Meyer Franz. A Handbook of Ornament

Подождите немного. Документ загружается.

The

FunJiimcntal Vate-Forins.

301

or less

direct

imitation;

.and were undoubtedly used

mankind

the

lowest

stages

of civilisation, instead of

artificial

vessels.

Certain

stereotyped

forms

recur again and again: first among tbem

(due to the

use of

the potter's

wheel)

the form of the

so-called body

of revolution.

attempt

is made,

on Plate

181,

give a general view

the

com-

monest

fundamental

forms, with their

names.

The Sphere,

the Cylinder,

and

the

Hyperboloid,

are

the

simplest of these.

The

Sphere

altered,

equally

flattening

or extending,

to the

Spheroid,

the Ellipsoid.

If these

bodies

bo cut-away

both

ends: we

have the erect, and the

recumbent

vessel. Unequal

flattening and

extending

produce

forms

which

may term

Echinus,

Cake, Egg,

and Top forms; or, if the

length

much

exceeds the

breadth:

Wedge, Spindle, and Drop forms.

If only

the top

be cut-into:

have either

the Dish,

the

Cup

form.

Conical,

Bag, and

Canopus

forms may

derived from the

Cylinder.

similar way

the Hyperboloid

also leads

new forms.

If the height

the vessel

be a high

multiple of the

diameter,

get slender,

tapering

forms: in the reverse case, we

have dishes and

plates.

The

Egg

is the commonest form in

Pottery. Cylindrical

and

Conical

forms,

such

bodies as have

developible surface,

are

best adapted for

Sheet-

metal work.

Mathematical

curves, e.

arcs

of circles, are not strictly ad-

hered-to in

'the profiles. Vessels, which are not made on the wheel,

often exhibit

arbitrary forms which

cannot be

grouped

the scheme'

of the

Plate. In the Chinese and

Japanese

styles,

for

example,

pris-

matic forms

are very common (compare Plate

187.

1);

human and

animal shapes

are found in the Antique,

as forms of

vessels, (com-

pare Plate

194.

12).

The Various

junctions,

of the Body

with the Neck, or the

Foot,

will produce

series of new forms. The use

of Double-curvature

the profile will

also produce new forms, the

simplest of which are the

Bell,

and the

Pear. The so-called "Gourd-pots",

the Pilgrim-

bottles,

&c.,

also form

special and rarer

groups

of forms. Here too,

may

mentioned

duplex

vessels

formed

by the

juxtaposition

of two

vessels on

common

foot,

or by

uniting

them

with

a common

handle. These

forms are found

sporadically in Prehistoric

and all subsequent periods.

regards

the Feet

of vessels:

have first to

remark that

the earliest times footless and three-footed vessels are by no

means

rare.

The former

were

sunk in the earth,

the

latter

would stand on

uneven surface.

The

usual form of foot presupposes a

level stand-

ing surface

and therefore some degree of civilisation.

Intermediate,

between

the absence

foot and the high foot, is

the Ring-foot, a

302

Fundamental

Vase-Forms.

torus

profiled circular ring, forming

the lower

end

the

vessel.

It evidently

arose

from the early

custom of

placing

footless

vessels

in hyperboloid Rings, which

were afterwards

i'ncorporated

with

the

vessel itself. The decoration

of the foot is

generally

subordinate

that

of the

body;

and

consists of simple motives,

channellings,

&c.

The

Neck

receives

a cylindrical,

conical,

hyperboloid

form,

according

to the object

the

vessel. As

experience

showed

that

pouring-out

is best done through

a narrow opening,

and filling

through

wide

one: funnel-shaped necks,

intended

to meet both

requirements,

arose.

A good decoration of

the neck

surround

at its narro-

west

part

with a neutral band,

from which the

motive

decoration

may

developed upwards

and downwards.

The

upper margin

or Mouth

is either bent outwards or" inwards,

is straight;

the latter

especially when the vessel

was intended

closed

a Stopper. Pouring-

out is

facilitated

if the vessel

provided

with

a Spout, or

curved Lip, as is the case with some

mugs

and cans."

