Meyer Franz. A Handbook of Ornament

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ENCLOSED

ORNAMENT.

261

The Circular Panel.

Plate 160.

262

The Oblong

Panel.

The Oblong Panel.

(Plates 161

—

164.)

The sliape

of the Oblong

is particnlarljr

adapted

receive

both

bi-axial

and

mon-axial

treatment; and

as it is

far

the

most fre-

laently-used shape: numerous

examples of

the two

treatments

are

be found

in all styles.

"When the Oblong

is not sub-divided

(as shown

Plates 13

IC), the natural axes, around

.which the

ornament

is grouped are,

for

the bi-axial treatment, the

two diameters,

which

join the

centres

of the opposite sides. These

lines divide the

figure

into

smaller

oblongs,

each of which

receives an identical

decoration

(com

Plate

161,

figs.

1—3,

and Plate

162,

figs.

1—5). To use the

diagonals

as lines of symmetry,

the rule with

the

square,

pro-

duces

an unfavourable effect; because

the 8

triangles thus

formed,

although

similar to

each

other,

not

present the

same angle

to the

centre (corap. Plate

161.

4).

This panel

differs from

the usual rule,

as the

orgfiaic

growth of the ornament

is not from the

centre

out-

wards, but from the

angles inwards.

The

strict

Greek palmette

ornamentation,

which has such nn

excellent

effect

the

Square, is less suitable for

the Oblong (Plate

161,

figs.

1 and

than

the fi'eer decorations of

the Roman period

(Plate

161.

and the Renascence (Plate 162.

1—5).

On vertical

surfaces: the attitude of

the

Oblong

panel may

either "figure-wise",

"landscape-wise". Examples

the former

attitude are figs.

and

and of

the

latter

are, figs.

1 and 5 on

Plate

164.

The vertical

line

through the centre is the

axis of

these.

The

ornnment

seldom geometrical; organic or artificial

motives are

mostly used. The mon-axial treatment is most properly

employed

where

applied

in a

really vertical

plane,

on Pilasters-

(comp.

225,

shafts of pilasters), on

Walls,

Doors,

itc.

The poly-axial

treat-

ment

best adapted for the decoration

of horizontal

planes,

such as

Floors,

Ceilings,

&c.

Copious material

furnished by

the inlaid-work,

bas-reliefs, and

metal-work, of the Renascence.

Plate 161.

Tile Obloxg

Panel.

—

Greek,

Painted

coffers of

ceilings,

Propylaea, Athens, (Owen

Jones).

Roman.

Roman,

under-side of

the architrave.

Temple

of Vesparian, Rome.

5. Renascence, Church,

Kamenz, German,

(Gewerbehalle).

Plate

162. The Obloxo

Panel.

1. Renascence,

Intarsia, Cabinet,

Perugia,

Italian, (Jacobsthal).

Renascence, Palazzo vecchio,

Mantua,

Italian, (Jacobstlial).

ENCLOSED

ORNAMENT.

263

The Oblong Panel. Plate

161.

264

ENCLOSED

ORNAMENT.

Plate 162. The

Oblong PaneL

ENCLOSED

ORNAMENT.

265

The Oblopg

Panel.

Plate 163.

266 ENCLOSED

ORNAMENT.

Plate

164.

The Oblong Panel.

The

Oblong

Panel.

—

The

Elliptic

Panel.

267

Renascence,

Marznppini tomb,

Sta. Croce,

Florence, (Jacobsthal).

4. li^nascence,

Tomb,

Stiftskirche,

Stuttgart, German,

(Musteiornamente).

5. Renascence, S.

Michael's,

Schwabisch-Hall, German,

(Musterorna-

mente).

Plate 163. The

Oblong

Pantil.

Kenascence, Wrought-iron

Grill, Italian,

(Gewerbehalle).

Wrought-iron

Grill,

Choir

of S. Blasius, Miihlhausen, Thuringia,

17th

century,

(Musterornamente).

—

4. Ivory inlays, by Hans

Schieferstein,

16th century. Museum,

Dresden.

5. Wrought-iron, house,

Freiburg,

S\vitzerland

, 17th

century,

(L'art pour tous).

Ornament, over

picture

saint, by

Barthel Beham, Carlsrube,

German Renascence.

—

Stalls

the Laurentian

Library, Florence, Italian Eenascence.

