Meyer Franz. A Handbook of Ornament

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The

Strap-work

Frame.

—

The

Typographical

Frame.

471

work,

heruldry,

jewelry, the

decoration

of books, &c.,

and

the minor

arts

in general.

The

arrangement

usually

symmetrical; but

this

was abandoned

in the

Eococo

period

favour

of unsymmetrical

and

picturesque

arrangements, as

shown in

Plate

266,

fig.

Plate 265. The

Strap-work

Frame.

—

4. Eenascence,

bronze

tablets,

cemetery

John,

Nuremberg,

(Gewerbehalle).

—

6. Eenascence, 17

th century,

French,

(L'art

pour tous),

—

10. Eenascence, new

castle,

Baden-Baden,

1576

—1577.

11. Eenascence,

National

Library, Paris,

(Eaguenet).

12. Modem, French, book

ornament.

Plate 266.

The

Str^p-work Frame.

Eenascence,

French.

Eenascence, from

"Civitates orbis terrarum",

published by

P. von Brackel, Cologne,

1573,

(Ysendyck).

3. Eococo, Louvre,

Paris,

(Eaguenet).

4. Eococo, French, comer of a

wall,

(Eaguenet).

5. Eococo, French.

—7. Modern,

Dir.

Kachel, Carlsruhe.

8. Modern,

French,

-(Lienard).

Modern,

The

Typographical Frame.

(Plates 267—268.)

We find numerous

Framework

motives in the decoration of

books and documents; and

though they have become

general

since the

invention

of printing,

find them

in the Manuscripts

the Middle

Ages. The Title-pages

were

framed

or bol"dered;

it was

also

a favourite practice

to border

the

headings;

Initials are some-

times

treated

this way; and

Printers'-marks, and

Head and Tail-

pieces

are often

designed

with Strap

work.

Old

books are often

richly decorated with

such things; and

artists

the

highest rank

often

lent their aid to this style

of decoration. After

the sobriety

which

ruled in the first half of

this century, our

modem times

have

devoted

increased attention

to this branch.

Breaches of

taste

are

still committed

this direction,

principally

because factory

-made

Blocks,

Borders, and Eules,

are combined without

judgment

Typography.

Not

only books,

but also diplomas,

addresses,

ball-pro-

grammes,

dinner and business

cards, labels, book-plates,

and

similar

things

are furnished

with

artistic

borders. The principles

decoration,

and

the

motives employed, are

very varied; and

great freedom

al-

472

FRAMES.

Plate

267.

The

Typographical Frame.

FRAMES.

473

The Typographical

Frame.

Plate 268.

474

The

Tj'pographical Frame.

—

The Strap-work

Tablet.

lowed. When

architectural forms

appear,

they

are

treated lightly

and

playfully; and are often resolved into all manner

of strap

-work

(Plate

267.

1, 2).

Plate 267. The Typographical

Frame.

1. Border, by Johann Sadler,

1550

—

1560,

Flemish,

Renascence,

(Guichard).

Border,

Hans Holbein, (Guichard).

8. Border,

J. Wiericx, 16th century, Flemish,

Renascence, (L'art

pour

tous).

Printer's-mark,

(Giacaujo

Cornetti of

Venice), Italian, Renascence,

1586,

(L'art pour tous).

5. Ditto, (Giovanni

Guarisco,

Venice,

1575).

6. Ditto,

(Ex

typographia

Jacobi

Staer,

1585).

7. Ditto,

(A. Quantin,

Paris,

1882).

Plate

268. The

Typographical Frame.

German, Tablet from the

triumphal

entry

of the Emporor

Maxi-

milian

Hans Burkmair,

(1473—

1531).

French, Renascence,

16th

century,

Lyons, (L'art pour tous).

3. Modern,

Max Lauger, Carlsruhe.

Modern, by

Rudolf

Seitz,

Munich.

The Strap-work

Tablet.

(Plate

269.)

Examples of Strap

-work,

designed for use in some of the

Minor

Arts, which

serves

not

as a

frame but as the actual Tablet,

are

shown in the Plate. Figures

and 2 are clock-cases;

and

. 4

are

for goldsmiths' work;

and 6 are

wrought- iron

signs;

and

are

suitable

ornaments

for stamped-leather,

and inlaying;

fig. 10 is

escutcheon; and

Nos.

and

11 are

book-mounts.

The

series

might

easily

be increased; but

these examples will suffice,

as it

would

lead

too

far

to treat each

of these classes in detail.

Plate

269.

The Strap-work Tablet.

