OWE N GRAMMAR
.ION BS' of
ORNAMENT.
THE TEXT COMPLETE W
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THE
GRAMMAR OF ORNAMENT BY
OWEN
JONES.
ILLUSTRATED BY EXAMPLES FROM VARIOUS STYLES OF ORNAMENT.
ONE HUNDKED AND TWELVE PLATES.
LONDON
BEENARD QUAEITCH, 15
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PEEFACE TO THE FOLIO EDITION.
It would be far beyond the limits of the powers of any one individual to
attempt to gather together illustrations of the innumerable and ever-varying of Ornamental
phases
Art.
Government, and even then
It it
would be barely possible
would be too voluminous
undertaken by a
if
be generally useful.
to
have proposed to myself in forming the collection which
All, therefore,
that
I
have ventured
to
call
the
Grammar
of Ornament, has been to
select a
I
few of
the most prominent types in certain styles closely connected with each other, and in
which certain general laws appeared of
peculiarities
each.
I
to reign independently of the individual
have ventured to
hope
that,
in
thus
immediate juxtaposition the many forms of beauty which every presents,
I
might aid
in
arresting
that
unfortunate
be content with copying, whilst the fashion
bygone peculiar
age,
lasts,
It
is
style of
ornament
tendency of our time the
to
forms peculiar to any
without attempting to ascertain, generally completely ignoring, the
circumstances which rendered an ornament beautiful,
appropriate, and which, as expressive of other wants entirely
bringing into
when
because
it
was
thus transplanted, as
fails.
more than probable that the
first
B
result of sending forth to the l
world
— ;
PREFACE. collection will be
this
many
dangerous tendency, and that
increase this
seriously to
be content to borrow from the past those forms of beauty which
will
have not already been used up ad nauseam.
and
this tendency,
awaken
to
has been
It
my
desire to arrest
a higher ambition.
student will but endeavour to search out the thoughts which have
If the
been expressed in so many different languages, he may assuredly hope to find an ever-gushing fountain in place of a In the following chapters
That whenever any
First.
tion,
it
I
stagnant reservoir.
half-filled
have endeavoured to establish these main style
commands
of ornament
universal
facts,
admira-
always be found to be in accordance with the laws which regulate
will
the distribution of form in nature.
That however varied the manifestations
Secondly.
laws, the leading ideas on
which they are based are very few.
another have been caused by a sudden throwing
style to
which
fixed trammel,
became again Lastly.
I
set
thought free for a time,
fixed, to give birth in its
till
the
experience of the
past
for fresh inspiration.
some
idea, like the old,
turn to fresh inventions.
the
may be
best secured by engrafting on the
knowledge we may obtain by a return
To attempt
to build
up theories of
independently of the past, would be an act of supreme
the contrary,
we should regard
art,
to
Nature
or to form a style,
would be
It
folly.
knowledge
once to reject the experiences and accumulated
On
new
off of
have endeavoured to show, in the twentieth chapter, that the
future progress of Ornamental Art
years.
accordance with these
That the modifications and developments which have taken place
Thirdly.
from one
in
of
thousands
at
of
as our inheritance all the successful
labours of the past, not blindly following them, but employing them simply as
guides to find the true path.
In taking leave of the subject, and finally surrendering the public, I there are
My
am
fully
aware that the collection
many gaps which each
chief aim,
to
place
side
by
artist,
however,
side types
is
it
to the
judgment of
very far from being complete
may
readily
fill
up
for himself.
of such styles as might best serve
PREFACE. as landmarks and aids to
student in his onward path, has,
the
been
trust,
I
fulfilled.
It
remains for
kindly assisted
In
me
me
acknowledgment
of
Egyptian
the
Collection
I
received
much
assistance from Mr. J.
Bonomi, and from Mr. James Wild, who has
tributed
for
having
materials
the
the Arabian Collection, his
large
Cairean Ornament, of which the portion contained in this work
an imperfect
idea,
and which
I trust
he
valuable
con-
also
long residence in Cairo
him the opportunity of forming a very
afforded
who have
to all those friends
in the undertaking.
formation
the
my
to offer
collection
of
can give but
may some day be encouraged
to publish
in a complete form. I
am
Mr. C.
indebted
J.
Mr. T. T.
to
Richardson
am
also
of Stained Glass.
From
from Mr.
J.
B. Waring, those of the Byzantine, and I
indebted to him for the very valuable essays on Byzantine and Eliza-
bethan Ornament. the
for the plate
obtained the principal portion of the materials of the
I
Elizabethan Collection;
Bury
Mr.
Ornament of the
J.
O.
Celtic
Westwood having
races,
has
assisted
directed in
the
attention
special
Celtic
Collection,
to
and
written the very remarkable history and exposition of the style.
Mr.
C.
Dresser, of Marlborough House, has provided
the
interesting plate
No. 8 of the twentieth chapter, exhibiting the geometrical arrangement of natural flowers.
My
colleague
wo v k with
his
at
the
Crystal Palace,
M. Digby Wyatt, has
enriched the
admirable essays on the Ornament of the Renaissance and the
Italian periods.
Whenever
the
been acknowledged
material in the
The remainder of
the
Mr. Albert Warren and
has been gathered from
published sources,
it
has
body of the work. drawings have been chiefly executed by
Mr.
Charles
Aubert,
who,
with
my
pupils,
Mr. Stubbs, have
reduced the whole of the original drawings, and prepared them for publication. 3
PREFACE.
The drawing upon stone of Mr.
Francis
R.
the
One Hundred
Tymms, A. Warren, and
My
special thanks are
quite
work
as
feel
as perfect
S. Sedgfield,
assistants,
the care
H. Fielding,
Messrs.
due to Mr. Bedford for the care and anxiety which
regardless
the
of
all
personal consideration,
Day and of the
render this
to
advanced stage of chromolithography demanded; and
any way acquainted with the
the printers
to
with occasional help, have executed
persuaded that his valuable services will be
Messrs.
was entrusted
Plates in less than one year.
he has evinced,
I
of the whole collection
who, with his able
Bedford,
W.
->
difficulties
Son, the
fully
recognised by
and uncertainties of
enterprising
work, have put forth
and
publishers, all
their
all
in
this process. at
the
same time
and
strength;
standing the care required, and the vast amount of printing to be
notwith-
performed,
the resources of their establishment have enabled them, not only to deliver the
work with
perfect
regularity
to
the
Subscribers,
but
even
to
complete
before the appointed time.
OWEN
9 Argyll Place,
Dec. 15,
1856
JONES.
it
GENERAL PRINCIPLES IN THE ARRANGEMENT OF FORM AND COLOUR,
AND THE DECORATIVE
IN ARCHITECTURE
WHICH
ARTS,
ARE ADVOCATED THROUGHOUT THIS WORK.
Proposition General principles.
Proposition
1.
The Decorative Arts
arise from,
Beauty of form
and
is
growing out
chitecture.
gradual undulations crescences
Architecture
2.
one
:
the
lines On
other
general
in
there are no ex-
nothing could be removed
;
and leave the design equally good or
the material expression
is
produced by
from
should properly be attendant upon, Ar-
Proposition
6.
better.
of the wants, the faculties, and the senti-
ments, of the age in which Style in Architecture
it is
at
command.
Proposition
As
Architecture, so
works of the
all
first
cared
Decoration of the surface.
these should be subdivided and orna-
may
then be
lines; the interstices
filled
in
with ornament,
which may again be subdivided and enriched for closer inspection.
Decorative Arts, should possess proportion, harmony, the result
which
for,
mented by general
3.
7.
forms being The general ~ 째
the peculiar form that
is
expression takes under the influence of climate
and materials
Proposition
created.
is
fitness,
of
all
Proposition
repose.
All ornament should be based upon a
Proposition
True beauty
results
which the mind intellect, and the
feels
geometrical construction.
4.
from that repose
when
affections, are satisfied
Proposition
should
5.
be
Proposition
the eye, the
from the absence of any want.
Construction
8.
decorated.
Decoration should never be purposely
As
in every perfect
9.
work
On proporof Archi- tion.
tecture a true proportion will be found to reign
between
compose
it,
all
the
members which
so throughout the Decorative
Arts every assemblage of forms should
be arranged on certain definite proporthe whole and each particular tions ;
constructed. That which is beautiful is true that which must be beautiful. ;
is
true
member should be
a multiple of
simple unit.
.
5
some
—
;
PROPOSITIONS. Proposition 15.
Those proportions will be the most beautiful which it will be most difficult for the eye to
Colour
detect.
Thus the proportion of a double
square,
or 4 to 8, will be less beautiful than
the more subtle ratio of 5 to 8
3 to
;
used to
is
light
assist
and
shade, helping the undulations of form
by the proper
distribution of the several
6,
than 3 to 7; 3 to 9, than 3 to 8 3 to 4, than 3 to 5.
colours. Proposition 16.
Proposition 10.
On harmony and
Harmony
form consists
in
the
proper balancing, and contrast
of,
the
of
contrast.
and the curved.
straight, the inclined,
These objects are best attained by the use of the primary colours on small surfaces and in small quantities, balanced
and supported by the secondary and tiary colours on the larger masses.
Proposition 11. Distribution.
Radiation. Continuity.
In surface decoration
Proposition 17.
all lines
should
Every orna-
flow out of a parent stem.
ment, however distant, should be traced to its
branch and root.
ter-
The primary
colours should be used
on the upper portions of
objects, the
secondary and tertiary on the lower.
Oriental practice. Proposition 18.
Proposition 12.
All junctions
(Field's Chromatic equivalents.)
of curved
lines
with
The primaries of equal
intensities will On ,
curved or of curved lines with straight
harmonise or neutralise each other, in
should
the proportions of 3 yellow, 5 red, and
ii
•
be
tangential
to
each
other.
.
Natural law. cordance with
Oriental practice
in
ac-
— integrally as
The secondaries
it.
8 orange, Proposition 13. On the conventionality of natural forms.
not be used as ornaments, but conventional representations
founded upon them
sufficiently suggestive to
convey the
in-
tended image to the mind, without destroying the unity of the object they are to decorate.
Universally obeyed
in the best periods of Art, equally violated
when Art
declines.
Proposition 14.
On
colour
Colour
is
used to
assist in the devel-
generally.
opment objects
of
form,
or parts
another. 6
and
to
of objects
1
16.
in the proportions of
3 purple,
11
green,
—integrally
as 32.
The
Flowers or other natural objects should
employed
.,
.
8 blue,
distinguish
one
from
tertiaries, citrine
(compound
of
orange and green), 19; russet (orange
and
purple),
purple), 24
;
21
;
olive
—integrally
(green
and
as 64.
It follows that,
Each secondary being a compound of two primaries is neutralised by the remaining primary in the same proportions: thus, 8 of orange by 8 of blue, 11 of green by five of red, 13 of purple by 3 of yellow. Each tertiary being a binary compound of two secondaries, is neutralised by the remaining secondary as, 24 of olive by 8 of orange, 21 of russet by 11 of green, 19 of citrine by 13 of purple. :
the proportions by which har-
mon y
m
colouring is produced.
LIST OF PLATES.
Chap. Plato.
No.
1
i
Ornament of Savage
I.
Ornaments from Articles belonging British
to various
Tribes.
Savage Tribes, exhibited in the United Service and
Museums.
2
2
Ditto
ditto
ditto.
3
3
Ditto
ditto
ditto.
Chap.
Egyptian Ornament.
l
The Lotus and Papyrus, types of Egyptian ornament.
2
Ditto
4 5
6
6*
II.
with Feathers and Palm-branches.
ditto
Capitals of Columns, showing the varied applications of the Lotus and Papyrus.
3
3* Ditto
ditto
ditto.
7
4
Various Cornices, formed by the Pendent Lotus.
8
5
Ornaments from
9
6
Geometrical Ornaments from Ceilings of Tombs.
10
7
11
8
Ornaments with Curved Lines from Ceilings of Tombs. Various Ornaments from Ceilings and Walls of Tombs.
Chap. 12 13
14
i
2 3
Mummy
III.
l
16
2
17
3
18
4
19
5
20
6
21
7
22
8
Museum and
the Louvre.
Assyrian and Persian Ornament.
Painted Ornaments from Nineveh. Ditto
ditto.
Carved Ornaments from Persepolis, and Sassanian Ornaments from Ispahan and Bi-Sutoun.
Chap. IV. 15
Cases in the British
The Various Forms
Greek Ornament.
of the Greek Fret.
Ornaments from Greek and Etruscan Vases
in the British
Museum and
the Louvre.
J
Painted Greek Ornaments from the Temples and Tombs in Greece and
Sicily.
LIST OF PLATES.
Chap. V. Plate.
Pompeian Ornament.
No.
23
1
Collection of Borders from different Edifices in Pompeii.
24
2
Ditto Pilasters and Friezes
25
3
Mosaics from Pompeii and the
Chap
ditto.
l
Roman Ornaments from
27
2
Ditto from the
Casts in the Crystal Palace.
Museo Bresciano.