The decoration of

the

Mouth, when

round, is usually

a beading

or row of

leaves curving downwards and outwards. The

curved

Lip

depends for

its effect on the line

its

curve,

or,

the Spout,

is decorated

by masks, scallops,

&c.

The

Lid generally

fits into, on-to,

over, the upper

margin.

It may

be raised

by means of

knob, hoop, or ring; and

does

not

lie loose

on the mouth,

fastened

by a

hinge, or by cords

and

chains

(Censer).

Antique lids

have sometimes

the form

of little

vessels,

or dishes.

The

Handle varies in

size,

position,

and number, according

the

use and size of the

vessel.

The points of

attachment of

the

vertical handle lie in a vertical plane; those of

the horizontal

handle

are in a horizontal plane side

side; and those

of the hoop

handle are

opposite

each other

vertical plane.

The vertical

handle

most

used.

The horizontal

handle is specially

intended

for lifting; the ver-

tical for

tilting the vessel when

pouring-out.

Vertical handles are

most

suitable

for

tall vessels;

and horizontal

handles for flat ones.'

Other forms are

produced

combination,

when a vertical

handle

added to the

centre of a

horizontal one. As

a rope was

originally

used

instead

handle, the latter

frequently

takes that

form, (com-

pare

Plate 182.

4).

If the

vessel be

intended for pouring-out.

ihe

handle

should be so

attached that the

pouring-out

may be

done

with

equal ease

whether the

vessel

be full or

nearly

empty.

Attempts

have

often

been made

classify

vessels

according to theJx

uses;

but

definite

divisions

cannot be

made,

many

vessels may

serve

for

number

of purposes,

which

gives rise to

combinations

and

inter-

Fundamental

Vase-Forms.

—

The

Amphora.

303

mediate

groups.

mainly follow

Samper's

classification

when

divide

vessels

into

the

following groups-

1. Holders;

their

chief object

being

storage

and

preservation.

this group

belong:

the

Amphora,

Urn,

Krater,

dish

and salver, the

Ampulla, the

Alabastron,

and

similar

small

vessels,

flower-vase,

salt-cellar,

ink-pot,

snuff-box,

holy-water

stoup,

&c.

2. Dippers;

chiefly used

for

drawing

and

filling into

other

vessels.

To this group

belong:

the

Hydria,

bucket,

spoon,

and

Patera.

3. Pouters;

for pounng-out.

To these

belong:

tbe

Prochoiis, Olpe,

OinochS,

Lekythos,

mug, can,

and bottle.

4. Drinking

vessels.

The

principal

representatives

this

class

are:

the antique

drinking

vessels of the

forms Kylix,

Kantharos, Kyathos,

<fec.;

the

drinking horn or

Rhyton,

beaker, bowl,

goblet.

Rum-

mer,

Tumbler, and

all the

various forms

our

modem

drinking-glasses.

The

various vessels

will be

treated

in this order.

In many cases:

one

half of the cut

shows the

geometrical

view;

and the other shows

the vertical

section.

Decorative

figures

are

fre-

quently omitted,

partict^laiiy on

Antique vases;

the

decoration has

sometimes

been

omitted,

when that -was

required by

the

minuteness

of the scale;

and sometimes it has

been

only

partially

drawn or

in-

dicated, in

order to

avoid

unneccessary work.

a. Holders.

The

Amphora. (Plate

182.)

The

Amphora is of frequent occurrence

in the

Antique. It was

intended

to receive water, oil, and wine.

Originally

serving

for practi-

cal

purposes, it was afterwards employed

merely

as a

show,'

or state

vessel.

The form was often revived in

later styles;

and has

the

follow-

ing

characteristics,

erect,

extended body,

like an

inverted

egg

(Plate

182.

9),

spindle (Plate

182.

7),

bag (Plate 182.

6),

rarely

conical

(Plate 182.

11),

hyperboloid

(Plate 182.

10),

cylindrical

(Plate 182.

14).

