coarse

copies

of the

Antique,

and also created

new

ones suited to the new require-

ments.

Thus

early,

we find those

modillion

forms

which

become

ty])ica1

for the

wooden

architecture of the

Middle ages, being chiefly

236

The Console.

used beneath mouldings,

and

in corners of

doors

between

the jambs

and the

lintel.

The example

on Plate

146. 11 may

be taken

representative of this kind of support.

Another

class of

Supports

exhibits

central

core',

tapered downwards,

Pendants

with

polygonal

round plan

(Plate 147.

and

2).

This

latter

form is

also used in Gothic art

Bracket for the

Statues of

the

saints,

which

were applied

piers

and the arches

of portals.

The

Renascense remodels the last-named

console in

its own

way,

but

recurs

by preference

to the Antique form

(Plate 146.

3),

some-

times reversing the

volutes (Plate

146.

—

2),

and giving

the

front

a richer and

more independent ornamentation (Plate

146.

6).

The

combination

of several

smaller consoles

form

a Composite

con-

sole, is shown

Plate

146. fig.

Just as the

Pendant-consoles

of the

Gothic style imitate the

calyx capital,

so too

does the Rena-

scense

remodel the Doric,

Ionic, and Corinthian capitals

for

Consoles

(Plate

147.

—

6).

In wood

architecture, we

meet

with Consoles

which

have the form of richly-decorated struts (Plate

146.

4).

The Barocco style,

which

followed the Renascence,

also made

essential additions to the richness of the forms.

The strict

line

the

volute is abandoned

and

frequently broken

straight lines

(Plate

146.

—

10).

The

Console is shaped in front-view like a pen-

dant Triangle,

typographical Tail-piece

(Plate

147.

and

8).

An-

other invention of this period

is the Triglyph-console (Plate

147.

7).

The

Rococo

period

abandons the traditional standards, and sacri-

fices construction

picturesque

license.

Shell-work, and unsymme-

trical scrolls, serve as supports.

Modem art recasts

the elements of former styles, without adding

anything essentially new, imless

we regard as a

novelty

the custom

of placing

busts,

clocks, and

knicknacks, on

independent

Consoles

which are

used as

Brackets.

Finally:

we may

mention

that

almost

every style. Consoles in

the various

forms

have

been

used

the Keystones of door

and

window lintels, in

which case

they are, generally speaking,

not

Supports, as

they have

nothing

support.

It should

considered

inadmissible to

apply

distorted Consoles i. e.

those which

have vertical

sides

though they are

the raking sofits

pediments, as was

done in

the Late

Roman period, and

imitation

thereof

by the Renascence

in some

examples.

Examples, of

all periods,

will be found

in Raguenet's work; and

exhaustive essay on the

Console

Dr. P. F.

Ejrell

the

Ge-

werbehalle,

1870,

No. 10.

PiATE

145. The Coksole.

—

2. Front and

side view, Greek,

North door,

Erechtheum,

Athens.

—

Front and side

view, Roman,

Vatican.

SUPPORTS.

237

KWI^jTi

xaii'SSS^Z)g

"^IMiJALLLLL

Tt'.-?

CoDsole.

Plate

145.

238

SUPPORTS.

Plate

146.

The Console.

SUPPORTS.

2:^9

The

Console.

Plate

147.

240

SUPPOKlS.

Plate

J48.

The Bracket.