Chap. VII.
Byzantine Ornament.
28
l
Carved Byzantine Ornaments.
29
2
Painted
ditto.
29* 2*Ditto 3
at Naples.
Roman Ornament.
VI.
26
30
Museum
ditto.
Mosaics.
Chap. VIII.
Arabian Ornament.
31
l
Arabian Ornaments of the Ninth Century from Cairo.
32
2
Ditto
33
3 Ditto
34
4 Portion of
35
5
Thirteenth Century ditto. ditto
ditto.
an Illuminated Copy of the " Koran."
Mosaics from Walls and Pavements from Houses in Cairo.
Chap. IX.
Turkish Ornament.
36
l
Ornaments
37
2
Painted Ornaments from the Mosque of Soliman at Constantinople.
33
3
Decoration of the
in Relief
from Mosques, Tombs, and Fountains
Dome
Chap. X.
of the
Tomb
l
Varieties of Interlaced Ornaments.
40
2
Spandrils of Arches.
Lozenge Diapers.
41
3
3* Ditto
42
4
ditto.
ditto.
42f 4fDitto 43 5 Mosaics.
ditto.
Chap. XI.
Persian Ornament.
Ornaments from Persian MSS. in the British Museum.
44
l
45
2 Ditto
ditto.
46
3
Ditto
ditto.
47 47*
4
From
4* Ditto 5
Constantinople.
Square Diapers.
42* 4*Ditto
48
I. at
Moresque Ornament from the Alhambra.
39
41*
of Soliman
at Constantinople.
From 10
a Persian Manufacturer's Pattern-Book, South Kensington Museum. ditto
a Persian MS., South Kensington Museum.
ditto.
LIST OF PLATES.
Chap. XII. Plate.
Indian Ornament.
No.
Ornaments from Metal- work from the Exhibition of 1851.
49
l
50
2)
51
3
(.-^ ltto fr째
52
4)
53
5
m
Embroidered and
now
Collection in 1851,
Woven
at
Fabrics and Paintings on Vases exhibited in the Indian
South Kensington Museum.
^
53* 5* JSpecimens of Painted Lacquer-work from the Collection at the India House.
g^
6
54*
6*J
55
7
Ornaments from Woven and Embroidered Fabrics and Painted Boxes exhibited
Chap. XIII. 56
l
57
2
58
3
Hindoo Ornament.
Ornaments from a Statue
From From
at the Asiatic Society's House.
the Collection at the Crystal Palace, Sydenham. the Collection at the India House.
Chap. XIV. 59
l
1
60
2
V
61
3
)
62
4
Chinese Ornament.
Chinese Ornaments painted on Porcelain, and on Wood, and from
l
64
2
65
3 Spiral,
Celtic
Ornament.
Interlaced Styles.
Diagonal, Zoomorphic, and later Anglo-Saxon Ornament.
Chap. XVI.
Mediaeval Ornament.
l
Conventional Leaves and Flowers from Illuminated MSS.
2
Borders from Illuminated MSS. and Paintings.
2* Ditto
ditto
ditto.
68
3
Diapers from Illuminated MSS. and Backgrounds of Pictures.
69
4
Stained Glass of various periods.
69* 4*Ditto
ditto.
70
ditto.
5
Fabrics.
Lapidary Ornamentation.
63
67 67*
Woven
Conventional Renderings of Fruits and Flowers.
Chap. XV.
66
at Paris in 1855.
Encaustic Tiles
Illuminated MSS. l
Portions of Illuminated
72
2
73
3
71
MSS.
of the Twelfth and Thirteenth Centuries.
Ditto
ditto
Thirteenth and Fourteenth
Ditto
ditto
Fourteenth and Fifteenth
ditto. ditto.
11
LIST OF PLATES.
Chap. XVII. Plate.
74 _g _„
Renaissance Ornament.
No. i
j
(
Renaissance Ornaments in Relief, from Photographs taken from Casts in the Crystal Palace,
Sydenham.
I
77
4
78
5
Enamels from the Louvre and H6tel Cluny. Ornaments from Pottery at South Kensington Museum. ditto Ditto Hotel Cluuy and the Louvre.
79
6
80
7 Ditto
81
81
82
o
1
ditto
^ r naments
fr°
ditto.
m Stone and Weed from the Collections of the Louvre and Hotel Cluny.
Chap. XVIII. 83
n
84
2J
85
3
^ai™ us
Ornaments in Relief from the Time of Henry VIII.
Painted Ornaments and Ornaments on
Chap. XIX. 86
l
Elizabethan Ornament.
Pilasters
Italian
Woven
to that of Charles II.
Fabric, ditto.
Ornament.
and Ornaments from the Loggie of the Vatican, reduced from the
full-size
South Kensington Museum.
86* i*Ditto
87 88
2
ditto
ditto
Ditto
from the Palazzo Ducale and the Church of
89
4
Ditto
from the Palazzo del Te, Mantua.
90
5
Ornaments from Printed Books.
3
ditto.
Ornaments from the Palazzo Ducale, Mantua.
Chap. XX. 91
l
Horse-chestnut leaves.
92
2
Vine
93
3
Ivy
St.
Andrea, Mantua.
Leaves and Flowers from Nature.
leaves.
leaves.
94
4
Leaves of the Oak, Fig-tree, Maple, White Bryony, Laurel, and Bay-tree.
95
5
Leaves of the Vine, Hollyoak, Turkey Oak, and Laburnum.
96
6
Wild
Hawthorn, Yew, Ivy, and Strawberry-tree.
Rose, Ivy, and Blackberry.
97
7
98
8
Various Flowers in Plan and Elevation.
99
9
Honeysuckle and Convolvulus.
100
10 Passion Flowers.
12
Paintings at
—— —
—
—
Chapter
Plates
I.
1,
2, 3.
ORNAMENT OF SAVAGE
TRIBES.
.-o_)-0«o~$-«-
PLATE United Service Museum.
1.
Cloth.
2. 3.
Matting from Tongotabu, Friendly Islands. Cloth. Otaheite.— U. S. M.
4.
Cloth.
5-8.
Otaheite.
9.
Sandwich Islands.— U. S. M. Sandwich Islands. British Museum.
Cloths.
1.
3. 4.
5. 6.
Cloth.
11.
Cloth.
12.
Cloth.
13.
Cloth
7.
U.
S.
U.
S.
U.
S.
2.
Club. Islands.
M. M. M.
3.
New
4.
Tahiti.
6.
New Zealand.
From
Zealand.
Patoo-Patoo.
Adze.
U. U.
S.
U.
S.
S.
M. M. M.
early a stage of civilisation, with it
Islands.
—B. M.
Friendly Islands.
13, 14.
Tahiti.
Sandwich
Drum.
Adze.
New
18-20.
Sandwich
S.
U.
S.
U.
S.
M. M. M. M. M. M.
U. S.
Islands.
16, 17.
U.
Zealand. Islands.
U.
S.
U.
S.
III. 6.
New Zealand.
7.
South Sea
8.
Handle,
9.
Feejee Islands.
Isles.
War War Club.
Pajee, or
Club.
full size of Fig. 6.
Club.
U. S. M. U.S.M. U.S.M. U.S.M.
U. S. M.
Paddle.
the universal testimony of travellers
absent in none, and
Adze.
Tahiti.
11, 12.
15.
United Service Museum. Club.
made from Paper Mulberry, Feejee
9, 10.
PLATE Owhyhee. Sandwich
1.
Otaheite.— U. S. M. Sandwich Islands.— B. M.
II.
South America. United Service Museum. Sandwich Islands. U. S. M. Owhyhee. U. S. M. New Hebrides. Inlaid Shield. U. S. M.
Sandwich Islands. South Sea Islands. 8. Sandwich Islands.
Cloth Matting from Tongotabu, Friendly Islands.
10.
PLATE 2.
I.
whom
it
would appear, that there
the desire for ornament
grows and increases with
all in
is
is
scarcely a people, in however
not a strong instinct.
The
desire is
the ratio of their progress in civilisation.
Man
appears everywhere impressed with the beauties of Nature which surround him, and seeks to imitate to the extent of his power the works of the Creator.
Man's
earliest
ambition
is
to create.
and body, resorted to by the savage enemies or
rivals, or to create
To
this feeling
must be ascribed the tattooing
of the
human
face
to increase the expression by which he seeks to strike terror on his
what appears to him a new beauty.*
As we advance higher, from the
* The tattooing on the head which we introduce from the Museum at Chester is very remarkable, as showing that in this very barbarous practice the principles of the very highest ornamental art are manifest, every line upon the face is the best adapted to develope the natural features.
E
13
ORNAMENT OF SAVAGE wigwam
decoration of the rude tent or
everywhere apparent
:
to the sublime
the highest ambition
is
still
TRIBES.
works of a Phidias and Praxiteles, the same feeling
is
to create, to stamp on this earth the impress of an
individual mind.
From time it
to time a
mind
stronger than those around will impress itself on a generation, and carry with
a host of others of less power following in the same track, yet never so closely as to destroy the individual
ambition to create
;
hence the cause of
styles,
and of the modifications of
The
styles.
an early stage of
efforts of
are
civilisation
a people in those
like
of
though presenting a want of power, they
children,
possess a grace
and naivete rarely found in mid-age,
and never in manhood's the infancy of any
It is equally so in
decline.
Cimabue and Giotto have
art.
not the material charm of Raphael or the
manly
power of Michael Angelo, but surpass them both in grace and earnest truth.
The very command
means leads
:
when
succeeds; signally
to their abuse
when Art
revelling in its
own
The pleasure we
fails.
of
struggles, it
successes, it as
receive
con-
in
templating the rude attempts at ornament of the
most savage tribes
arises
a difficulty accomplished
by the evidence
;
from our appreciation of
we
charmed
are at once
of the intention,
and surprised at
the simple and ingenious process by which the result is
obtained.
Art, whether
to
in every
fact,
it
be humble or pretentious,
evidence of mind, create
what we seek
In
—the
work
of
the
is
evidence of that desire to
which we have referred, and which
all,
feeling a natural instinct within them, are satisfied
with when they find Female Head from
New
strange, but so it
it
developed in others.
that this evidence of
is,
It
mind
will
Zealand, in the Museum, Chester.
be more readily found in the rude attempts
ornament of a savage
tribe
than in the innumerable productions of a highly-advanced
Individuality decreases in the ratio of the power of production. effort,
is
not originated by individual
effort,
we
fail
When
Art
is
at
civilisation.
manufactured by combined
to recognise those true instincts
which constitute
its
greatest charm.
Plate of trees.
The ornaments on
I.
this
Plate are from portions of clothing
made
chiefly
from the bark
Patterns Nos. 2 and 9 are from a dress brought by Mr. Oswald Brierly from Tongotabu, the
principal of the Friendly Island group.
It is
made from
thin sheets of the inner rind of the bark of
a species of hibiscus, beaten out and united together so as to form one long parallelogram of cloth, which
being wrapped bare,
many
times round the body as a petticoat, and leaving the chest, arms, and shoulders
forms the only dress of the natives.
Nothing, therefore, can be more primitive, and yet the
arrangement of the pattern shows the most refined taste and of the cloth
;
with the same limited means of production,
it
skill.
No. 9
would be
of the masses,
is
everywhere apparent
;
improve upon
and the judicious correction of the tendency of the eye
to
it.
The
somewhat rude and irregular
and we are at once struck with the
opposing to them lines having an opposite tendency. 14
is
the edge
the border on
difficult to
patterns are formed by small wooden stamps, and although the work in execution, the intention
is
skilful
balancing
run in any one direction by
ORNAMENT OF SAVAGE When Mr. and
for every
new pattern
The pattern No.
may
woman was
Brierly visited the island one
the designer of
the patterns in use there,
all
she designed she received as a reward a certain
from the same place,
2,
TRIBES.
ment of the four squares and the
equally
is
derive from an artist of a savage tribe.
number
of yards of cloth.
an admirable lesson in composition which we
Nothing can be more judicious than the general arrange-
Without the red spots on the yellow ground there
four red spots.
would have been a great want of repose in the general arrangement; without the red red spots to carry the red through the yellow, triangles
and the
it
would have been
still
Had
imperfect.
round the
lines
the small red
turned outwards instead of inwards, the repose of the pattern would again have been effect
produced on the eye would have been that of squinting; as
it
is,
the eye
each square, and centred in each group by the red spots round the centre square.
form the pattern are very simple, each triangle
how readily
which
stinctive observation of the forms in
all
A
and each
M^
the possession of a simple tool, even
leaf
.
A
by the mosl
y
the works of Nature
The stamps which
being a single stamp uncultivated, if are
lost,
centred in
is
:
we thus
see
guided by an in-
arranged, would lead to the
creation of all the geometrical arrangements of form with which
we
On
are acquainted.
No.
the upper left-hand corner of pattern
2, the eight-pointed star
the same tool
inwards
as also
;
is
formed by eight applications of
the black flower with
and sixteen pointing outwards.
