Meyer Franz. A Handbook of Ornament

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The

Console.

—

The

Bracket.

241

—

Roman,

Front

and side

view,

temple

Jupiter Stator,

Borne

Vatican.

—

8. Roman,

Front

and

side

view,

Vatican.

Pjlate 146.

The

Console.

—

2.-

Renascence,

Side

views,

Vatican.

Renascence,

Hotel

Assezat,

Toulouse, (Raguenet).

Renascence,

Wooden,

French,

Hotel d'Assezet,

Toulouse, (Ra-

guenet).

Renascence,

Istrian

limestone,

Venetian,

Hamburg,

Museum.

Renascence,

Marble,

Italian, Sta.

Maria

de'

Miracoli,

Venice,

(Gropius).

—8. Modem,

French,

Architect

Roux, Paris.

—

!"•

)) ))

?»

11. Mediaeval,

church,

Athis, France.

Plate

147 The

Console.

Romanesque,

Noyon

catliodral, 12th century, (Raguenet).

Gothic, St.

Pierre sous

Vez^lay, (Gewerbehalle).

Renascence, French,

castle, Blois.

—

5. Renascence,

German, new Castle,

Baden-Baden,

(Gmelin).

Renascence,

German,

Heidelberg castle.

Renascence,

Triglyph-console,

Late French.

Modem, French,

library,

Louvre,

Architect Lefuol,

(Raguenet),

Modem,

French, (Raguenet).

10.

Modern, French,

New casino, Lyons,

Architect Porte,

(Raguenet).

The Bracket.

(Plate

148.)

A 'special

class of Supports

formed by those

wrought-iron

bearers

which

the Middle Ages, the Renascence, and Modern

times,

have

produced

in the shape of Brackets. The uses of

Brackets

are

very

various,

in supportmg

Shop-signs, Conduit-pipes,

Gargoyles,

Candles,

Lamps,

Hats, Coats,

&c.

form,

they vary with the style and

richness of the

work

manship.

Square,

flat and round

iron,

enriched by

chasing and

other

methods of

decoration,

are used. They are

frequently

fastened

to the

wall

by the

aid of

nbbon

bko

strips

of metal, which may

themselves

be decorated

with

scrolls and

curls.

The plato

shows

a number of

such

supports,

ancient

and mo-

dem date,

destined for a.

variety of purposes.

Mpyar, TTcndbooV

Ornament

242

The

Bracket.

—

The

Caryatid, and the Atlanta.

Plate

148.

The

Bracket.

—2.

Part

Reading-desk,

Benedetto, near Mantua, Italian

Ee-

nascence,

(Gewerbehalle).

Wrought-iron,

Sign,

Eegensbuig,

German Renascence, (Music

omamente).

Wrought-iron

bearer

conduit-pipe, Kloster

Lichtenthal

near

Baden,

German

Renascence,

(Gmelin).

Wrought-iron

bearer

of water-stoup,

sepulchral

cross in

ceme-

tery,

Kirchzarten,

German Renascence,

(Schauinsland).

—

Wrought-iron

supports,

for

Gargoyles, German Renascence.

Wrought-iron,

Sign,

Modern,

Architect

Crecelius,

Mainz.

Modern

wrought-iron

bracket,

(Badische Gewerbezeitung).

The

Caryatid,

and

the

Atlante. (Plates 149

and

150.)

The

freest

and

tbe richest

motive

for supports,

the

Human

figure. As

early

Egyptian

and

Persian architecture,

we find

human

ficrures

bearers of

beams and

roofs.

The

Greek

and Roman

styles

also make use

this

motive.

The

modem

names

for

such supports

are

derived from

the Antique. Accord-

Greek

mythology.

Atlas supports

the vault of

heaven

the

ends of

the

earth.

Hence is

derived

the name

"Atlantes" for these

male

supporters.

They

are also

sometimes

termed

"Telamons". The

name

"Caryatids",

for

female

supporting figures,

is derived

from the

town

CarysB

in the

Peloponnesus.

