Meyer Franz. A Handbook of Ornament

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VASES."

311

The

Basin,

and the

Dish.

Plate

185.

312

The

Ampulla,

Alabastron, &c.

—

The Flower-Vase, <S:c.

The

Ampulla,

Alabastron,

«S:c.

(Plate 18G.)

The

Ampulla is

diminutive

Amphora, often in

black painted

clay,

adorned

with impressed

ornament (figs.

—

6).

The Pliiale

is a

slender

vessel,

without

handles,

with

elongated

body, and

long narrow neck,

clay or

glass

(figs.

—

3).

The Alabastron

has

a bag-like or

cylindrical body,

foot,

very narrow neck

with

shoulder, a

large

plate-like

mouth,

and little ear-shaped

handles

(figs.

—

14).

This

vessel was

intended for

the reception of

oils

and unguents;

was

made of

alabaster or

striped glass, whence

its

name.

The

Lachiymatory,

so-called

from

its

tear -like profile,

from

its

purpose,

glass

vessel,

of the forms

shown in

figs.

and

12.

Not

less

frequent

are

little bag

forms like the

handleless

vessels

given in figs.

6, 9,

and

10.

Like those

already

named, they

were

intended

for toilet. or

religious

purposes.

Plate

18G. The

Ampulla,

Alabastron, &.c.

Egyptian

Phiale,

with

cover,

Thutmes

III.

Antique

Phiale,

painted clay,

Munich,

(Lau).

Antique

glass

Phiale, (Stackelberg).

Antique

glass

Ampulla, striped bright

blue and yellow.

Antique

Ampulla,

black painted clay

with impressed

orn

aments,

Athens,

United

collections,

Carlsruhe.

Ditto,

Athens.

—

10.

Antique,

Small Vessels, painted

clay,

United collections, Carls-

ruhe.

—

12.

Antique

glass Lachrymatories,

Museum,

Nuremberg,

and

United

collections, Carlsruhe.

11.

Antique

Alabastron,

veined

glass, imitating oriental

ala-

baster.

14.

Antique

Alabastron,

milk-white

glass, with brown

stripes,

Campana

collection, (L'art pour

tous).

15.

Vase,

white iridescent

glass,

Campana

collection, (L'art

pour

tous).

16.

Modern

Japanese,

Small Vase,

vnih mask handles, Landes-

gewerbehalle, Carlsruhe.

17.

Old

German, Small

stoneware

Vase.

The

Flower

-Vase,

&c.

(Plate

187.)

Flower-vase

the

name

given

vessels

intended to receive and

support

bouquets of living

or dried

flowers.

Various

the forms of

these vessels may

other

respects,

their

purpose

requires that they

VASES.

313

The Ampulla,

the

Alabastron, &c.

Plate

186.

814 VASE3.

,'5-

Plate

187.

The Flower-Vase, &c.

The Flower-Vase,

—

Vase-forms for Various

Purposes. 315

should

have a funnel-shaped mouth. Japan and

China, which have

been especially prolific

in this group, use cylindrical and prismatic foi-ms.

Such vessels do not possess a cover; handles, which are

equally super-

tluous,

are

also generally wanting;

the

decoration

should avoid any

attempt to

imitate

natural

plant

motives.

Glass,

clay, and

porcelain are

the predominant materials.

special

example

these vessels is the

so-called

"Hyacinth-glass"

intended for forcing

bulbs in water.

is desirable that the root should

visible, recourse must

be had to

some transparent material. Decoration

excluded

in the

case

of the

ordinary Flower-pot, which must admit air

and

moisture.

This has

led to the use of the Decorated

Flower-pot,

example

of which is given

in fig. 12.

The

suspended Flower -vase, like suspended

vases

general, must

famished with three

or more handles

to which

the

cords

and

chains

may

attached; but it need not have

a foot

unless

intended

stand also.

Plate

187.

The Flo\ver-Vase, &c.

Chinese,

with

cloison

enamel,

(Li^vre).

Modem

English, in

oriental style, blue glazed

clay, with

black ornament,

Landesgewerbehalle, Carlsruhe.

3. Modem,

glazed clay,

with decoration in colours.

Modern Italian

majolica,

Landesgewerbehalle,

Carlsruhe.

Modern, coloured stoneware,

(Gewerbehalle).

6. Glass, 17th

century.

—9.

Modem, glass.