J
The
The most com-
j
plicated patterns of the Byzantine, Arabian,
mosaics would be generated by the same means.
1
secret of
sixteen pointing
and
Moresque
success in all
duction of a broad general effect by the repetition of a few simple elements
sought in the arrangement of the
several
portions of a
design,
;
ornament
is
the pro-
variety should rather be
than in the multiplicity of varied
forms.
The stamping
of patterns on the coverings of the body,
would be the
as this,
In both there
first
when
either of skins of animals or material such
stage towards ornament after the tattooing of the body by an analogous process.
would remain a greater variety and individuality than in subse-
quent processes, which would become more mechanical.
The
hbhhhb|hj
notions of
first
weaving, which would be given by the plaiting of straws or strips of bark, instead of using
them
as thin sheets, would have equally the
gradually forming the
masses
mind
the eye of the
:
same
result of
an appreciation of a proper disposition of
to
savage, accustomed only
to
upon Nature's
look
harmonies, would readily enter into the perception of the true balance both of form and colour; in point of fact,
ornament the true balance of both
is
we
find that it is so, that in savage
always maintained.
After the formation of ornament by stamping and weaving, would naturally follow the desire of forming
defence or the chase would
ornament in
first
relief or carving.
attract attention.
The weapons
The most
skilful
for
and the
bravest would desire to be distinguished from their fellows by the possession Plaited Straw from the Sandwich Islands.
of weapons, not only for
more
useful,
but more beautiful.
The shape
best fitted
the purpose having been found by experience, the enriching of the surface by carving would naturally
follow
;
and the
seek to imitate
eye, already
them by a
instinct very fully.
They
accustomed to the geometrical forms produced by weaving, the hand would similar repetition of cuts of the knife.
are executed with the utmost precision,
in the distribution of the masses. skill
may
The ornaments on Plate and exhibit great
Nos. 11 and 12 are interesting, as showing
taste
human form more
especially,
remain in the very
show
this
and judgment
how much
exist in the formation of geometrical patterns, whilst those resulting from curved
II.
this taste _and
lines,
first stage.
15'
and tho
ORNAMENT OF SAVAGE The ornaments
in the
TRIBES.
woodcuts below and at the side show a far higher advance in the distribution
of curved lines, the twisted rope forming the type as
The uniting of two
it
naturally would be of all curved lines in ornament.
strands for additional strength would early accustom
the eye to the spiral line, and
we always
Head
of Canoe,
New
find this
form side by side with
Guinea.
geometrical patterns formed by the interlacing of equal lin?s in the orna-
ment
of every savage tribe, and retained in the
more advanced
art of every
civilised nation.
Head
From the
Side of a Canoe, Zealand.
New is
The ornament
of Canoe,
New
Guinea.
of a savage tribe> being the result of a natural instinct,
necessarily always true to its purpose; whilst in
much
of the
ornament of
civilised nations, the first
impulse which generated received forms being enfeebled by constant repetition, the ornament times misapplied, and instead of destroyed, because
all
fitness,
first
seeking the most convenient form and adding beauty,
by superadding ornament
a more healthy condition, we must even be as acquired and
The tion
:
artificial,
beautiful
New
Zealand paddle, Nos. 5-8, on Plate
upon
its
surface misapplied.
everywhere the best adapted to
16
children or as savages
If ;
often-
beauty
we would return
we must
is
to
get rid of the
and return to and develope natural instincts.
there is not a line
decoration
little
to ill-contrived form.
all
is
develope
III.,
would
rival
works of the highest
The general shape the form.
is
A modern
civilisa-
most elegant, and the manufacturer, with his
ORNAMENT OF SAVAGE stripes
New
and
would have continued the bands or rings round the handle across the blade.
plaids,
Zealander's instinct
but should appear
taught him better.
and his ornament
so,
ance of additional strength to what
had remained undecorated.
continued round on the other
the edge, which itself fixes
is so
it
He
desired not only that his paddle should be strong,
disposed as to give an appear-
would have had
all
a.
side,
the surface
binding together the border on
the other bands.
one was the only one that could do
is
if
Paddle.— B. M.
Had
out like the centre one, they would have appeared to slip
The
The
The centre band in the length of the blade
Handle of
is
TRIBES.
these bands run off.
The centre
so without disturbing the repose.
swelling form of the handle where additional weight was required
most beautifully contrived, and the springing of the swell
is
well
defined by the bolder pattern of the rings.*
Club, Eastern Archipelago.
* Captain Cook and other voyagers repeatedly notice the taste and ingenuity of the islanders of the Pacific and South Seas instancing especially cloths, painted " in such an endless variety of figures that one might suppose they borrowed their patterns from a
:
V
mercer's shop in which the most elegant productions of China and Europe are collected, besides some original patterns of their own." The "thousand different patterns" of their basket-work, their mats, and the fancy displayed in their rich carvings and inlaid shell-work, are, likewise, constantly
mentioned.
Pole Sud, 8vo. Paris, 1841
;
See The Three Voyages of Captain Couk, 2 vols. Lond. 1841-42: Pkichard's Natural History of Man, Lond. 1855 fol.
Ditto, Atlas d'Histoire,
;
Dumont d'Urville's Voyaye au G. W. Earle's Native Races of ;
Indian Archipelago, Lond. 1852; Kerr's General History and Collection of Voyages and Travels, London, 1811-17.
17
Chapter II.—Plates
4, 5, 6, 6*, 7, 8, 9, 10, 11.
EGYPTIAN OENAMENT. *->-
j i- fri
PLATE
IV.
The Lotus, drawn from Nature.
8.
Expanding Bud
2.
Egyptian representation of the Lotus.
9.
Another, in a
3.
Another, in a different stage of growth.
4.
Three Papyrus Plants, and three full-blown Lotus Flowers with two Buds, held in the hand of a King as an offering to a God.
1.
5.
A
full-blown Lotus and two Buds, bound together with
Ribbons,
the
type
of
the
Capitals
of
e
The Lotus and Buds
form of a Column, bound
in the
round with Matting, from a Tainting representing the Portico of a Temple. 7.
The
drawn from Nature.
advanced stage of growth.
10.
Egyptian representation of the Papyrus Plant the complete type of the Capital, Shaft, and Base of the Egyptian Columns.
11.
The same,
;
in combination
with Lotus Buds, Grapes, and
Ivy. 12.
A
13.
Egyptian representation of the Lotus and Buds.
14,
16 :}
Representations Painting.
Egyptian
Columns.
of the Papyrus,
less
combination of the Lotus and Papyrus, representing a Column bound with Matting and Ribbons.
the
of
Papyrus,
from
an
Egyptian
16.
Representation of Plants growing in the Desert.
Base of the Stem of the Papyrus, drawn from Nature the type of the Bases and Shafts of Egyptian
17.
Representation of the Lotus and Papyrus growing in the Nile.
Columns.
18.
Another variety of Desert Plants.
;
PLATE 1.
Fan made
of Feathers, inserted into a
wooden Stem
in
the form of a Lotus. 2.
Feathers from the Head-dress of the Horses of the Royal
3.
Another
4.
Fans made
10.
The
11.
Insignia borne
from Aboo-Simbel.
true Lotus.
by
certain
Officers
of
the time of the
Pharaohs.
Another
12.
Chariots. variety,
V.
variety.
13,1 14,
of dried Leaves.
Gold and enamelled Vases
>
in the
form of the Lotus.
15.) 5.
Ditto.
6.
Fan.
7.
16.
A
Royal Head-dress.
17.
Ditto, another variety.
8.
Ditto.
18
9.
Representation of a species of Lotus.
representing the Divinity.
Capital of the large
Columns
according to Sharpe.
Papyrus, and around
of the
It it
Temple
Amunoph
Thebes, of the time of
III.,
of Luxor, 1250 B.C.,
represents the full-blown
Papyri and Lotus Buds
alter-
nating. 2.
Boats made of Papyrus Plants bound together.
VI. decorated with the coloured pendent Fascia? that are seen in the painted representations of Columns of
Plate IV. Nos. 5, 6, 12. Capital of the smaller
Columns
of the
Temple of Luxor,
Representing eight Buds of the Papyrus together, and adorned with pendent and
B.C. 1250.
Capital of the smaller B.C. 1200.
)
jg' >
PLATE 1.
Rudder Oar decorated with the Lotus and the Eye,
Columns
of the
Represents a single
Memnonium, Thebes,
bound
Bud
coloured Fasciae.
of the Papyrus
19
EGYPTIAN ORNAMENT. Capital from the unfinished hypaethral
11.
RomaD
Island of Philae.
Temple in the Composed
buds
period, B.C. 140.
of the Papyrus Plant in three stages of growth, and arranged in three tiers the first composed of four full-blown and four large expanding Papyri the
14.
:
;
second
of eight smaller expanding flowers
tier,
;
making sixteen plants. In this capital the form is not disturbed, as in No. 11. Capital from the unfinished hypaethral Temple, Philae. Composed of three tiers of the Papyrus Plant in three stages of growth. The first tier has eight full-blown and eight expanding plants the second tier, sixteen expanding flowers; and the third tier, thirty-two buds of the Papyrus: in all, sixty-four plants. The stem of each plant is distinguished by its size and colour, and continued down to the horizontal bands which bind them together round :
circular
and
;
the third
of sixteen buds:
tier,
making
in
all
a
bundle of thirty-two plants. The stem of each plant may be traced, by the size and colour of its stalk,
down
bands or
to the horizontal
IV. Nos. 5,
fasciae.
See Plate
6, 12.
Temple at Koom-Ombos. The grown Papyrus surrounded by various flowers.
Capital from the
12.
Capital from the principal Temple, Philae.
13.
the shaft.
full-
16.
Representing
two tiers of the Papyrus, in three stages of growth. The first tier composed of eight plants, four full-blown and four expanding the second tier composed of eight
Capital from the Portico of Edfu, b.c. 145. Represents the Palm-tree, with nine branches, or faces. The horizontal fasciae of the Palm-tree Capital differ from
the fasciae of is
;
PLATE Capital from a
Temple
in the Oasis
of Thebes.
Repre-
10.
Capital from a Temple in the Oasis of Thebes. Representing eight Lotus Flowers bound together in
15.
Capital from the unfinished hypaethral Temple, Philae.
Stalks tied round a single full-blown Papyrus.
two
Papyrus in two stages of growth, tiers. The first composed of four full-blown and four expanding flowers the second of the
arranged in three
Temple in the Island of Philse, The full-blown Papyrus surrounded by the
Capital from the principal
same flower
tiers.
Composed
structure to No. 4.
B.C. 106.
the other capitals, inasmuch as there
VI*.
senting a collection of Aquatic Plants, with triangular
Capital from the Portico of Edfu, B.C. 145, of similar
all
always a pendent loop.
;
tier,
in various stages of growth.
of eight smaller, full-blown
of sixteen,
still
;
and the third
tier,
smaller.
Capital from a Temple in the Oasis of Thebes. 17. Capital of the
from the Colonnade
Capital
of
the
Island
of
Philse.
Representing sixteen Lotus Flowers bound together in three tiers.
The
Shown
in elevation.
Capital No. 8 seen in Perspective.
of the
Walls of a
Roman
tendrils of the Honeysuckle.
PLATE Ornament on the top
Graco-Egyptian form, but of the
Very remarkable, as showing the Egyptian and Greek elements combined, viz. the Papyrus in two stages of growth, with the Acanthus leaf and the period.
Tomb
at Beni-
hassan.
VII. 22.
From the upper
23.
Ditto, at Thebes.
29.
From a Necklace. From the Wall of a Tomb, Gourna. From a Sarcophagus. From the Wall of a Tomb. From a Sarcophagus. From the upper part of a Picture.
30.
Arrangement
31.
From
32.
From
2.
Ditto
ditto.
24.
3.
Ditto,
from Karnac, Thebes.
25.
4.
Ditto,
from Gourna, Thebes.
26.
5.
Ditto,
from Sakhara.
27.
6.
Decoration of the Torus moulding of some of the early Tombs in the neighbourhood of the Pyramids of Giza.
28.
part of the
of Lines
Wall
of a
Tomb, Sakhara.
from dados.
7,\
From
a
10.
From
the Tombs, El Kab.
11.
From
the Tombs, Benihassan.
12.
From
the Tombs, Gourna.
13.
Ditto.
Nos. 1-5, 10, 11, always occur on vertical surfaces, and on
14.
Ditto.
15.
From
a Necklace.
the upper part of the walls of tombs and temples. Nos. 7-9, 12, 14, 18, 20, are all derived from the same elements, viz. the
16.
From
the
8,
>
wooden Sarcophagus.
9.
Wall
of a
Tomb, Gourna, immediately under
the Ceiling.
a Sarcophagus in the Louvre.
the
Wall
of a
Tomb, Gourna, representing the
Lotus, in plan as well as in elevation. 33.
From
34.
Arrangement
a Ceiling at Medinet Haboo. of Lines
from dados,
in
Tombs.
