Meyer Franz. A Handbook of Ornament

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The

Lotus, the

Papyrus, and the Palm.

—

Tho

Ivy. 51

along with lulls of grasses and

the like, has brought them into fashion

finish

to the

artistic

adornment of rooms.

Pl.\te 31.

The

Lotus,

&c., from

Nature.

Lotus flower (Nijmphaea

Nelmnho

—

Indian

water lily).

and

3. Lower end and

half-opened bud of the Papyrus plant

(Cy-

perns Papyrus

—

Papyrus

antiquorum

Willd).

Idealised Lotus and

Papyrus, Egyptian mural painting,

(Owen

Jones).

Frond of an

Areca

Palm

(Areca rubra

—

Asia

as a

tree, the so

called Pinang). The species Chamaedorea and

Phoenix have

similar

fronds.

Leaf of a

Fan "Palm (Corypha

australis). The species

Latania,

Chaniaerojis,

Borassus,

&c.,

have

leaf of similar

shape.

The

Ivy. (Plate

32.)

The Ivy (Iiedera helix)

indigenous to the

East,

North

Africa,

South and

Central Europe, and

England.

It is

an evergreen climbing

shrub which develops into a

tree

under

favourable

circumstances.

ancient

times it

was

sacred to

Bacchus.

Beakers

for filtering

wine

were

made

of ivy wood. As

attribute of Bacchus

it is

found

twined round

the thyrsus

which the

bacchantes flourished in their

hands in processions

and dances.

The Ivy is

common

decorative

ornament on ancient vases.

It was

also the symbol of

friendship,

especially

the

weaker

with the

stronger.

Ivy

leaves are of very

various shapes.

Usually

broad and

five-lobed,

they

appear at the ends

young shoots in

long

pointed, lance-like

forms. Flowering twigs

have leaves

jvithout

indentations,

heart-shaped,

with

elliptic or

oval

tapering.

The latter forms

particular

were

adopted

Antique arL

Plate

32. The

Ivy.

Spray with bl-oad-lobed

leaves,

from Nature.

Spray with elliptic

tapering

leaves, after blooming, from Nature.

Spray with lanceolate

leaves,

from Nature.

4. Decoration of

the

neck of a

Greek Hydria, Campana collection

(L'art pour tous).

Upper

part of a

pilaster

like-panel.

Antique.

Fragment of

decoration,

Roman column, Vatican, Rome.

52 The

Corn,

<S:c.

—

Various Leaves.

The

Corn,

the

Hop,

the Convolvulus,

and the

Bryony.

(Plates

33,

34.)

Seeing

how

important agriculture has

heen

all ages,

it was

impossible that

decorative art should neglect

the

ears

of ^Vheat,

although their

comparatively

scanty

ornamental possibilities

prevented

any very extensive

application. Combined with other

motives, ears

of Corn have been made use

of in various styles.

In ecclesiastical

art they have

symbolical

significance

(See

what was

said of the Vine).

The Hop (Humulus lupulus) is a

well known indigenous

plant

civilisation, and also occurs

wild

marshy woods.

Its picturesque

qualities

indicate it as

well adapted for

ornamental

use. In combina-

tion

with

ears

of Barley,

it is

applied in Modern art

the decoration

of Beer-mugs, the

walls

Inns,

&c.

The Convolvulus (Convolvulus),

an indigenous climbing plant of

ornamental

appearance,

frequently

used

in Modern art.

The Bryony (Bryonia)

has delicate

tendrils

and

beautifully in-

dented leaves,

which afford

fertile motive,

that it is astonishing

that this, and other

allied plants have

hitherto found comparatively

little favor in

decorative art.

Plate 33.

The Corn,

&c.

Ears of Oats (Arena saliva).

Ears of Rye

(Secale

cereale).

Ears of

"\Vheat (Trilicum vulgare).

Ears of Spelt

(Trilicum spdla).

Ears of the

common Barley (Hordcum

dislichum).

Ears of the

battledore Barley (Hordeum

zeokrilon).

Field Convonvulus

(Convolvulus arvensis)

with

red

flowers.

The

hedge

Convolvulus

(Convolvulus sepium)

has a

similar habit and

white

flowers.

(The group has

been

sketched

freely

from

a cast

from

nature, by

Bofinger of Stuttgart.)

Plate

34. The Hop, &c.

Hops

and

Bryony (drawn from pressed

plants).

Various

Leaves. (Plate

35.)

Plate 85

pres-ents a

series

of various

leaves,

whose general

orna-

mental

possibilities have

either secured or

deserve

secure

for

them

place

in art.

The

Oak,

the king of

our

indigenous

trees,

the symbol

power

NATURAL FORMS.

The

Corji,

and

the Convolvulus.

Plate

33.

NATUJRAL

FORMS.

Plate

34. The

Hop,

and the

Bryony.

NATURAL

FORMS.

Various Lesives. Plate

35.

Various Leaves,

and Flowers.

and strength,

in antiquity the

tree

Jupiter,

has from

time

been

used in every western

style.