According to

another

version the

Caryatids

are

imitations

of the

virgins who

danced

in the

temple at

Caryae

the feast

Diana.

According to

Vitruvius,

their intro-

duction

into

architecture

owing to

the fact

that

ladies

Caryae,

as a

punishment

for

the

support

they rendered to

the

Persians, were

carried

into

captivity and

compelled to

serve as

carriers

of burdens.

The

Caryatids

are

termed

"Canephorse"

(basket

bearers),

when capitnls

shape

like a

basket

are

interposed

between

their

heads and the

superincumbent

burden.

Among

well-known

examples in the

Antique

are

the

Atlantes in

the

temple

of Jupiter at

Agrigentum, and

the

Caryatids

of the

Erechtheum

Athens.

The

Middle Ages

made

little

use

Atlantes and

Caryatids; the

Renascence

and

the

following

stylos,

en the contrary,

used

them freely.

Atlantes

and

Caryatids

occur

isolated,

and connected

with

walls;

and in

both

high

and

bas-relief

Sometimes

the whole

length of the

figure is

employed,

sometimes

only the

upper

half

conjunction

with

Console

(Plate 149.

—

7),

with

terminus-like bases (Plate 150.

—

5).

Composite

bearers

the

form of

double

Caryatids are also

a popular

motive,

shown by

the

example

on Plate

150,

from

the

Louvre at

Paris.

SUPPORTS.

243

The

Caryatid, the

Atlante,

&c.

Plate

149.

16*

244

SUPPORTS.

Plate

150. The Caryatid,

&c.

The

Caryatid,

the Atlante, &c.

245

Plate

149.

The

Caryattd,

the

Atlakte, &c.

Greek

Caryatid,

Erechthemn,

Athens,

(\^orbilder fur Pabrikanten

und

Handwerker).

Antique

Caryatid,

Villa Mattei,

after

Piranesi, (Vorbilder fiir

Pabrikanten

und

Handwerker).

Modem

Prench

Atlante,

house

Paris,

Sculptor Caille,

(Ea-

guenet).

—

7 Modem,

Pront and side

views of

Half- figure Consoles, Ziegler

and

Weber,

Carlsruhe.

Plate 150. The

Cabyattd, &c.

Modem,

Double Caryatid,

Louvre, Paris, (Baldus).

—

3 Modem,

Caryatids,

Conservatoire des

arts

metiers, Paris.

Sculptor

E. Eobert,

(Raguenet).

—

Modem, Caryatids,

Director

Hammer, Nuremberg.

—

7. Modem,

Caryatids, Director

Hammer,

Nuremberg.

1?^^

ENCLOSED

ORNAMENT.

(PANELS.)

That Method of

treatment,

which has for its object to

decorate

a plane surface,

and to

cover

it with

ornament,

&c.,

by means

painting,

inlaying,

engraving,

etching,

&c.,

we term

flat

decoration.

This falls

into two

classes.

Firstly the

ornament

may be de-

signed for a definite,

bounded

space, such

as an oblong, according

artistic

rules,

that

fits

exactly intp

this space

alone:

which

case

it is a

discontinuous

"Panel"

ornament Or, secondly,

the

ornament may

extend

itself

in every

direction,

repeating

its

details

without

regard

any

definite

boundary: in

which case it is a

con-

tinuoTis or

"Diaper"

ornament,

such

wall-paper.

Turning our

attention

first to

discontinuous

or ranel-omament:

we shall find, in

addition to

objects

whose

boundaries are

arbitrary

and

fixed at

will,

that

we have

principally to

consider the

following shapes: the

Square,

the

other

regular

polygons,

the

Circle,

the Oblong,

the Ellipse, the

Lunette,

the

various forms of the

Span-

rail,

the

Lozenge

and the

Triangle.