Lotus in a pendent position, with a bunch of grapes intervening. This very constant Egyptian ornament in some of its forms so much resembles the Greek moulding, usually termed the
18, 19.
Portions of a Necklace.
egg-and-tongue, or egg-and-dart moulding, that we can hardly doubt that the Greek moulding was derived from this
20.
From
the
source. Nos. 13, 15, 24, 32, exhibit another element of Egyptian ornamentation derived from the separated leaves
21.
From
a Necklace.
17,
Wall
20
of a
Tomb.
of the Lotus.
.
.
.
EGYPTIAN ORNAMENT.
PLATE The whole
of the
Ornaments on
cases in the British
this plate are
Museum and
from
VIII.
Mummy-
by the interwoven strands of a rope and in No. 7 we have the chequered pattern, one of the earliest ;
the Louvre, and, like
those of the last Plate, are mostly composed of the
ornaments, evidently derived from the weaving to-
Lotus-flower and single leaves of the same plant. In No. 2, above the Lotus-leaves, is a white ornament on
gether of different-coloured strands.
a black ground, very
common
in the tombs, suggested
this is doubtless the origin of
<1
is
From
a
Tomb
the Louvre, at a late period.
Each
at Thebes.
circle is
Nos. 9 and
themselves by a similar process.
Tomb
at Gourna.
It represents the
Walk, covered with a Vine It is by no means an uncommon ornament for the curved ceilings of small tombs, and usually occupies the whole ceiling of each excavation at the period of
the nineteenth dynasty.
21-23
formed of four
are derived
from Mummy-cases
in the Louvre, of a late
period.
X. From
8, 9.
a Mummy-case.
10-24 are from Ceilings of Tombs in various parts of Egypt. In Nos. 10, 1.3-16, 18-23, are various examples of an
ornament representing the unwinding of a pile of rope, which may have given the first suggestion of In No. 24 the continuous blue line is the volute. evidently from the same type.
probably intended for four Lotus-leaves.
From a Tomb
it
from a Ceiling of a
Lotus -flowers and four Buds, the intermediate star
7.
articles of daily use.
suggested the fret to the Greeks, unless
Trellis-work of a Garden
Geometrical arrangements of the single Lotus-leaf. 0.
may have
they arrived at
20
PLATE in
woven
actions of
10
most of them.
formation of patterns, such as 9-12, 17-19, 21, would be very rapid, and they are most probably only repro-
From Mummy-cases
orna-
IX.
1-8 are representations of Mats on which the kings stand. They were evidently formed of interwoven straws of different colours. The transition from this state to the
1-5.
In the lower
common
another very
ment, derived from feathers.
PLATE The Ornaments on this Plate are taken from Paintings on Tombs in various parts of Egypt, from original DrawThey are chiefly patterns that could be proings. duced by the loom, and a single glance will show that
we have
part of No. 18
at Thebes.
PLATE XL from Tombs at Thebes, and are further examples Rope Ornament given in the last Plate. Nos.
21.
2 and 3 are varieties of arrangements of Stars, very common on the ceilings both of tombs and temples
22.
1, 4, 6, 7, are
of the
No. 2
is
formed on squares, No. 3 on
sinibel.
23.
10.
From From
11-16 are 17.
later period
the Embroidery on a King's Robe.
of the papyrus.
of Biban el Moluk.
similar,
24.
Tombs
It represents the Scales of the
the Heroes and Gods of Egypt and most probably were suggested by the
Armour worn by 18-20 are
from Paintings in Tombs.
the Dress of a figure in one of the Royal
feathers of birds.
el
Moluk, pro-
which were formed of buds and flowers
a Mummy-case.
varieties of Borders
From
From a Fragment in the Louvre. Dado from the Tomb of Ramses, Biban
bably representing, in diagram, a Papyrus -grove, as it occupies a similar position to those dados of a
equilateral
triangles. 9.
Ornament on the Dress of the god Amun, from Aboo-
From a
very ancient
Lepsius.
The
Egyptian torus of
Tomb
upper ;
at
part
Giza,
opened
represents
the lower portion
is
the
by Dr. usual
from the dado
the same tomb, and shows that the practice of woods in painting is of the highest
imitating grained antiquity.
21
EGYPTIAN OENAMENT. The
Architecture of Egypt has this peculiarity over
ment the more
a state of decline. ruins of
still
from
Monuments
erected two thousand years before the Christian era are formed from the
the
any
traces of its origin
Roman, the Byzantine, with
this great parent,
we must
"We are thus carried back
perfect buildings.
to enable us to discover
the Greek, the
monu-
All the remains with which we are acquainted exhibit Egyptian Art in
is
more ancient and more
from our time
other styles, that the more ancient the
all
art.
perfect
;
and whilst we can
its offshoots, the
believe the architecture
of
to a period too
remote
trace in direct succession
Arabian, the Moresque, and the Gothic,
Egypt
to be a pure original style,
which
arose with civilisation in Central Africa,* passed through countless ages, to the culminating point of
and the
perfection
perfection of Egyptian Art,
In
themselves.
which we
state of decline in
all
is
far
other styles
we
it
beyond
from nature.
of
Egypt
The
;
when
is
in art, the
;
lotus
the Egyptians are inferior only to
therefore, believe that they
when we come
to consider is
more
went
some bygone
it is difficult to
for inspiration
ornament
especially the
but slightly removed from the type.
find original types receded from
;
till,
in
much
discover the original type from which the
efforts developed.
and papyrus, growing on the banks of
their river, symbolising the food for the
the feathers of rare birds, which were carried before the king as
;
unknown
to the
In the Egyptian we have no traces
elements.
more and more do we
ornament, such as the Arabian and Moresque,
mind
own
its
and we must,
strengthened
ornament has been by successive mental
The
;
is
the foreign influence was modified or discarded, to a
the types are few and natural types, the representation
we descend
later
This view
that followed after
all
period of slow, lingering decline, feeding on of infancy or of any foreign influence direct
Inferior as this state doubtless
it.
can trace a rapid ascent from infancy, founded on
a culminating point of perfection,
style, to
see
palm-branch, with the twisted cord made from
its
stems
;
body and
emblems of sovereignty
these are the few types
which form the
;
the basis
of that immense variety of ornament with which the Egyptians decorated the temples of their gods, the palaces of their kings, the covering of their persons, their articles of luxury or of
from the wooden spoon which fed them across the Nile to their last
works of nature ever display always true.
We
in the valley of the dead.
;
and we
the other hand, they never, by a too representation.
walls
as
find, therefore, that
are never shocked
Following these types as they did
A lotus
in a
same laws which the
Egyptian ornament, however conventionalised,
by any misapplication or violation of a natural
servile
daily use,
which carried their similarly adorned embalmed bodies
so nearly allied to their natural form, they could hardly fail to observe the
manner
is
home
to the boat
more modest
principle.
On
imitation of the type, destroyed the consistency of the
carved in stone, forming a graceful termination to a column, or painted on the
an offering to their gods, was never such a one as might be plucked, but an architectural
* In the British Museum may be seen a cast of a bas-relief from Kalabshee in Nubia, representing the conquests of Karoses II. over a black people, supposed to be Ethiopians. It is very remarkable, that amongst the presents which these people are represented as bringing with them as a tribute to the King, besides the leopard-skins and rare animals, ivory, gold, and other products of the country, there are three ivory carved chairs precisely similar to that on which the King sits to receive them from which it would appear that ;
these highly-elaborated articles of luxury were derived by the Egyptians from the interior of Africa.
22
;;
EGYPTIAN ORNAMENT. representation
type to
call
purpose
in either case the best adaptecr*for the
;
forth in the beholder the poetic idea which
had
it
to
resembling the
sufficiently
fill,
was sought to supply, without shocking his
it
feeling of consistency.
Egyptian ornament itself,
of which
it is
of three kinds
is
:
that which
but at the same time conventionally rendered symbolic, and, as
is
constructive, or forming part of the
the outward and graceful covering of the skeleton within
and that which
;
is
that which
;
simply decorative.
is
In
monument
representative,
all cases it
was
observed, formed on some few types, which were but slightly changed during
we have
the whole period of Egyptian civilisation.
Of the
means of support and the
kind, viz. constructive ornament, are the decorations of the
first
crowning members of the
The column only a few
walls.
Luxor and Karnac, was an enlarged papyrus plant
one forty or sixty
feet high, or
the base representing the root
:
Plate VI.),
1,
columns represent a grove of papyri, but each column
tied together
by bands.
was in
a grove; and at No. 17 of Plate IV.
itself
at
the shaft, the stalk
;
and the capital, the full-blown flower, surrounded by a bouquet of smaller plants (No.
Not only did a
feet, as
series of
we have a
representation
of a grove of papyri in
various stages of growth, which would only have to be assembled as they stand, and be tied round with a string, and we should have the Egyptian shaft and
on Plate
in Nos. 5, 6, 10, 11, 12,
which the original idea
We may
imagine
is
IV., pointed representations of
;
and further, we have
columns forming parts of temples, in
unmistakably portrayed. of the Egyptians in early times to decorate the
the custom
it
highly-ornamental capital
its
their primitive temples with their native flowers
took a more permanent character, became solidified in their monuments of stone. sacred, their will
religious
show how
form the type
one leading idea resulted in uniformity.
we have
of fifteen of the capitals
From
and what a lesson do they teach us!
selected for illustration; yet
the Greeks to our
own time
differing
These forms, once
The
how
lotus
and papyrus
ingeniously varied,
all
architecture
only in the more
was that opened the way to
circle,
they surrounded
it
so
much development
in
with four, eight, and sixteen other
with the Corinthian capital,
it
called
or less perfection of the modelling of the leaves, or the graceful
or otherwise proportions of the bell: a modification in plan has but rarely been attempted. it
of
the world has been content
with the acanthus leaf arranged round a bell for the capitals of columns of classic,
posts
change; but a single glance, however, at Plates VI. and VI*.
laws forbade a
little this possession of
wooden
round them; and this custom, when their art
tied
could not
fail
to
the
And
this
Egyptian capital; beginning with the
circles.
If the
same change were attempted
produce an entirely new order of forms whilst
still
retaining the idea of applying the acanthus leaf to the surface of a bell-shaped vase.
The shape
of the papyrus stalk,
portions;
when
shaft of the Egyptian column,
circular,
by three raised
lines,
when the column was formed by a union
was made to retain the idea of the triangular
which divided
feathers,
whilst in the centre was the winged globe,
The second kind of Egyptian ornament on the walls of the temples and tombs
is
or cornice of
which appear to have been an emblem of sovereignty
emblem of
results
divinity.
from the conventional representation of actual things
and here again,
portrayed, not as a
bound together, these had
The crowning member
in the representations of offerings to the gods
of daily use, in the paintings of actual scenes
or of the various articles flower or other object
;
circumference into three equal
of four or eight shafts
each a sharp arris on their outer face with the same intention.
an Egyptian building was decorated with
its
reality,
but as an
of their domestic
ideal representation.
It
is
life,
at the
every
same
time the record of a fact and an architectural decoration, to which even their hieroglyphical writing, explanatory of the
scene,
by
its
symmetrical arrangement added
effect.
In No. 4, on Plate IV.,
-we
have an example in the representation of three papyrus-plants and three lotus-flowers, with two buds, in the
hand of a king
as
an offering
to the gods.
The arrangement
is
symmetrical and graceful, and
23
.
EGYPTIAN ORNAMENT. we here
conventionally rendering the lotus and papyrus, instinctively
see that the Egyptians, in thus
obeyed the law which we find everywhere in the leaves of plants,
on the
veins
all
from the parent stem
leaves, in graceful curves
and not only do they follow
;
and
the radiation of the leaves,
viz.
in the drawing of the individual flower, but also in the grouping of several flowers together
,
this
law
as
may
be seen, not only in No. 4, but also in their representation of plants growing in the desert, Nos. 16
and 18 of the same
plate,
and
In Nos. 9 and 10 of Plate V. they learned the same lesson
in No. 13.
from the feather, another type of ornament (11 and at Nos. 4
and
where the type
5,
The third kind
is
apparent to
many forms
one of the
its
own laws and
to
instinct is again at
common
in the country
simply decorative, or which appears
is
Plates VIII., IX., X., XI., are devoted to this class of ornament,
us.
The
distribution.
work
so to
reasons for its application, although they are
They are
paintings on tombs, dresses, utensils, and sarcophagi.
and perfect
same
of palm-trees so
of Egyptian ornament, viz. that which
our eyes, but which had doubtless so
12, Plate V.): the
all
and are from
symmetry
distinguished by graceful
by the few simple types we have
variety that can be produced
not
referred
very remarkable.
is
On
Plate IX. are patterns of ceilings, and appear to be reproductions of woven patterns. things, the first attempts
the conventional rendering of actual
side with
works of ornament take
The
this direction.
covering of their rude dwelling, or the ground
first
of straws and bark of different
afterwards replaced by artificial dyes, which gave the trical
The
same means.