The neck

narrow, more

or less'

extended, with

shoulder (Plate 182.

6),

or without

(Plate 182.

5),

thickened

at the

,the rim. Two vertical handles,

diametrically

opposite

each

other.

first without

foot (Plate

182. 3

—

7),, afterwards

with a

round or

304

VASES.

The most

usual

fundamental

forms

vessels

and

their

names.

-t-

VASES.

305

The

Amphora.

Meyer,

Handbook

Ornament.

Plate 182.

306

The

Amphora.

—

The

Urn.

high

foot. With

without cover.

Material: clay, more rarely

glass,

other

materials. Size: very variable,

according to use.

Plate

182.

The

Ajsiphora.

Egyptian, witli

cover,

Thebes,

Thutraes III.

2. Egyptian, with

cover,

Thebes,

XX dynasty.

3. ^mall

four-sided, with

Latin inscription, found in

Egypt,

unpainted

clay. United collections,

Carlsruhe.

4. Assyrian,

with rope

handle, clay.

Roman,

unpainted red clay. United

collections,

Carlsruhe.

6. Roman, lunpainted

yellow

clay, found near Aquileia in

1877,

United

collections, Carlsruhe.

7. Roman,

glass, with stopper,

Rouen,

Museum, (Deville).

8. Roman,

iridescent

glass, found at

Pompeii.

9. Ancient,

Attic, painted

clay (so-called

Dicta),

Munich,

(Lau).

—11. Clay,

painted in polychrome,

with

band-shaped

handles, so-

called Alexandrian

style,

(Lau and

Jacobsthal).

12.

Antique,

black

painted

clay,

(Gropius).

13. Antique

state

amphora,

white marble,

with swan

handles,

"Vase of the Athenian Sosibios", Louvre, Paris.

14. Modern

French, state amphora,

Lienard.

15.

Faun

with amphora, from the

painted neck

ol an Antique

Drinking-horn, (compare Plate

202.

—

6).

The

Urn. (Plate

183.)

The Urn is

met-with, not only in

the Antique

and all subsequent

styles,

but

early times

everywhere and specially in

Prehistoric

styles.

Apart from other purposes, the Urn was

frequently

used

funeral rites,

as a repository for the

ashes

of the

dead,

coffin,

and so

on.

It has an erect body,

profiled like an inverted

egg

spindle.

The neck

is comparatively wide and low, the mouth straight

cui'ved

outwards,

usually closed by a cover.

Either without feet,

or with

low

round foot. Without

handles,

with two smaU hori-

zontal'

handles,

attached to

the greatest prominence of the body.

Material:

clay.

Generally of

considerable size.

Plate

183.

The

Urn.

Egyptian,

rubbing an Urn,

(Menard

Sauvageot).

Prehistoric,

Gallic, (Bosc).

Grey

clay,

ornamentation

in relief, United

collections,

Carlsruhe.

—

Greek,

painted

clay,

Munich.

Majolica,

15th century,

Italian.

VASES,

307

The Urn. Plate

183,

20*

308

The

Urn.

—

The Krater.

—

The

Basin,

and Dish.

—

Slavic, found

the district of the Elbe

and Oder.

9. Modern

Faience,

Bombay, (Gewerbehalle).

10. Majolica,

16th

century, Italian, (Storck).

11.

German,

cut

crystal, small with high foot, 16th

century,

tional

Museum,

Munich, (Kunsthandwerk).

The

Krater

(Plate

184.)

The

Krater

is an Antique

vase, chiefly used

for

mixing ^vater

and

wine

(wine

was not drunk

unmixed);

and perhaps also for ablu-

tions.

Although

we meet with

it as early as

Egyptian times, it is

not

found

Antique Keramic

art until its later

periods. As a

state

vessel,

the

Krater

has probably been more

highly developed than

any

other

form.

Modern

art employs the Krater

preferentially as

garden

vase

for

plants.

A characteristic of

the

Krater is its

great

width

the top.

The body is either

hemispherical

dish (fig.