Oak foliage,

and perhaps

almost

as frequently

the

leaves of

the

Maple,

are

often

used

in early

Gothic,

where

v^e meet

them on friezes,

cornices,

and

columns.

The fre-

quent recurrence

of oak leaves, in

certain

works

of the

Italian

Rena-

scence, is due

to the fact that

the Oak

was the

crest

the

family of

della

Rovere

{Rovere

winter

oak;

two

members

of which

family

ascended the papal

chair,

as Sixtus

lY.

and

Julius

E.).

Oak, someti-

mes alternating

with laurel,

usual

ornament

of medals

and

coins.

Plate

85. Oak Leaves,

&c.

1. Leaf of

the winter

Oak

(Quercvs

scssiliflora).

Spray of the bitter

Oak

(Quercus

cerris).

Leaf 0f the Maple

(Acer

campestre).

4. Spray of the

sugar Maple

(Acer

plantanoides),

5. Leaf of

species

of Ranunculus.

6. Leaf of

the

oriental

Amber

tree

(lAquidamher

oricntah).

Leaf of

the American

Amber tree

(Liquidaynber

Styraciflna),

(This

tree furnishes the

Storax

Styrax,

a kind

of rcsiu.)

Leaf of the Tulip

tree

(Liriodendron

tulipifera).

9. Leaf of

the climbing

Mikania (Mikania

scandens).

10.

Leaf of the

Liverwort

(Hepatica

triloba).

Various

Flowers.

(Plates

3G,

37.)

It need

scarcely

said

that

flowers, these most beautiful

pro-

ducts of

the plant world,

have

in all

ages

been exceedingly

popular

ornamental art.

In flat

as well as in relief

ornament they are

used in the most manifold

forms, as bouquets, garlands,

wreaths,

&c.

Flower-painting

for decorative

purposes (fans, tapestry,

&c.)

has de-

veloped into a distinct

branch of art. Flowers, with their

natural

developement from a centre,

are the

most

obvious models for

the for-

mation

Rosettes (rosette

/ittle rose). The

Rosettes

the well-

kuown sarcophagus

Scipio, the rosette Bosses on

the

doors

of the

Antique

and

the Italian

Renascence, are striking examples of

this.

The

realm

Flowers

is' so

extensive that we

must

confine

our-

eelves to a

few

examples.

Plate

gives

variety

single flowers

(drawn

from

casts

from

nature

by J.

Bofinger

Stuttgart): Plate

37 shows a

bou-

quet of flowers.

Plate 36.

Various Flowees.

Alpine

Rose

(Rhododendron).

NATURAL

FORMS.

Various Flowers.

Plate 36.

NATURAL FORMS.

Plate 37.

Various

Flowers.

Vai-ious

Flowers.

—

The

Festoon.

Chrysanthemum.

White

Lily

(Lilium candiihnn).

4. Hellebore

(Helleborus).

Wild Rose

(Rosa canina).

Blue-bell

(Campanula).

Wild

Rose, seen

from the back.

Plate

37. Various

Flowers.

Bouquet,

carving,

Louis

XVI. style,

(F. A. M.,

Cours

d'ornement).

TiiE

Fruit

Festoon. (Plates

38—40.)

Fruit, tied in a

bunch w-ith leaves and

floweis, was

popular

decorative motive of

the

Roman,

Renascence, and later

styles.

may

mention

the

hanging

clusters as a decoration

pilaster

and

similar panels; and the

clusters

hanging in

curve

and

known

Festoons. Li these

cases:

flowing

ribbons

fill up

the

empty

spaces.

The plates

give

examples of

both

kinds.

Festoons of

fruits hanging

deep curves between

rosettes,

can-

delabra, skulls of animals,

&c.,

are

common in

the

Roman

style.

The

origin

this

style of decoration is to be

sought

in the

circumstance

that Festoons of

real

fnxit

were

hung as

a decoration

on the

friezes

of the

temples,

alternating with the

real Skulls

slaughtered

sacri-

ficial animals,

in connection

with the Candelabra,

Tripods,

and

other

sacrificial

Instruments. This style

of decoration was

then

transferred

from

sacred

to secular

architecture, revived

the

Renascence

or less

altered

forms, and has

remained in use to

the

present

time.

the Roman

style the empty space

above the

centre of the

curve

is often filled

by Rosettes, Masks,

and Figures.

These features

weie

usually

replaced

heads of

Angels

on the

ecclesiatical

buildings

and tombs

of the Italian Renascence.

Plate 38.

The

Fruit Festoon.

Cluster,

Libreria, Cathedral,

Siena, Italian Renascence.

Cluster,

tomb

of Louis XII.

St.

Denis, French

Renascence.

3. Cluster,

Modern.

Festoon,

tomb

of Cardinal della Rovere, St.

Maria del

Popolo,

Rome,

Italian

Renascence.

Plate

39. The

Fruit Festoox

Festoon, between

skulls,

Roman.

2. Festoon, Roman

mortuary tablet, Vatican

NATURAL

FORMS.

Plate

38.

The

Fruit

Festoon.