-
which evidently represent tents
of tombs,
ceilings
Nos. 9, 10, 12, show how readily the meander or Greek fret was produced by the
covered by mats.
universality of this
shape or other amongst the their having
and 7 are from the
whilst Nos. 6
;
be
colours, to
ornament, but of geome
idea, not only of
first
natural
on which
Nos. 1-4, Plate IX., are from Egyptian paintings, representing mats whereon the
arrangement.
king stands
produce
to
early necessity of plaiting together straw or bark of trees,
for the formation of articles of clothing, the
they reposed, induced the employment at
of every people
Side by
had a similar
The formation
ornament in every
style of architecture,
attempts of ornament of every savage
first
and
tribe, is
to
be found in some
an additional proof of
origin.
of similar lines, as by weaving, would give
of patterns by the equal division
of symmetry, arrangement, disposition, and the distribution
rising people the first notions
to a
of masses.
The Egyptians, in their decoration of large surfaces, never appear to have gone beyond a geometrical Flowing
arrangement.
lines
though the germ of even
are very rare, comparatively, and never the motive of the composition,
mode
this
the volute form, exists in their rope ornament
of decoration,
Here the
(Nos. 10, 13-16, 18-24, on Plate X., and 1, 2, 4, 7, Plate XI.)
much beauty
Egyptian
style, that
the most perfect.
and
rigid
;
many subsequent
in
though the
oldest, it
The language
in which
but the ideas and the teachings
other styles,
we
shall see that
that
in all
is,
is
venture, therefore, to
requisite
reveals itself to us
it
it
We
styles.
have
its
perfume
the
i. e.
;
endeavour to rival the grace of construction, the harmony of subordination of one part to the other found in the model.
wanting in a work of ornament, we
may
be sure that
which animated the original work has been
The
architecture of the Egyptians
we have much 24
to learn
As we proceed with
they approach perfection only so far as they followed, in
Nature, every ornament should
is
lost in
it
reason its
its
common with
Like these favourites of It
application.
should
varied forms, and due proportion and
When we
find
any of these characteristics
belongs to a borrowed style, where the spirit
the copy.
thoroughly polychromatic,
from them on this head.
of
of art,
foreign, peculiar, formal,
conveys to us are of the soundest.
the Egyptians, the true principles to be observed in every flower that grows.
is
claim for the
to constitute a true style
may seem
#
are
cord gives the very form which
subjected to a geometrical arrangement; but the unrolling of this
the source of so
several coils of rope
They
â&#x20AC;&#x201D;they painted
dealt in flat tints,
everything
;
therefore
and used neither shade nor
EGYPTIAN ORNAMENT. shadow, yet found no difficulty in poetically conveying to the mind the identity of the object they
They used
desired to represent.
colour as they did form, conventionally.
of the lotus (No. 3, Plate IV.) with the natural flower (No. 1);
of the natural flower reproduced in the representations
!
Compare the representation
how charmingly
are the characteristics
See how the outer leaves are distinguished
by a darker green, and the inner protected leaves by a lighter green; whilst the purple and yellow tones of the inner flower are represented by red
leaves
completely recalls the yellow glow of the original.
We
an additional pleasure in the perception of the mental
effort
The to
colours
define and as
universally,
used by the give
a
local
colour,
such
indifferently coloured green or blue;
period; also,
at which time, also, were
which
is
the
with green used generally, though not
the
green
leaves
the
of
it
instinctively,
there
successfully. is
Eoman
period,
appears to be a universal rule that, in
primary colours, blue, red, and
and
These
lotus.
were,
however,
blue in the more ancient times, and green during the Ptolemaic
found on the tombs or mummy-cases of the Greek or
harmoniously
variety,
as
it.
and yellow, with black and white
added both purple and brown, but with diminished
than that of the ancient times; and art,
which has produced
the various colours;
to
of yellow, which most
field
have here Art added to Nature, and derive
Egyptians were principally red, blue,
distinctiveness
a
in
floating
Whilst
yellow, in
are
periods
the
when
prevailing art
is
The red
lower in tone
archaic periods of
and these used most
colours,
practised
is
all
effect.
traditionally,
and
a tendency to employ the secondary colours and hues, and shades of
though rarely with equal
success.
We
shall
have
many
opportunities
not every
of pointing this out
in subsequent chapters.
25
—
—
—
—
Chapter
— — —
—
.
Plates 12, 13, 14.
III.
ASSYRIAN AND PERSIAN ORNAMENT. t
oou
PLATE Sculptured Pavement, Kouyunjik.
1.
12-14.
The whole
of the ornaments
4, 6, 7, 8, 10, 11, are
and only
in outline.
ciples indicated
on
this Plate are taken
coloured as published in his work.
We
from Mr. Layard's great work, The Monuments of Nineveh. Nos. 2, 3 T Nos. 1, 5, and the three Sacred Trees, Nos. 12, 13, 14, are in relief,
have treated them here as painted ornaments, supplying the colours in accordance with the prinof which the colours are known.
by those above,
PLATE Enamelled Bricks, from Khorsabad.
1-4.
13.
Enamelled Brick, from Khorsabad.
—F. & C.
14.
Ornament on a Battering Ram, Khorsabad.
15.
Ornament from a Bronze
Ornaments on a Bronze Shield, Ditto.
8, 9.
Ornaments on a King's Dress, Ditto.
10, 11.
& F. &
F.
0.
from Khorsabad.
Flandin & Coste. The ornaments Nos. 5, 8, way which we
colouring in a
9, 12, are
very
common on
Layard.
Layard.
22.
Enamelled Brick, from Nimroud. Ditto,
from Bashikhah.
Layard.
24.
Ditto,
from Khorsabad.
Flandin & Coste.
the royal robes, and represent embroidery.
& C. & C.
Flandin & Coste.
23.
consider best adapted for developing the various patterns.
this Plate are coloured as they
—F.
Nimroud.
16-21. Enamelled Bricks, from Khorsabad.
Ornaments from a Bronze Vessel, Nimroud.
Dress,
Vessel,
F.
0.
Layaed. Ornament on a King's
XIII.
Flandin & Coste.
Ornament on King's Dress, from Khorsabad.
6, 7.
12.
Painted Ornaments from Nimroud.
Sacred Trees from Nimroud.
Sculptured Pavement, Kouyunjik.
5.
5.
XII. 6-11.
Painted Ornaments from Nimroud.
2-4.
(
We
have restored the
The remainder of the ornaments on
have been published by Mr. Layard and Messrs. Flandin and Coste.
PLATE XIV. 1.
Feathered Ornament in the Curvetto of the Cornice, Palace No.
2. 4.
8, Persepolis.
Flandin
Base of Column from Ruin No.
Ornament on the Side Persepolis.— F.
&
of the Staircase of Palace
Base
7.
Base of Column, Portico No.
8.
Base of Column at Istakhr.
Column, Palace No.
From
&
No.
C.
16. 17.
2,
18.
Base of Column of Colonnade No.
2, Persepolis.
2, Persepolis. 1, Persepolis.
Sassanian Capitals, Bi Sutoun.
From
Sassanian Capitals, at Ispahan.
Flandin
Coste.
C.
6.
9-12.
13-15.
Coste.
13, Persepolis.— F.
5.
of
&
—F. & C. & C. F. & C. F. & C. F. &C. F.
20. 21.
From
a Sassanian Moulding, Bi Sutoun.
F.
Ornament from Tak I Bostan. Sassanian Ornaments from Ispahan 19. Archivolt from Tak I Bostan. Upper part of Pilaster, Tak I Bostan.
22.
Sassanian Capital, Ispahan.
23.
Pilaster,
24.
Capital of Pilaster,
25.
Sassanian Capital, Ispahan.
Tak
F.
F.
I Bostan.
Tak
I Bostan.
27
&C. &C. &C. &C. &C. &C. &C. &C. &C.
&
ASSYRIAN AND PERSIAN ORNAMENT. Rich the
as has
been the harvest gathered by Mons. Botta and Mr. Layard from the ruins of Assyrian Palaces,
monuments which they have made known
of Assyrian Art.
to us do not appear to carry us
back to any remote period
Like the monuments of Egypt, those hitherto discovered belong to a period of decline,
and of a decline much further removed from a culminating point of perfection.
The Assyrian must have
either been a
borrowed
the
style, or
remains of a more perfect form of art
We
are
believe that
the
have yet to be discovered. strongly inclined to
Assyrian
not an original
is
but
style,
was borrowed from the Egyptian, modified
by the
difference of the religion
and habits of the Assyrian people.
On comparing
the
bas-reliefs
of
Nineveh with those of Egypt we cannot but be struck with the
many points
of resemblance in the two
only
is
the same
mode
styles; not
of representa-
tion adopted, but the objects repre-
sented are oftentimes so similar, that Egyptian.
it is difficult to believe
style could
that the same
have been arrived at by two
people independently of each other.
The mode tree, ers,
of representing a river, a
a besieged
group of prison-
city, a
a battle, a king in his chariot, are
almost identical,
â&#x20AC;&#x201D;the differences which
exist are only those
which would result
from the representation of the habits of
two
different people
us to be the same.
;
the art appears to
Assyrian sculpture
seems to be a development
of
the
Egyptian, but, instead of being carried forward, descending
in
perfection, bearing the
the Egyptian as the
Assyrian.
Greek. declined from the time of the Pharaohs to that at first flowing
28
of
the
and graceful, became coarse and abrupt
;
the scale of
same
Roman
relation to
does to the
Egyptian sculpture gradually
Greeks and Romans
;
the forms, which were
the swelling of the limbs, which was at
first
ASSYRIAN AND PERSIAN ORNAMENT. than expressed, became at
indicated
rather
exaggerated
last
In Assyrian sculpture
imperfect attempt at the natural.
the conventional was abandoned for an
;
attempt was carried
this
still
an attempt was made to express the muscles of the limbs and the rotundity of the
symptom of
this is a
do the
as
bas-reliefs
;
in all art
statues
differ
the Ptolemies from those of
of
and
conventional,
flesh
Many modern
decline, Nature should be idealised not copied.
way from the Venus de Milo,
the same
farther,
still
while the general arrangement of the subject and the pose of the single figure were
in
the
Pharaohs. Assyrian Ornament, we think, presents also the same aspect of a borrowed style and one in a state of decline.
It is true that, as
Palaces which
we
yet,
but imperfectly acquainted with
are
having been, from the nature of the construction of Assyrian doubt, however, that
Egyptian
was
there
or with
subjects
edifices, destroyed.
much ornament employed
as
both styles there
in
:
covered with
it;
the portions of the
would contain the most ornament, the upper portions of the walls and the
a total absence of plain
is
and
writing,
in
ceilings,
There can be
little
the Assyrian monuments as in the
on the
surfaces
which are either
walls,
where these
in situations
would have been inapplicable, pure ornament must have been employed to sustain
the general
What we
effect.
dresses on the figures of the bas-reliefs, bricks,
possess
is
gathered from the
some few fragments
painted
of
some objects of bronze, and the representations of the sacred
As yet we have had no remains of
trees in the bas-reliefs.
ornament, the columns and other
structive
means
of
their con-
support, which
would have been so decorated, being everywhere destroyed
the con-
;
which we have given in Plate XIV., from Persepolis,
structive ornaments
much
being evidently of a
later
date,
and subject to other influences,
would be very unsafe guides in any attempt
Egyptian.
to restore the constructive
ornament of the Assyrian Palaces. Assyrian Ornament, though
Egyptian,
represented in the same way.
is
ments in
relief,
There
but
is
it to
surface-modelling, which was the peculiar invention
who
retained
great excess,
it
till
in
true limits, but the
its
moderate
to
farther, while with the
still
relief,
same way from the Early Gothic, which
the Arabs reduced
is
distinguished
much
itself
is
than the later Gothic, where the surface at
effect
Eomans
Moors a modelled surface became
In the other direction, the Eomanesque
extremely rare. in the
within
at last all breadth of effect was destroyed.
The Byzantines returned again the relief
In both styles the orna-
as well as those painted, are in the nature of diagrams.
little
of the Greeks, carried
not based on the same types as the
last
Assyrian.
broader
became
so
laboured that
repose was
all
destroyed.
With the exception
of the pine-apple on the sacred trees, Plate XII., and in the painted ornaments,
and a
species of lotus, Nos.
which
still
of
radiation
here, but
and
much
so closely as
Plate
4 and
5, the
ornaments do not appear to be formed on any natural type,
farther strengthens the idea that
tangential
less
truly,â&#x20AC;&#x201D; rather, as
generally supposed
painted ornaments, but
how
we
curvature, which
by the Egyptians, nor
XIII., are
the Assyrian
inferior
it
so to
find
is
in
not an original style.