—

11. Modem, Hyacinth-glasses, (No. 10

is patented:

the upper

part is made

lift

out

for greater convenience

pouring-'

water).

12.

Modern, decorated

Flower-pot,

green glazed

clay.

13.

Arabian suspended Lamp,

enamelled glass, conventional

form,

(part of the

ornamentation is

omitted).

—

15. Modem

suspended Flower-

vases, of

glazed

clay.

Vase-forms for

Various

Purposes. (Plate 1S8.)

This

plate exhibits

number

receptacles

for salt and other

spices,

vinegar,

oil,

ink,

&c.

The

name

"cellar" and "stand"

have

little

connection

with

the form of these vessels,

which

may be

very

various.

Receptacles for oil and vinegar are

often

called "Cruets".

Vessels

belonging

to this group

have not

been

preserved to us

from

the

Antique; but we may not conclude,

from this,

that salt, oil, &c.,

were not

preserved in vessels in those days:

on the

contrary, some

small vessels

in the

silver treasure at Hildesheim,

have been

supposed

316

Vase-forms for

Various Purposes.

Salt-cellars, though

we have no definite

evidence that this

was so.

The

Salt-cellar

visually takes

the form of

dish

bowl, some-

times of a

little

trough or tub.

The material is glazed clay, glass,

porcelain,

metal,

&c.

The

Kenascence period created Salt-cellars

rich

design: the

most celebrated

the

famous one

Cellini.

With

the

increased

use of

writing,

the

Inkstand

has

undergone

immense

number

of changes

of form. The wooden Inkstand,

with

glass lining, was in use,

for a

long

time, till it was rendered

obsolete

by vessels

of clay and

glass. What is required of a

good

Inkstand

is:

—

should not

faU-over easily, and if

does should

not

spill;

the

evaporation

must

be reduced

to a

minimum; the

height

of the

contents must be easy

regulate.

fulfil all

these

requirements

numerous inventions have

been made, some of which we will

notice

here.

In fig.

the centre of gravity lies in the foot, and

this,

with

the form of the glass,

prevents

falling-over, or spilling. In fig.

12 the

level of the ink can

be regulated by an

India-rubber stopper.

The funnel-

shaped

tube

in which

the ink rises is convenient for

dipping

the pen;

and

it reduces the evaporation. Fig.

13 shows

an Inkstand

with

sloping

bottom, and

revolving cover, which

may

adjusted

to the

varying level

the

ink. The form

fig. 14 is

intended

to prevent

falling-over,

to reduce evaporation, and to maintain

the level

uniform

for

a long time; a result

which is attained,

notwithstanding the

sim-

plicity.

Oil and

Vinegar

Cruets are

usually small bottles with

a shoulder.

They are generally placed in pairs, in a

frame (fig.

7);

a direct union

of the two,

in fig.

rare.

The Pepper-box has of late years

taken the form of

the pepper

mill

grinder (fig.

8),

otherwise it is associated

with

the Salt-cellar,

and receives

the

same

form. The Inkstand

and

the Sand-box were

also often associated together; but

Blotting-paper renders the latter

unnecessary.

Plate 188. Vase-forms for Various

Purposes.

Salt-cellar,

Renascence, (Formenschatz).

Salt-cellar, German,

16th century.

Majolica Salt-cellar,

Italian Renascence,

(Teirich).

Spice-frame, glass, 18th century.

5. Modern Cruet- frame.

6. Modern Cruets, coloui-ed glass,

Antique

model.

Modern Cruet-frame.

Modern Peppermill.

Old Inkstand, wood.

10. Modern Inkstand.

11. Inkstand, Glazed

clay.

VASES.

317

Vase-forms

for Various

Purposes.

Plate

188.

318

Vase-forms for

Various Purposes.

12.

Modem

Inkstand,

with adjustible stopper.

13.

Modern

glass

Inkstand,

with sloping bottom and revolving cover.

14.

Modern

glass

Inkstand.

15.

Old

horn

Inkstand,

for the pocket;

after

unscrewing

the

foot-

piece,

the

metal

pin' may be

forced into the

Table-top.

16.

Modem

Inkstand.

17.

Modern

Inkstand.

The

Jar,

the Cist,

&c.

(Plate

189.)

J.irs and

Pots are small

receptacles

of spheroid or

cylindrical

form, for

solid,

granular, or

pasty

substances. The

lid

either

loose,

affixed by

hinges;

and is an

essential part

of the vessel.