Geometrical,

natural,

and

artificial

elements, either singly

combined,

are used. The

character

of the

ornament may

Natura

listJc, or

may be

Artificial, and

adapted to

some pre-arranged

leading-lines

the Shape.

This

booli does

not treat of examples

the former

character. TTjoso

of the

latter character, i.

Artificial

oinaroent,

will doi^end

the

attitude of the Panel

with regard

the

Horizon.

Enclosed

Ornament.

—

The

Square

Panel.

247

WEen the

panel

inon-axial,

i. e, it is symmetrical on both

sides of one

axis: then the

panel-ornament

is suitable to

vertical

surface.

When

is developed

regularly

in all directions from

the centre of the

figure, and

symmetrical

to two

axes: then the panel-ornament

suitable to a horizontal surface.

The

central feature of

horizontal panel is not infrequently emphasized

by a rosette ornament,

while

the

decoration of

the

remaining surface

kept in low-relief. Trifling variations, from absolute symmetry

and

regularity,

are often

met-with; but they are confined

the

details, the impression

symmetry and

regularity

being preserved

the general efi"ect.

These

remarks,

as well as some

further

relations arising

out

the

nature

of the subject, we now

proceed

illustrate in

detail in

the following

chapters

and plates. For

the most part

shall

con-

fine ourselves

to the best

known and most frequent figures;

and

shall only

offer some few

examples

abnormal panels.

The Square Panel.

(Plates

151

—

155.)

The lines, on which the decoration

of the Square may

naturally

be based, are the

two

Diagonals,

and the

two

Diameters

which

join

the

centre of the opposite

sides.

These

lines

cut

each

-other

common point,

the centre of the

shape; and

form

an eight-rayed

star

with rays of

alternately

unequal

lengths. They divide

the

figure

into

equal

spaces,

which are usually decorated

with

repeated

orna-

ment,

and

are therefore suitable to

the horizontal attitude,

(compare

Plate

151,

figs.

—

and others).

Nvunerically this

mode of

deco-

ration

predominant. Earer are the

cases

in which the

angle

once more bisected and

the

square

consequently divided

into

16 tri-

angles, (compare Plate

154,

fig.

7).

The simplest

decoration

the

many-rayed

star, which is

termed the Uraniscus, in the

coffers

Greek ceilings (comp. Plate

151,

fig.

1).

The centre

of the figure

generally accentuated by the addition of a rosette,

and

the

direction

growth, like plant-motives, is

from the centre outwards

(Plate

151,

fig.

2, 8, 5,

and others); or

alternately from the

centre

outwards

and inwards (comp. Plate 151.

4).

Slight

variations

from

strict

symmetry

and regularity are partly

caused by

the

use of the

geo-

metrical interlaced

band

(Plate

153. 3 and

4),

and are partly

the

deliberate result

of artistic freedom of conception (Plate

152. 2.

and

151.

7).

The latter example

highly remarkable in

this

respect;

and its

originality

may serve

as a

model. The example is

also

one

of the rare cases

in .which

the ornamentation is

symmetrical

to the

Diagonals, and not

the

Diameters.

248

The Square

Panel.

Another kind of

Square

decoration

is that in

which

sub-

divided

into separate spaces,

each

of which

receives an independent

ornamentation.

Plates 9

and

the Handbook

give a number

such

divisions of

Squares; a similar

mode

decoration will be

found

on Plate

151,

fig.

Plate

153,

figs.

6 and

and elsewhere.

The

decoration

of the Square in

upright

attitude,

with symmetry

one axis, belongs to

the same category

the

Oblong; and we

may

therefore refer to

what will

be said below

with reference to

this

latter figure.

Square panel are to be found in all styles;

have taken some

striking

examples

from the coffer

ceilings

of the

Antique and the

Renascence,

from the

pavement-tiles

the

Middle

Ages, and from

the

metal-work of the

Eenascence and

Modern

times.

Plate 151. The Square Panel.

Greek,

Uraniscus,

coffer of ceiling,

Propylaea,

Athens.