Egyptian
were, traditionally than
instinctively.
exquisitely conventionalised
be
the
they are
to
as
types from which the
The
natural laws
ornament, are equally observed
Nature
by the Greeks.
is
not followed
Nos. 2 and 3,
Greeks derived some of their
the Greek in purity of form and in the distribution
of the masses! I
29
—
ASSYRIAN AND PERSIAN ORNAMENT. The
colours
in
painted ornaments
and black, on
;
ence.
and gold, on
Nos. 3, 5,
of Persepolis, 6, 7,
Roman ornament,
The ornaments,
12 and
Sutoun, contain the germs of
and green, orange,
;
buff, white,
represented on Plate XIV., appear to be
I
Bostan,
of the repetition of curved
— 17,
from Sassanian
16, all
20, 21, 23,
24,
—are
lines
all
of
Roman
Eoman
influ-
constructed on the same
of the modelled
capitals,
surface, such as
Byzantine in their general outline, at Bi
the ornamentation of the Arabs and Moors.
of lozenge-shaped diapers.
ciple contained in
modifications
and which they resemble in a most remarkable manner.
large spaces with patterns formed
It is the earliest
The Egyptians and the Assyrians appear
by geometrical arrangement of
lines
;
but this
is
to
the
forming a general pattern enclosing a secondary form.
No. 16 would be generated
domes of the mosques of Cairo and the
all
those
exquisite
example
have covered first
By
instance
the prin-
forms of diaper which covered the
walls of the Alhambra.
Sas«iiiian Capital from Bi Sutoun.
30
ornaments
presenting only a similar modification
find in Byzantine ornament,
we meet with
their sculptured
8, are from bases of fluted columns, which evidently betray a
The ornaments from Tak
principle as
we
the Assyrians appear to have been blue, red, white, and black, on their
their enamelled bricks.
The ornaments details.
use by
blue, red,
Flandin & Coste
—
——
—
IV.—Plates
Chapter
15, 16, 17, 18, 19, 20, 21, 22.
GREEK ORNAMENT. I
ii
l
acci
(
PLATE XV. A collection
of the various forms of the
Greek Fret from Vases and Pavements.
PLATE XVI.-XXI. Ornaments from Greek and Etruscan Vases
in the British
PLATE and
1 3,
4.
5-18.
12-17. 18.
From a Sarcophagus in Sicily. Hittobpp From the Propylsea, Athens. Hittorff. From the Coffers of the Ceiling of the Propylsea
22 and
the Louvre.
XXII.
.
String-course over the Panathenaic Frieze.
and Painted Ornaments.
19-21, 24-26.
Museum and
.
Penrose.
Published by Mr.
Penrose
in gold only,
we have
supplied the blue
red.
Hittorff.
27.
Ornaments
29.
Painted Ornament from the Cymatium of the raking Cornice of the Parthenon.
in Terra Cotta.
—L. Vulliamy, the blue and red
supplied.
30-33.
We
Various Frets, the traces of which exist on
all
the Temples at Athens.
The
colours supplied.
have seen that Egyptian Ornament was derived direct from natural inspiration, that
founded on a few types, and that civilization, except in
We
the most perfect. possessing
none
the more or
of
it
less'
remained unchanged during perfection of the execution, the
have further expressed
the characteristics
of
suggested by the Art of Egypt, already in
our
original its
Art, on the contrary, though borrowed partly
belief
that the
inspiration,
decline,
but
the
whole
course
of
it
was
Egyptian
more ancient monuments being Assyrian was a borrowed style, rather
appearing to have been
which decline was carried
still
farther.
Greek
from the Egyptian and partly from the Assyrian, was the
development of an old idea in a new direction
;
and, unrestrained by religious laws, as would appear
31
GREEK ORNAMENT. to
have been both the Assyrian and the Egyptian, Greek Art rose rapidly to a high state of perfection,
from which
it
was
itself able to give forth
the elements of future greatness to other styles.
It carried
Termination of the Marble Tiles of the Parthenon— L. Vulltimv.
Upper Part
the perfection of
of
a Stele.— L. Vulliamy.
The Upper Part
pure form to a point which has never, since been
of a Stele.— L.
reached;
Vulliamy.
and from
abundant remains we have of Greek ornament, we must believe the presence of refined 32
the very taste
was
GREEK ORNAMENT. almost universal, and that the land was overflowing with
whose hands and minds were so trained
artists,
as to enable them to execute these beautiful ornaments with unerring truth.
Greek ornament was wanting, however, in one of the great charms which should always accompany
—
ornament,
viz.
Symbolism.
hardly be
said
to
was
It
be constructive
the
for
;
purely decorative, never
meaningless,
members of a Greek monument rather present
various
surfaces exquisitely designed to receive ornament, which they did, at
The ornament was no
both carved and painted.
—
ornament,
to
On
not so on the Egyptian capital
is
it
:
remove any portion of
it
would destroy
The
its
Parthenon was placed so
which so astonish us
far
we
there
;
the whole capital
feel
be found there
is
is
the
Greek monumental
perfection of the
beyond the legitimate bounds of ornament.
from the eye that
became a diagram
it
when seen near the eye could only have been valuable
the beauties
:
they evidenced
so far as
the artist-worship which cared not that the eye saw the perfection of the work to
it
it.
application the Greeks frequently went
frieze of the
the Egyptian:
the Corinthian capital the ornament
However much we admire the extreme and almost divine sculpture, in
painted, and in later times
first,
of the construction, as with
part
could be removed, and the structure remained unchanged. applied, not constructed
and can
representative,
conscious that
if
it
was
but we are bound to consider this an abuse of means, and that the Greeks were
;
the Egyptians, whose system of incavo
to
in this respect inferior
relievo
monumental sculpture
for
appears to us the more perfect.
The examples and the
of representative
ornament are very few, with the exception of the wave ornament
some conventional renderings
used to distinguish water from land in their pictures, and
fret
of trees, as at No. 12, Plate XXI.,
we have
than can
little
deserve this appellation
abundant
ornament the Greek and Etruscan vases supply us with
doubt that we are acquainted with Greek ornament in
little
the types are few, but the conventional rendering
well-known honeysuckle ornament
the
an
rather
appreciation
we
according
hand
the
on which the flower
an
after
upwards
downwards
or
the slight resemblance to the honeysuckle
recognition
than that
of the honeysuckle
imitate, they
characteristic
either
—are
faint
will
various forms
examining
of the leaves
may have been
indeed
have
ever
be found a representation is
the resemblance
principles.
always obeyed, and as
on attempting feature
Byzantine period,
In
on
more
!
What
The
is
evident
three great laws which
from the parent stem, proportionate distribution
humble works
realised
as the
and how
of the lines
the most
fully
but
imitation,
at
and, indeed,
;
In
the
in is
it
natural flower should
XCIX.
worked on the same
—radiation
curvature in
Egyptian
the
is,
that the Greeks
ornament were close observers of nature, and although they did not copy, or attempt to
in their
nature
;
the
In Plate
served as the model.
grows
believe that the
formation of the leaf would the character be given, and likely that
any attempt
recognise
to
rather tempted to
turned
is
Like
generated by the brush of the painter,
flower have been
as
are
from them, we have
differ
phases.
its
the painted
as
much further removed from the types.
is
difficult
is
the principle
of
the paintings on the vases, of a Greek
it
all
but of decorative
and
materials;
ornaments of the Temples which have as yet been discovered in no way
;
is,
of
to
Greek
that
in the
highest,
which excites our
reproduce Greek
ornament,
we
everywhere in
find
and the tangential
areas,
the unerring perfection with which
is
it
of the
astonishment, and
they are,
which
is
only
A
very
during
the
ornament, so rarely done with success.
by the
continued
Romans, but
abandoned
the various parts of a scroll grow out of each other in a continuous
line,
ornament from the Choragic Monument of Lysicrates. the side
Byzantine, the Arabian
from
a
continuous
line.
Moresque,
We
and
have
Early English
here
K
an
instance
styles,
how
the
flowers
slight
a
flow
off
on
change in any
33
GREEK ORNAMENT. received principle
generally
Roman ornament Roman chapter is which
scarcely
constantly
is
a
ever
is
to
sufficient
may
From the Chomgic Monument
as
of
rid
this
law was
fixed
of Lysicrates, Athens.
as
important in
was the substitution of the arch by the Romans
new
style of
idea which in any
the
first
ornament
At the head of the
Roman
other
all
a
stem
ornament, fitting
into
â&#x20AC;&#x201D; L. Vuliiai
results
its
for
to
the
development
in
ornament
of
the straight architrave, or the introduction
sudden discovery of a general law in science, or the lucky patented
work of industry suddenly
lets loose
thousands of minds to examine and improve upon
crude thought.
Plate
XXII.
devoted to the remains of coloured ornaments on the Greek monuments.
is
be seen that there vases.
as the
law.
ideas.
These changes have the same influence in the development
of the pointed arch in Gothic architecture. of a
of
springing from
a volute
of
and
forms
order
The change which took place during the Byzantine period
another stem, encircling a flower. getting
new
be taken as a type of
beyond the arrangement
got
entirely
struggling against this apparently fixed
example, which
fine
an
generate
It
is
It will
no difference whatever in the character of the drawing to those found on the
is
now almost
universally
of the Greeks were
recognised, that the white marble temples
entirely covered with painted ornament.
Whatever doubts may
exist as to the
more or
The
of the sculpture, there can be none as to the ornaments of the mouldings.
less
colouring
traces of colour exist
everywhere so strongly, that in taking casts of the mouldings the traces of the pattern are strongly
marked on the authorities
give
plaster
cast.
them
What
differently:
where another sees brown.
the particular colours were, however,
is
not so certain.
â&#x20AC;&#x201D; or
imagines gold
these
ornaments on
where one will see green, another finds blue,
We may
be quite certain, however, of one point,
â&#x20AC;&#x201D;
all
Different
the mouldings were so high from the ground, and so small in proportion to the distance from which they were seen, that they must have been coloured in a manner to render them distinct and to bring
out the pattern. 31,
33,
32,
It is
with this consideration that we have ventured to supply the colour to
which have hitherto been
published
only as
gold
or
18,
29,
brown ornaments on the white
marble.
Plate
XV.
In this Plate are given a collection of the different varieties of the Greek
the simple generating form No. 3, to the
more complicated meander No.
15.
It will
fret,
from
be seen, that
the variety of arrangement of form that can be produced by the interlacing of lines at right angles in this
form
is
very limited.
34
We
have,
first,
the simple
fret,
No.
1,
running in one direction with a single
line
;
GREEK ORNAMENT. double
the
No. 11, with the second
fret,
line interlacing with
the first;
the others are formed by
all
placing these frets one under the other, running in different directions, as at No. 17
and 19; or enclosing squares,
as at No. 20.
not forming a continuous meander.
The raking
as at Nos. 18
that
is,
other kinds are imperfect frets,â&#x20AC;&#x201D;
All the fret,
No.
fret,
which in of
the intersection
its
parent of
2, is the
From
forms of interlacing ornament in styles which succeeded the Greek.
Arabian
back to back,
;
this
was
the other
all
first
derived the
turn gave birth to that infinite variety of interlaced ornaments formed by
equidistant
diagonal
the Moors
which
lines,
carried
to
such perfection
the
in
Alhambra.
rao^ Arabian.
Greek.
Arabian.
Moresque.
The knotted work curved
the Celts
of
differs
from
terminations to the diagonal intersecting
once obtained,
it
formation
the
the Moresque interlaced patterns
The leading
lines.
only
in
adding
idea
gave birth to an immense variety of new forms.
The knotted-rope ornament influence in
Celtic
of
both
of
may
the Greeks these
have had some
also
and the Arabian and Moresque
interlaced ornaments.
sBSS Greek.
The
Chinese
frets
are
perfect
less
formed, like the Greek, by the intersection not
the
same
regularity,
and
of
these.
is
more
They
are
also
lines,
but they have
often elongated in the horizontal
(ElfElfElfElfD Chinese.
They are
perpendicular with horizontal
of
meander
the
any
than
direction.
J
Chinese.
Chinese.
most frequently used fragmentally,â&#x20AC;&#x201D;that
is,
there
is
a repetition
of
one
fret
after
the other, or one below the other, without forming a continuous meander.
The Mexican ornaments and
frets,
of which
in the British
m
m
in
Mr.
tions
we here give some
Museum, have
Catherwood's illustra-
of
the
architecture
the Greek fret
:
and
\
one
From Yucatan.
especially is thoroughly Greek.
But they
:
____^_^__^^^_______^___^_
of
Yucatan we have several varieties of
from Mexican pottery
illustrations
a remarkable affinity with the Greek fret
are, in general, fragmentary, like the Chinese:
found at Yucatan a fret with a diagonal
line,
which
there
is
also to
be
is peculiar.
From Yucatan.
The ornaments on
Plate
of conventional leafage to be found on the Greek vases.
XVI. have been They are
all
selected to
show the various forms
very far removed from any natural
35
GREEK ORNAMENT. and are rather constructed on the general principles which reign
type,
represent any particular one.
The ornament No.
the leaves have the peculiar turn
represent
it.
and vine
will
*
be readily distinguished.
l\
)
Vo^
lips of vases in
or two colours, they
.