1. Clock-case,

hammered

metal,

French, Renascence.

2. Clock-case,

stamped metal. Modern.

—4. Decoration

of escutcheons, snuff-box lids, &c., by

Wilhelm

Visscher,

17th century.

—

6. Wrought-iron

signs. Modem.

Book-cover,

16th century, French

Renascence, (L'art

pour toas).

Modern,

(Gewerbehalle).

FRAMES.

475

The Strap-work'

Tablet.

Plate 269.

476

FRAMES.

Plate

270.

The

Strap-work

Border,

and

Margin.

The Strap-work

Tablet,

Border, and Margin.

477

Metal mounts

for the cover

of an album,

Modern.

10.

Wrouglit-iron escutcheon,

German, 16th century,

National

Museum,

Munich.

11.

Centre-piece

bookbinding, by Dir.

Graff, Dresden.

The Strap-work

Border,

and Margin.

(Plate

270.)

To those products of art,

which

frequently

receive

additional

exterior border or Margin, must

further be reckoned

plates

and

dishes.

So far as they are included under

pottery, the border

usually has

smooth unbroken

edge; the

material

scarcely

admitting of a freer

treatment

of the rim. It

is different

when the object

is of metal; in

this

case, the rim may be

decorated with pierced-

work; and

the outlines

may

imdergo a richer and more

vigorous

treatment (figs.

and

5),

which

the

framework

forms

a free-ending outwards.

Plate 270.

The

Strap-work

Border,

and

Margin.

Renascence,

Majolica, Gewerbemuseum, Berlin,

(Gewerbehalle).

Renascence, Majolica,

Italian, (Racinet).

3. Renascence,

Limoges,

Pierre Raymond,

16th

century,

(Racinet)

—

Modern,

Placido

Zuloaga, Eibar, Spain, (Gewerbehalle).

478

JEWELRY.

The

love

personal adornment

is as old as mankind

itself;

proved

by the

relics which

have

been preserved from

the earliest

times. Personal adornment,

broadly

taken, is a somewhat

extensive

domain;

includes the

Painting and

Tattooing of the body,

Clothing,

as soon as this

exceeds what

is required

to meet practical

needs,

Armour,

&c.;

but

this section will

be confined

to adornment

Jewelry.

The following

plates will

deal with

this group

so far as

their

chief

representatives are

concerned.

These are: Pins,

Buttons,

Finger-rings,

Chains,

Necklets,

Bracelets,

Belts,

Clasps,

and

Buckles,

the various

kinds of

Chatelaines,

and

Ear-rings.

The plan

of this

book requires

that we should chiefly

direct

our attention

the

decorative

aspect

of these

objects;

but

will

here offer

a few general

observations

on the subject.

Trinkets,

which are

not

indispensable,

but rather

an object of

luxuiy,

are

closely connected with

dress and

costume; and like

them,

subject

to fashion. This explains

the

different

transformations

which

trinkets

have

undergone in the

coui'se of

centuries. On the

other

hand,

technical

considerations have

also played

a part: the art of

working

the

materials has

passed

through

various stages of deve-

loj^ement

in^

the

different periods;

so that

the form and finish were

governed

not

only by the fashion,

and

taste

of each period, but also

the

technic;jl skill of the

workman.

The

jirincipal

materials

trinkets

are the precious metals. From

the

state

iu which the

metals

are found

in Nature,

easy to see

(linf

the lirsl

metal

come into

general

use would

Gold, whicli

Jewelry.

479

found

a pure

state

almost

all

over

the world; and is

easy

work.

It can

easily

beaten into plates,

and

drawn

out into

wire;

and the earliest

style

consequently

that of plate-gold and

filigree

work. This

abundantly

proved

the

objects belonging

prim-

itive times whether

they

are

found

on Greek, Oriental, Scandinavian,

or American ground. The common metals, and bronze, are also oc-

casionally used

well as gold and silver. Among non-metallic

ma-

terials, we have: gems, and other valuable

stones,

pearls, enamels,

amber, shells, mother-of-pearl,

&c.

In addition

the arts of punching and

hammering metal pla-

tes, and filigree work, the latter consisting chiefly of

soldering-toge-

ther

wire

and

beads, there arose,

process

of time, the

further arts

of:

casting, chiselling, niello, enamel, damaskeening,

inlaying,

gilding,

silvering, oxidising, and die-sinking. For other than

metallic

ma-

terials, the principal

processes

are: cutting, facetting, setting,

the pro-

duction of tints,

and foils, and the engraving of

gems, and cameos.

it is impossible here

to go

into details of the history or

technique

these processes,

will refer the reader

to the

special

works on

this

subject,

among them:

Semper, Der Stil,

Hauptstiick XI.