Roman, bas-relief, found

during the rectification of

the

Tiber

near the Farnesiua, Rome,

1879,

Museo Tiberino.

Assyrian pavement,

Kouyunjik, (Owen Jones).

—

Greek,

Coffers

ceilings,

Propylaea,

Athens.

„

„ „

Athens.

„

„ „

„

Parthenon.

Roman,

mosaic pavement,

Pompeii, (Owen Jones).

Byzantine,

bas-relief, San Marco,

Venice, (Owen Jones).

Plate 152.

The Square

Panel

Decoration, of a book,

10th century,

Library of the Duke

Devonshire,

(Racinet).

Scandinavian

bas-relief, Celtic

stone cross,

churchyard,

Meigle,

Angus, (Owen

Jones).

Bas-relief, tomb

of "Pierre

Venerable", Cluny

museum,

r2th century,

(L'art pour tous).

—

Mediaeval, tiles,

(Owen Jones,

Racinet &c.).

Tiles, Cistercian

monastery,

Bebenhausen.

Moorish Tiles.

10. Gothic, tiles,

Bloxham

church,

England, 15th

century.

Plate

153. The

Square

Panel.

lands.

Inlaid work, 14th

15th

century,

Sauvageot

collection,

(Racinet).

Arabian mosaic,

(Prisse

Avenues).

Moorish,

Alhambra, 14

century.

Arabian, wood

door,

16th

century,

(L'art

pour tous).

The

Square

Panel.

—

The Star-shape Panel.

249

Eenascence,

Intarsia,

German (Hirth, Formenschatz).

Modern.

—

Renascence,

Intarsia, Sta.

Maria

gloriosa

Frari, Venice,

15th century,

(Musterornamente).

Plate 154. The

Square

Panel.

Renascence, Motive

from

a Robe in

the

Sacristy, Sta. Croce,

Florence,

Italian.

Renascence,

Tiles, Collection of the Count d'Yvon, (Racinet).

Renascence,

Motive

after Peter Flotner, German.

4. Renascence,

Mosaic flooring, cathedral, Spoleto, (Jacobsthal;

the centre

altered).

Renascence, Intarsia,

stalls, Certosa near Pavia, Italian.

6. Renascence,

Majolica

Tiles,

Sta.

Caterina,

Siena,

Italian.

7. Renascence,

Intarsia, door of the Cambio, Perugia, by Antonio

MercateUo,

1500,

Italian.

—10. Renascence,

Door of the Madonna di Galliera,

Bologna, Italian,

(Musteromamente).

Plate

155.

The

Squaee Panel,

1 and

3. Wrought-iron, French,

17th

century,

(L'art pour tous).

2 and 4. Wrought-iron, German Renascence, (Hirth, Formenschatz).

5. Wrought-iron, Oxford,

1713,

(L'art

pour

tous).

—7 Wrought-iron, Modem.

8 and

iO.

Wrought-iron,

Modern, cemetery, Carlsruhe.

9. Wrought-iron,

by Georg

Klain, Salzburg, 17th century.

The Star -Shape Panel. (Plate

156.)

The decoration of polygonal Stars

generally based on radiat-

ing axes. Exceptions,

favor

symmetry

one or

two

axes, are

comparatively

scarce

(fig.

3).

Where

there is

Sub-division into

independent panels, accord-

ing to Plates

and

of the Handbook

(fig.

7):

the

ornament

follows

the

natural

lines of division furnished by

the diagonals,

this case the number of the single, similar

triangles

division

depends on the number

sides (fig.

6).

Decorated Star-shaped

panels are extremely

common in

the Arabian

and Moorish styles, where

the ornament is

often

of such

a character

that it would

very

well

suit a simple

polygon,

and

only

fills out

accidentally

(so

to speak) the star angles

(figs.

and

5).

250

ENCLOSED

ORNAMENT.

Plate

151. The

Square Panel.