\
is
upwards of that
Several of the ornaments on Plate
from borders, necks, and
2
all
depend
flower, hut
XVII.
it
much
are
Museum and
for their effect
â&#x20AC;&#x201D;that
is,
can hardly be called an attempt to nearer to Nature
:
the laurel, the ivy,
XXI., present further
the Louvre.
varieties
Being produced by one
on pure form: they have
mostly this peculiarity, that the groups of leaves or flowers
//// a curved stem, with a volute at either end, and
^
than attempts to
the nearest approach to the honeysuckle,
Plates XVIII., XIX., XX., and
the British
in all plants,
all
all
spring from
(O^^^s. ^0
the lines grow out
P arent s* em i Q tangential curves. The individual leaves all radiate from the centre of the group of leaves, each leaf diminishing in exquisite proportion as it approaches the °^
Jv
8
springing of the group.
When we differences at
the
consider that each leaf was done with a single stroke of the brush, and
that from the
which appear we may be sure no mechanical aids were employed, we must be astonished
high state of the Arts which must have existed for
to execute with unerring truth
the same happy result.
36
what
it is
almost beyond the
artists to skill of
be found in such numbers able
modern times even
to
copy with
GREEK ORNAMENT.
ORNAMENTS FROM MEXICAN POTTERY
tttt* ej
€
1 1 i
IN
THE BRITISH MUSEUM.
j\j\j\jjif
xi
i_a
[
i^tnL* i^i 137 nm 37
—
Chapter
Y.— Plates
23, 24, 25.
POMPEIAN ORNAMENT. PLATE Collection of Borders from different
XXIII. Houses
in
Pompeii.— Zahn's Pompeii.
PLATE XXIV. Variou
s
Pilasters
and Friezes from different Houses in Pompeii.
Zahn's Pompeii.
PLATE XXV. Collection of Mosaics from Pompeii and the
The ornament we have thought
of Pompeii has been so ably it
Museum
and
at Naples.
—From the Author's Sketches.
so fully illustrated in Zahn's magnificent work, that
only necessary for this series to borrow from
him
the materials for two plates, to
illustrate
the two distinct styles of ornament which prevail in the decorations of the edifices of Pompeii.
The
(Plate XXIII.) are evidently of Greek origin, composed of conventional ornaments in
first
either painted dark on a light ground, or light on a dark ground, but without shade or
at relief;
XXIV.)
the second (Plate
are
more Eoman
in character,
flat tints,
any attempt
based upon the acanthus
scroll,
and interwoven with ornament in direct imitation of Nature.
We
refer
the reader to
use at Pompeii. limit of caprice,
An
Zahn's work'* for a
full
appreciation of the system of ornamentation in
examination of this work will show that this system was carried to the very
and that almost any theory of colouring and decoration could be supported by authority
from Pompeii.
The general arrangement * Las
jilus
Beaux Ornament
tt
lei
of
the decoration on the walls of the interior of a Pompeian
Tableaux
les
plus Itemnnjuublts de Pompeii,
</'
Hcrciilannm,
el
de Slabia, iCc, par
house
Guillaume Znl-n.
Berlin, 1888.
39
POMPEIAN ORNAMENT. of a
consists
half
the
united
dado,
width
by a
frieze
The upper space jected to a
of
much
is
about one-sixth of the height of the wall, upon which stand the
the wall
dado, dividing
of varying width,
three
about one-fourth of
frequently white, and
less severe
into
it
is
always sub-
treatment than the parts below,
generally representing the open air, and
upon the ground are
painted those fantastic architectural buildings which excited
In the best examples there
the ire of Vitruvius. dation
of colour from the
black in the dado, but this law.
work
We
select
several
is
is
a gra-
downwards, ending with
ceiling
very
far
from being a fixed
from the coloured illustrations in Zahn's
varieties,
the result of system:
â&#x20AC;&#x201D;
which
will
show how
little
this
was
the
or
more
panels.
height of
broad
The
the wall
pilasters
pilasters
from
the
are top.
POMPEIAN ORNAMENT. which has never been accomplished in any restoration of the of Pompeii
artists
invented as
they drew
The reason
style.
obvious
is
the
;
every touch of their brush had an intention which no
;
copyist can seize.
Mr. Digby Wyatt's restoration of a Pompeian house in the Crystal Palace, Sydenham, admirable
and
as
faithful
it
in
is
other respects, necessarily failed in
all
brought greater knowledge, experience, and the
which
decorations consisted
success
sufficiently
in
was
the
so
much
fact, that
zeal
desired
to
than
no one could
;
bear upon the realisation
at
on the
borders
compared
radiation
perfect
panels,
Greek
with
his
perfect
and
with
executed
are
show
which
models,
a
evidently a
They have
stencils.
marked
Greek character,
inferiority
we
;
no
a
thinness
longer
of
find
from the parent stem, nor perfect distribution of masses and proportional
of lines
Their charm
areas.
accuracy in
of that
individual.
generally
character
have
the same time too well executed and not
The ornaments which are given on Plate XXIII., and which have are
possibly
The want of
Abbate.
Signor
did
paintings were
his
this
is
still
further
heightened when
after
the
Eoman
type, are
an agreeable contrast of colour, which
lies in
surrounded with other colours in situ.
The ornaments from give
to
artists
rotundity, but
pilasters
friezes
on Plate XXIV.,
sufficiently so to detach
not
showed a judgment
altogether lost sight
and
in not exceeding
that
subsequent times.
of in
similar
to
the remains
became the foundation of In Plate a
XXV. we
feature in every
relief
as
the
shown
in
that of their sides
of the
of Byzantine, Arabian,
the
Eoman
baths,
flowers
scroll
interlaced
forming the with animals,
and which, in the time of Raphael,
Italian ornament.
of
the Eomans,
of the examples,
Greek teachers. page,
in
have gathered together
home
several
found
of ornament in the round,
have here the acanthus-leaf
groundwork, on which are engrafted representations of leaves and precisely
In this the Pompeian
them from the ground.
limit of the treatment
We
shaded
are
The
the types
all
the
forms
wherever their
we have evidence borders, formed
from which we
ot
mosaic pavement, which was such
dominion extended. that their taste was
In the attempt
no longer
at
so refined
by a repetition of hexagons at the top and
may
directly
trace all
that
immense
and Moresque mosaics.
41
variety
â&#x20AC;&#x201D;
Fragment
in
White Marble from the Mattei Palace, Rome.â&#x20AC;&#x201D; L. Vulliamy.*
Chapter VI.
Plates 26, 27.
ROMAN ORNAMENT. PLATE XXVI. 1, 2.
3.
Fragments from the Forum of Trajan, Rome.
Pilasters
4.
from the Villa Medici, Rome.
Pilaster
5, 6.
Nos. 1-5 are from Casts in the Crystal Palace
;
No.
from the Villa Medici, Rome.
Fragments from the Villa Medici, Rome.
from a Cast
at
South Kensington Museum.
PLATE XXVII. 1-3.
Fragments of the Frieze of the
Roman Temple
at
5.
Fragment of the Soffits of the Architraves of the Roman Temple at Brescia.
Fragment of the Soffits of the Architraves of the Roman Temple at Brescia.
6.
From
Brescia. 4.
Nos. 1-4 from the Museo Bresciano ;\ No. 5 from * Examples of Ornamental Sculpture
f Museo
in Architecture,
Bresciano, illustrato.
the Frieze of the Arch of the Goldsmiths,
Taylor and Cbesy's Rome.
by Lewis Vulliamy, Architect.
London,
Brescia, 1838.
43
Rome.
ROMAN ORNAMENT. The
Romans
real greatness of the
and other works of public
rather to be seen in their palaces, baths, theatres, aqueducts,
is
than in their temple architecture, which being the expression of a
utility,
borrowed from the Greeks, and in which probably they had
religion
exhibits
little faith,
a
corre-
sponding want of earnestness and art-worship.
Greek temple
In the
worthy of the gods.
column
everywhere apparent that the struggle was to arrive at a perfection
is
Roman temple
In the
aim was
the
pediment every part
to the apex of the
by quantity than
it
threw a coloured
it
The Romans moulded carved
on
surfaces,
on them
;
so
the
it.
proportions of the structure and the contours of the
general
and
grow naturally from
the
surface,
under the modillions, and those round
the
bell
ornaments do not
these leaves
placed one before the other
are
capitals,
the
no way disturbed
in
which were entirely destroyed by the elaborate surface-modelling of the ornaments
The acanthus
it.
to value
ceased
The ornament was
result.
bloom over the whole structure, and
exquisitely designed surfaces which received
of the
The Greek temples when painted
were as ornamented as those of the Romans, but with a very different arranged that
the base
overloaded with ornament, tending rather to dazzle
is
by the quality of the work.
to excite admiration
From
self-glorification.
by the necking at the top of the
shaft,
most
They
unartistically.
but rest upon
are
Unlike
it.
in
but are applied the
of
Corinthian
not even bound this
together
the Egyptian capital,
where the stems of the flowers round the bell are continued through the necking, and at the same time represent a beauty and express a truth.
The
fatal
facilities
which the
Roman
system of decoration gives for manufacturing ornament,
by applying acanthus leaves to any form and in any direction, of this
ornament into most modern works.
manufacture, that provinces,
and the
it
has
interior
encouraged
It
architects
requires
in
so
the chief cause of the invasion
is
little
an indolent
thought, and
neglect
one
of
completely a
so
is
of
their
especial
decorations of buildings have fallen into hands most unfitted to supply
their place.
In the use of the acanthus
leaf the
Romans showed but
They received
little art.
it
from the
Greeks beautifully conventionalised; they went much nearer to the general outline, but exaggerated the surface-decoration.
The Greeks
of the leaf, and bestowed all
at
consists universally of a scroll
In
however,
Greek ornament the
delicate
at
is
the head
growing out of another
constructed
scrolls
on
Greek
is
its
typical
of all
scroll, encircling
principles,
but
is
of the foliation
surface.
Roman ornament, which
a flower or group of leaves.
wanting
in
Greek refinement.
grow out of each other in the same way, but they are much more
the point of junction.
The acanthus
The purely Roman method of using the acanthus 44
chapter
of the
principle
expressing the
their care in the delicate undulations of
The ornament engraved
This example,
confined themselves to
leaf
is
also
seen,
as
it
were, in
side
leaf is seen in the Corinthian capitals,
elevation.
and
in
the
;
ROMAN ORNAMENT. XXVI. and XXVII.
examples on Plates
The
leaves are flattened out,
and they lay one over the
other,
as in the cut.
Fragment
The various
capitals
how
juxtaposition, to show
of the acanthus.
of the Frieze of the
Temple of the Sun, Colonna Palace, Rome.â&#x20AC;&#x201D; L. Vhlliamy.
which we have engraved from Taylor and Cresy's work have been placed in little
The only
variety the
difference
able to produce in following out this application
Eomans were
which
immense capital,
variety of Egyptian
capitals
form of the mass
exists is in the proportion of the general
the decline in this proportion from that of Jupiter Stator
may be
seen readily.
How
different
;
from the
which arose from the modification of the general plan of the
even the introduction of the Ionic volute in the Composite order
fails
to
add a beauty, but
rather increases the deformity.
The
from the Villa Medici, Nos. 3 and
pilasters
Roman ornament
perfect specimens of
as
could be
4, Plate
XXVI., and the fragment, No.
found.
As specimens
5, are as
of modelling and drawing
they have strong claims to be admired, but as ornamental accessories to the architectural features of a building they most certainly, from their excessive relief and elaborate surface treatment, are deficient in the first principle, viz.
The amount leaf over leaf is till
adaptation to the purpose they have to
of design that can
very limited
this principle of
;
and
it
fill.
be obtained by working out this principle of leaf within leaf and
was not
one leaf growing out of
another in a continuous line was abandoned for the adoption of a
continuous stem throw-
ing off ornaments on either
side,
that pure
conventional ornament received any develop-
ment.
The
earliest
examples of the charjge
are found in St. Sophia at Constantinople
and we introduce here an example from
St.
Denis, where, although the swelling at the
stem and the turned-back leaf at the junction of stem
and stem have
the continuous stem
From tlie Abbey
is
not yet fully developed, as
This principle became very centuries,
and
is
of St. Denis, Paris.
entirely disappeared,
common
in
it
appears in the narrow border top
the illuminated
MSS.
of the eleventh, twelfth,
and bottom.
and thirteenth
the foundation of Early English foliage.
The fragments on Plate XXVII., from the Museo Bresciano,
N
are
more elegant than those from the 45
;
ROMAN ORNAMENT. Villa Medici
;,
more sharply accentuated and more conventionally
the leaves are
the Arch of the Goldsmiths
We
have not thought
it
Komans, of which remains
necessary to give
exist
in
and, further, they are so similar to follow, that
in
we have thought
it
which figures terminating in
the
Eoman
The
frieze
from
scrolls
this
baths.
series
We
any of the painted decorations of the
had no
reliable materials
at
command
Pompeii, and show rather what to avoid than what to
those at
sufficient to
in
introduce the two subjects from the
may be
said to
The Acanthus,
full size,
Forum
of Trajan,
be the foundation of that prominent feature
in their painted decorations.