Metallo-

technik;

Luthmer,

Der Goldschnmck

der

Renaissance

(from

wliich

excellent

work we have taken a number

of our

figures);

Bucher,

Geschichte

der technischen Kiinste; Mathias,

Der

menschliche

Schmuck.

Taken

on the whole, trinkets

are

an article of

Womans'

toilet,

although

certain objects have also

been

worn

Men,

either

all

times,

like the Finger-ring,

or only at certain periods*

and

among

certain

nations, like the

Bracelet. On the other hand, there

are cer-

tain

objects

of personal adornment, like Orders, Badges,

and Medals,

which

are

a speciality

of the

male

sex. Trinkets

which presuppose

an injury

of some part

of the body, such as Ear and

Nose-rings,

are

relic of barbaric

manners. An

excessive

indulgence in

adornment

usually

characteristic of

the

primitive

stage,

and

the decay

the

civilisation

nation; while

the

golden ages of

civilisation and

style are

marked

restraint in the quantity of trinkets,

and

chaste

moderation

in the

use

the

effects of bright gold and cut

gems

—

"The later empire

(Roman),

Byzantium,

the

entire early period

the Middle

Ages, swim in gold"

—

says Semper. The best

periods

personal

adornment

are

the Antique and

the

Renascence:

but it

impossible

praise

too highly the attempts which

are being

made,

the present

time,

to improve the style of

Goldsmith's-work and

Jewelry,

a recurrence

to the

models of those times. For the

rest,

certain

traditional

and

standard forms of trinkets have been

preserved

for

centuries,

in some

national

costumes, such as those

of Switzer-

land,

Italy,

Sweden,

and elsewhere.

480

The

Pin.

The

Pin.

(Plate

271.)

The

is a

toilet

article of very

general

use, particularly

primitive

times. According

its

application,

it is either

Hair-pin

a Dress-pin.

Its

form

may

be referred

to three

fundamental

types.

The

first

has

cylindrical

or slightly

conical

stem,

pointed like

thorn

one end, and

terminated

at the

other

by a knob

some

other finial

(figs.

—

16);

is used principally

as a hair

or breast

pin, the

stem in

the former case being

sometimes split

fork

(figs.

—

24).

The materials are chiefly

metals,

bone,

and horn; the

head and

the

stem

may

of different

materials,

as in

the modern

glass- headed

pin.

The handsomest examples

this class

are to be

found

the Antique,

which gave this

simple

object a great

variety

of form.

The

East also furnishes

us with original

forms,

as shown

the

Japanese

examples (figs.

—

26).

The

second class

is that of the Fibula, the

Brooch

Safety-pin.

These pins

consist of

two parts, a disc

hoop

shaped

upper

-part

connected

with the

actual pin

elastic spirals

by a

hinge, the

point of the

pin being held and

secured by a catch like

a hook or

sheath.

Brooches

are always used for

garments; and,

the antique,

supplied

the

want of Buttons. They

were in common

use up to

the

Middle

Ages,

as shown

by the numerous finds in Greece, Italy, and

Scandinavia.

The hoop

is commoner

than

the disc; and more practical,

as it afforded

room for

the gathered -up folds of the garment. The

decoration

is of

the

utmost variety; certain forms, such

as the

spiral

(fig.

86),

are

conventional. The material is always metal, mostly

bronze,

more rarely a

precious

metal. Modern times make use of these

pins only

in the form

of the

plain wire Safety-pin, and the Brooch,

in which latter the disc

replaces the

hoop (fig.

37).

Double-pins form

a third class. Two

three (and

occasionally more) pins

of the

first

class are

connected by means of

chains

spangles, usually

serve

as an ornament

for the bosom

(fig.

17).

This form,

was

popular in

ancient

Scandinavian

art;

and

in use up to the present day

some national

costumes.

Plate

271. The Pin.

—10.

Roman, and Etruscan, Campana

collection,

(L'art pour tous).

—

16. Eoman, found

Pompeii.

17.

Anglo-Saxon

triple breastpin, found

Lincolnshire, Archaeolo-

gical Institute.

18. Alemannic, bronze. United collections, Carlsruhe.

19—21.

17 th century, (Guichard).

—26.

Modern,

Japanese, metal, bone,

&c.

United

collections,

Cai'ls-

ruhe.