Plate 164. The

Oblong

Panel.

1, Grill,

Schlettstadt,

1649,

(Gewerbehalle).

—

Intarsia,

Petronio,

Bologna,

1495,

(Musterornamente).

Wrought-iron

balaustrade, 18th- century.

Wrought-iron, French,

18th century.

Wrought-iron,

Stift Strahov, Prague, German,

Eenascence.

The

Elliptic Panel.

(Plate

165.)

regards the principle

of decoration, the

Ellipse

bears the

samo

relation

the Circle that the

Oblong

does to

the Square. When

not

sub-divided

(see

Plate

20,

fig.

15),

it is treated

either mon-axially,

with the ornament symmetrical to one of

the

axes

(fig.

1);

it is

treated

bi-axially,

with the

ornament symmetrical

to both (figs.

8).

The

Elliptic panel

was not often

used in decoration during the

best

periods.

the

17th and

18th

centuries,

it was used as the

form

for

snuff-boxes,

sweet-boxes,

&c.,

the decoration

being

carried-out in

niello, and

similar metal work.

was also in use

during

the

same

period in

centre-ornaments for the covers of books. From such examples,

most of the

figures on the Plate have been taken.

Plate 165. The

Elliptic Panel.

—2.

Renascence,

German, (Formenschatz).

Centre of

a book-cover, gold blocking on vellum,

German

16th

century,

(Storck).

268 The

Elliptic

Panel.

—

The

Lunette,

and

the

Spanrail

Panels.

4—7.

Renascence,

Book cover

blocks.

Germanischcs

Museum,

Nurem

berg.

German,

.(Mirsterornameute)

Renascence,

Pavement,

tomb

Princess

Johanna

Elisabeth,

Stiftskircbe,

Stuttgart.

Tee

Lunette,

and the

Spanrail

Panels.

(Plates

166

—

167.)

The Semicircle

scarcely

admits of any

entirely

satisfactory

sub-

division.

The

best method

is to describe

a circle in

the semicircle

that

the circle

touches the

centre of the

semicircle

above

and the

centre

its chord below; this arrangement

is especially useful when

medallion or

a clock is

to be placed in it. There

are two methods

decorating the Lunette:

either an upright

panel

ornament

is de-

signed

symmetrical

to one axis,

arrangement

which

the

best,

the semicircle, in

the majority of

cases, is used on vertical planes

(Plate

167.

and

3);

or the Semicircle

divided,

a fan, into

number of

sectors,

which

receive an identical

decoration, an arrange-

ment which is chiefly

adopted for Door-heads

(Plate 166.

2).

such

cases

a central

semicircle is usually inserted;

and

the small

panel, thus formed,

is decorated independently. The

object of

this

is to

obviate the inelegant

and

difficult

accumulation of radii at the

centre.

consequence of an optical

illusion, the semicircle gives the

impression of being really less than the half of the whole

circle; and

for this reason

is sometimes "stilted", that is the

centre of the

arc

does

not lie on the springing-line, but is shifted a

little higher.

The name "spanrail" is given to the spaces

of various shape

which

remain after circular shapes

are taken-away from

quadrangular

ones.

The commonest figure of this

kind is the

Trianguloid,

which

formed

on either

side of a semicircle

when this latter is described

in an oblong Frame. The same shape results

when a

circle is inscribed

in a square, which frequently occurs

in the

decoration of ceilings. Some-

times the decoration of the

Trianguloid consists

of a rosette in

its

centre; or laurel,

palm,

and oak

sprays, circular

wreaths, and waving

ribbons,

trophies, figures

relief, and similar

motives, in

or less

naturalistic

style, are

employed. In

severer

decoration, the axis of

symmetry

the line

bisection of

the right

angle. The

motives are

sometimes geometrical (Plate 166. 5

—

6);

but

frequently

organic

(Plate

167.

—

5);

and, among

artificial

forms,

varieties

strapwork

are used (Plate 167.

6—9).

When

a series

of arcs has a

common

bounding

straight line,

the

epanrail is shaped

shown

fig.

Plate

166.

This figure is

the

ENCLOSED

OENAMENT.

269

The

Elliptic

Penel. Plate

165.

270

ENCLOSED

ORNAMENT.

Plate

166

The

Lunette,

and

the Spanrail Panels.