9),

has a

wide,

cup

shaped neck,

(figs. 7

and

8).

Where

the

junction

formed

without

a shoulder: we have

the bell-shaped

Krater

(figs.

and

4).

The Foot

is frequently small;

and

arranged

that

stands

on an

independent base (fig.

10).

Two,

sometimes four,

more,

horizontal

or vertical handles,

or hints of

them. The

principal

materials

were

clay, marble, and

metal. Kraters

are usually of

con-

siderable

size.

Plate

184.

The

Krater.

Egyptian,

with

lotus cups.

Egyptian,

Thebes, XVIII

dynasty.

—4. Greek,

Munich,

(Lau).

Greek,

with columnar

handles,

Munich,

(Lau).

Greek,

with volute

handles,

(Lau).

Antique,

Uffizi, Florence,

(Gropius).

Antique,

marble, with four handles, found

Ostia,

evi-

dently

copied from

metal original.

Ditto, found

Tivoli, England.

10.

Antique,

state Vase, marble, the

decoration

of the

neck,

con-

sisting of

figures

or rich

scroll

ornament,

omitted.

11. Assyrian.

}.2

—

13. Antique,

for ladies' toilet,

Greek

vase-paintings.

The Basin, and Dish.

(Plate

185.)

Basins, and

Dishes, are vessels of such

common

use, that

they

are found everywhere,

and in

all periods

in which tlie

Keramic

art

VASES.

309

The

Krater.

Plate 184.

310 The

Basin, and

Dish.

has been

practised. Their

uses are manifold; their form

indicated

by their

names: Dishes

are the deeper, Plates the

shallower

vessels.

They

occur without

foot, and

with

a round or high

foot.

The

last

was specially adopted for

the Greek Kylix. Handles

are

wanting,

occur

singly, or in pairs,

horizontal, vertical, as hoop

handles,

and

on. Material, and size:

various. The decoration of

Dishes

is generally

on the exterior; and

of Plates is

generally

the

inner or

upper

face. In the latter case:

the border and the centre are

ornamented

separately, being

divided from each other by a neutral,

undecorated

zone, (figs.

—

16).

To paint the entire surface with

figures,

dis-

regarding

the division of border and centre, would

be contrary

correct

Style.

PiiATE

185.

The Basin,

and the

Dish.

Egyptian Dish,

with hoop

handles.

Metal, (Menard

Sauvagcot).

Egyptian Dish,

with erect

handles, Metal, (Menard

et Sauvageot).

Greek

Dish,

yellow clay,

painted brown

and red,

Geo-

metrical

style, United

collections, Carlsruhe.

View from

above, of the

handles of the above.

Greek

Dish,

yellow

clay,

ornamented with horn

like ex-

crescences,

painted

red.

Geometrical

style. United

collections,

Carlsruhe.

Greek

Dish,-

with high

foot (Kylix),

yellow clay, decoration

brown,

Geometrical

style,

Munich, the interior is decorated

with the

ornament

shown

on Plate 157. 4.

Ditto.

Greek,

-flat

Dish,

with ring

foot, Munich,

(Lau).

Antique

footless

Dish,

(Jacobsthal).

10.

Antique,

small Dish,

with low foot,

silver treasm-e, Hildes-

heim.

11.

Antique,

metal

Dish, with

high

volute handles,

(Menard

Sauvageot).

12.

Roman,

glass Dish,

with

pierced

handle ring.

Found in

Nor-

mandy,

(Deville).

—

14.

Majolica

Dish, view

and

section,

Italian

Renascence.

—IG.

Modern

glass

Plates,

with scalloped

border.

17.

Modern

Soup-tureen,

with cover.

18.

jModern

French

metal

Dish,

with

vertical

handle

and three

feet,

(Julienne).

19.

]\[odern

Spanish,

small

Dish,

variegated

glnzed

clay,

Malaga,

United

collections,

Carlsruhe.

20.

Modern

Cofl'ee-bowl,

with

horizontal

bandies.

21.

Handle

of No.

20,

viewed

from

above.