The

materials

are clay,

porcelain,

glass,

wood,

metal,

ivory,

&c.

Besides

the small clay

Pots

and Boxes

which are conjmon in the

Antique:

we must

also

mention the

Cist.

This is a metal vessel of

cylindrical

form,

and considerable

size,

which was

used for religious

rites,

and

for the reception

jewelry,

rolls, &c.

The style is

con-

ventional:

there

were

three

claws

for

the feet;

and the exterior

the

cylinder was

decorated

with

incised

figures,

and furnished with

rings

which

chains were

attached,

for

the

transportation of

the

vessel.

The

lid is

slightly domed;

and the

handle usually consists

two

wrestlers

grasping each

other by

the

shoulders

(fig.

6).

Plate

189. The Jar,

the

Cist,

«S;c.

Antique,

yellow clay,

painted brown

and red, this

the so-called

"Dodwell

vase"

celebrated as the

first-discovered

the

vases

imitation of

the Asiatic

style, dug-up. near

Corinth.

Antique,

yellow clay,

painted

red and

brown, United collections,

Carlsruhe.

Antique,

with

small Kylix as lid, yellow clay, painted brown

and

red,

imitating the Asiatic

style, Munich,

(Lau).

Antique,

black

clay.

Antique,

painted clay,

belongs

the later

period

of the red

figure

style,

metal ring, Berlin, Museum.

Antique

bronze

Cist,

Louvre, Paris, (L'art pour

tous).

Modern

Japanese, lacquered gold and

black,

the

lid forms a

disli,

Landescjewerbehalle,

Carlsruhe.

Old

Persiau,

repousse copper, the

decoration is too

small to

given,

(Kunsthandwerk).

Modern

Snuff-box, birch bark.

10.

Modern

Tobacco-jar,

Norwegian, carved

in wood,

Landesgewerbe-

halle, Carlsruhe.

11.

Metal boXj^ with

collapsible

Drinking-cup,

Modern.

VASES.

319

The Jar,

the

Cist,

&c.

Plate

189.

320

The

Foi\t, and the

Holy-Water

Stoup.

—

The Hydria.

The

Font, and the Holy-Water

Stoup. (Plate

190.)

Holy-water

plays an important

part in many rites

of the Roman

Catholic

Church, It is

kept in

Holy-water Stoups. These are

bowls,

either free,

attached to walls.

the

former case, the

form generally

approaches that of

the Krater; in the

latter

case,

the edge projects as

a half or

three-quarter

circle from the

surface of the

wall; and

the

stoup is

supported

pilaster,

column, or console. For

use

houses: the Stoup takes

the form of

a suspended dish, as

shown

fig.

11.

The decoration is

mostly

symbolic,

crosses,

monograms,

cherub-heads,

&c.

Most of the

examples

are taken from the work

Raguenet, which contains a large selection of these objects.

Plate

190.

Romanesque, minster,

Weissenburg, (Raguenet).

2. Romanesque,

Church

of the Crucifix, Compi^gue, (Raguenet).

Romanesque, church,

Picardy,

(Raguenet).

Romanesque,

church, Charleville,

(Raguenet).

12th century, (Viollet-le-Duc).

16th century. Church,

Mas d'Azil,

Ari^ge,

(Raguenet).

17th century,

Church,

Cormontreuil,

(Raguenet).

8. Church,

Picardy, (Raguenet).

Modem, church,

Couthuin, Belgium,

Architect

Halkin,

(Raguenet).

10.

16th century.

Chapel of the castle,

Mello,

France,

(Raguenet).

11.

17th century, beaten silver, Royal Museum,

Stuttgart,

(Kunst-

handwerk).

Dippers.

The Hydria.

(Plate

191.)

The

Hydria, as

its name

implies, is the water-pot.

It is the

vessel which the

maidens

took to the

spring;

filled

with water; and

then bore home on

their

heads.

was carried,

when empty in a

horizontal; and

when full,

in a vertical attitude. Of all

vases:

the

most

perfect in

form;

its aim being so

well

expressed

in its con-

struction.

must be

easy

carry, convenient to fill

and empty,

and

hold as much

fluid

as possible; it therefore has

a vertical

body of the shape of

an inverted

egg

(this form

places the centie

of gravity at the top,

which facilitates transportation

vertical

attitude);

on which a funnel-shaped neck

placed. It

has

three

handles: two are

horizontal, diametrically

opposite to each other at