4(i
treated.
on the contrary, defective from the .opposite cause.
is,
from a Photograph.
ROMAN ORNAMENT.
Temple
of Jupiter Stator,
Rome.
Temple
Arch of Constantino, Rome.
of Vesta, Tivoli.
?
Arch
Temple
of
of Trajan,
Arch
Ancona.
Mars Victor, Rome.
Interior of Pantheon,
Pantheon, Rome.
of Titus,
Rome.
Pautheon, Rome.
Portico.
Rome.
Corinthian and Composite Capitals reduced from
Arc'ii of
Bepttabu Scverus, Rome.
Taylor and Cresy's Rome*
* The Architectural Antiquities of Ron: e, by G. L. Taylor and Cresy, Architects.
London, 1821.
47
— — — ——
—
—
;
— ————
—
—
Chapter VII.—Plates 28, 29, 29*, 30.
BYZANTINE ORNAMENT. PLATE Stone Sculptured Ornament, Sta. Sofia, Constantinople. 6th century.— Salzenberg, Alt Christliche Baudenkmale, Constantinopel.
1, 2, 3.
4, 5.
From the Bronze Gates, Sta.
6, 7.
Portions of
Salzenbebg,
Sofia.
XXVIII. 22.
From
the
23.
From
Duomo,
u.a.
Diptychs,
Beauvais Cathedral apparently Anglo-Saxon work of the 11th century. Willemin, Monuments Francois incdilx.
— 8.
Portion of Bronze Door, Basilica of the Nativity, Bethlehem. 3rd or 4th century. Gailhabaud, L' Architecture et
9-13.
Us Arts qui en dependent.
Stone Sculptures, from St. Mark's, Venice. century. J. B. W.from Casts at Sydenham.
—
14, 15, 16.
Portion
a
of
Capital,
Michael's
St.
Schwabisch Hall. 12th Century. Ornament ik des Mittelalters. 17.
From
19, 20.
Composition of Bosses, from St. Sebald, Nuremberg, and the Church of Nosson, Saxony. Heideloff. Friezes
from
Swabia. 21.
Church of Heideloff. the
St.
John,
Gniund,
From
28.
From
tion of
Wood and Ivory Carving, in the CollecHerr Leven, Cologne. Heideloff.
turies.
Amalfi.
Duomo, Trani. 12th et Luynes, Recherches sur Us Kormands en Sidle.
Babbas des
W.
W. Denis (Porch), near Paris.
St.
B.
J.
Huelgas J. B.
Circa 1204 a.d.—
the Porch of Lucca Cathedral.
J. B.
12th century.
W.
32.
From the Cloisters of Sant' Ambrogia, Milan.—J. B. W. From the Chapel of Heilsbronn, Bavaria. Heideloff. From St. Denis.—J. B. W. From Bayeux Cathedral. 12th century. Pugin, An-
33.
From
34.
Bayeux Cathedral.
36.
From Lincoln
29.
31.
J.
Romanesque
the
—
tiquities
18.
near
11th and 12th cenof
Stone Sculpture, from the small Cloister, Monastery, near Burgos, Spain. 12th century.
27.
30.
u. a.
—
Door
the Bronze Door of the
Monuments 26.
Church,
a Doorway, preserved at Murrhard Monastery.
—Heideloff,
Bronze Door, J.B.W.
W.
century.
11th
Heideloff,
Ravello,
From
24. 25.
Bronze
the
J. B.
Ivory
principal
Monreale, near Palermo.
36.
St.
W.
Pugin,
u. a.
Cathedral Porch.
Close of 12th century.
W.
B.
From
of Normandy.
Denis.— J. B.
the Kilpeck Porch, Herefordshire.
J. B.
12th century.
W.
PLATE XXIX. 1-0.
Mosaics from Sta. Sofia, Constantinople. 6th century. Salzenbebg, Alt Christliche Baudenkmale von
—
12-15.
From J.
B.
Illuminated Greek MSS., British Museum.
W.
Constantinopel. 7.
8, 9.
10-11.
Marble Pavement, Agios Pantokrator, Constantinople. First half of 12th century. Salzenbebo, h. a. Marble Pavement, Sta.
Sofia.
Mosaics, Sta. Sofia.— Salzenbebg.
10, 17.
Borders, from Illuminated Greek
MSS.
Champol-
lion Figeac, Palccographie UniverselU. 18.
The
Centre, from St. Mark's, Venice.
Digby Wyatt,
Mosaics of the Middle Ages.
49
——
—
—
— —
—
— ——— — — — —
BYZANTINE ORNAMENT.
PLATE XXIX*. a Greek MS., British Museum.— J. B.JW. The border beneath from Monreale.— Digby Wyatt's
19.
From
20.
From
Mosaics.
Champollion Figeac,
From Greek MSS., From the Acts of
21, 22. 23.
27.
From an Enamelled
B.
W.
28.
From
the Apostles, Greek MS., Vatican
the Enamelled
A.D. 1247.
Rome.— Digby Wyatt, u. a. Digby Wyatt, u. a. Mark's, Venice.
Willemin,
Casket (the centre from the
Statue of Jean, son of St. Louis). Les Arts du, Moyen Aye.
u. a.
Museum.—J.
British
Enamel of the 13th century (French). Monuments Francois incdits.
12th cen-
the Homilies of Gregory Nazianzen.
tury.
26.
Tomb
— WiLLEMIN,
—Du Sommerard.
of Jean, son of St. Louis,
M. a.
Library, 24.
St.
—
Limoges Enamel, probably
Willemin,
century.
W.
(The Jleurs-de-lys are believed workmanship.)
J. B.
later
of the close of the 12th
u. a.
Florence.
10th century.
Portion of a Greek Diptych.
25.
29.
to be of
30.
Portion of Mastic Pavement, 12th century.
Preserved
Willemin.
at St. Denis, near Paris.
PLATE XXX. near
dral,
J. B.
Grecanicum) from
(opus
Mosaics
1, 2.
Palermo.
Close
Monreale Cathe12th century.
of
Marble Pavement,
6.
tany,—J. B.
Rome.
Fuori,
B.
J.
24.
25.
Architectural Art in and Spain.— Waring and MacQuoid. ("From Digby Wyatt's SanGiovanm Laterano, Rome.
26.
TheDuomo,CivitaCastellana.
Rome.—J.
—
B.
J.
W.
Marble Pavement,
14.
San Lorenzo Fuori, Rome, Architectural Art and Spain, by Waring and MacQuoid.
B.
W. in Italy
Digby Wyatt, Mosaics of the Middle
—
From
18.
From Ara
19.
Marble Pavement,
20.
Marble Pavement, San Vitale, Ravenna.
the Cathedral, Monreale.
Rome.—J.
Cceli,
Arabische und
S.
B.
J.
B.
Marble Pavement,
semer,
S.
M.
in
28. 29.
Ara
Bau
Cceli,
^
.
^
W.
31. 32.
San Giovanni Laterano,
\
Cceli,
—
33-35.
Monreale Cathedral.— J. B.
36-38.
Marble Pavement,
mer,
Hessemer,
Digby Wyatt's
Rome.
Hessemer,
Hesse-
u. a.
Mark's,
Venice.
of the Middle Ayes,
Mosaics
St.
40. 41.
Digby Wyatt. From the Baptistery, St. Mark's, Venice. J. B. W. From St. Mark's, Venice. Architectural Art in Italy
42.
From
—
and Spain.
Hes-
u. a.
W.
M. Maggiore, Rome.
S.
39.
Verzierunyen.
Cosmedin, Rome.
B.
„
Architectural Art in Italy and Spain, Waring and MacRome. > Quoid. San Lorenzo, Rome, j San Lorenzo Fuori, Rome. J. B. W.
W.
M. Maggiore, Rome.
alt Italidnische
Ayes.
u. a.
21.
Ara
San Lorenzo, Rome.
^^
1
Mosaics of the Middle Ayes.
W.
17.
Rome—J.
27.
30.
Venice.— J. B.
St. Mark's,
Baptistery of St. Mark, Venice. Italy
W.
Ara
Palermo.
W.
Close of 12th cen-
13.
15, 16.
B.
W.
12.
Coeli,
J.
W.
San Lorenzo Fuori, Rome.
1 1.
—
St. Mark's, Venice.
From San Lorenzo
7-10.
—
W.
Monreale Cathedral.—J. B.
4, 5.
Specimens of the Mosaics Mosaic, St. Mark's, Venice. of the Middle Ayes, Digby Wyatt.
W.
Mosaics from the Church of Ara Cceli, Rome.
3.
22, 23.
the Duomo, Monreale.
—
J.
1>.
W.
=-§-=
BYZANTINE OENAMENT. styles of vagueness with which writers on Art have treated the Byzantine and Komanesque decoration. Architecture, even to within the last few years, has extended itself also to their concomitant
The
refer; nor This vagueness has arisen chiefly from the want of examples to which the writer could
was
it
until
the puhlication
of Herr
Salzenberg's great
work on
Sta. Sofia
at
Constantinople, that
San what constituted pure Byzantine ornament. but a very Vitale at Kavenna, though thoroughly Byzantine as to its architecture, still afforded us San Marco at Venice represented but a phase of the incomplete notion of Byzantine ornamentation
we could obtain any complete and
definite idea of
:
Byzantine school;
and the Cathedral of Monreale, and other examples of the same
served only to show the influence, but hardly to illustrate
50
style
in
the true nature, of pure Byzantine
Sicily,
Art:
BYZANTINE ORNAMENT. understand that, we required what the ravages of time and the whitewash
fully to
medan had deprived
us
of,
namely, a Byzantine building on a grand
Such
period of the Byzantine epoch.
an invaluable
scale,
of the
Mahom-
executed during the best
source of information has been opened to us
through the enlightenment of the present Sultan, and been made public to the world by the liberality
Government; and we recommend
of the Prussian
all
those
who
desire to have a graphic idea of
what
Byzantine decorative art truly was, to study Herr Salzenberg's beautiful work on the churches and buildings of ancient Byzantium.
In no branch of
probably,
the observation, ex nihilo nihil
is
Thus, in the Byzantine
decorative art. its
art,
peculiar characteristics, and
we
style,
we
fit,
more applicable than
in
perceive that various schools have combined to form
shall proceed to point out briefly
what were the principal formative
causes.
Even
before the transfer of the
commencement Certain
as
it
is
that
Eome had
the centre of
reacted
on
affected
that lavish
of
style
The
Eome.
it
is
the traditional style
giving
its
;
impress to the
her
of decoration necessity
peculiar
and even
;
Eoman Empire from Eome
to
Byzantium, at the
style
of art to
the numerous foreign peoples
certain that the hybrid art of her provinces
less
civilisation
of the
see all the arts in a state either of decline or transformation.
given
no
Byzantium, of employing Oriental in
we
of the fourth century,
ranged beneath her sway,
buildings
seat
at
the close
of the
third
had powerfully
century had materially
which characterised the magnificent baths and other public
which Constantine found himself under, when newly settled in
artists
and workmen, wrought a
and there can be newly-formed
little
school,
still
first
vital
and marked change
doubt but that each surrounding nation aided in according to the state of
capacity for Art, until at last the motley mass became fused into
long and (for Art) prosperous reign of the
more
its
civilisation
and
its
one systematic whole during the
Justinian.
wmnkikj
In this result we cannot
fail
to
be struck with the important influence exercised by the great
temples and theatres built in Asia Minor during the rule of the Caesars; in these we already see the
tendency to springing-ball
elliptical
and
curved outlines, acute-pointed leaves, and thin continuous foliage without the
flower,
which characterise Byzantine ornament.
On
the frieze of the theatre at
51
;
BYZANTINE ORNAMENT. Patara (a), and at the Temple of Venus at Aphrodisias (Caria), are to be seen examples of flowing foliage
such as we allude
Ancyra
at
to.
the doorway of the temple erected by the native rulers of Galatia
honour of Augustus,
(6), in
a small temple at Patara identical
On
is
a
more
still
by Texier
(c), inscribed
and the
characteristic type,
of
pilaster capital
to the first century of the Christian era,
with one drawn by Salzenberg at Smyrna (d), which he believes to be of the
is
first
almost part of
Justinian's reign, or about the year 525 A.D.
In the absence of authentic dates we cannot decide Byzantine
style,
and in the
but
it is
remarkable
workmen and
certain that Persian
monuments
how
satisfactorily artists
â&#x20AC;&#x201D;
once with their thoroughly
Byzantium
at
Tak-i-Ghero, and
in
several
given in Flandin and
work on Persia
great
Coste's
Persia influenced the
much employed
were
Tak-i-Bostan, Bi-Sutoun, and
at
ancient capitals at Ispahan
far
â&#x20AC;&#x201D; we
struck at
are
Byzantine character;
I
but we are inclined to believe that they are pos-
most contemporaneous, with the best
terior, or at
period of Byzantine
art,
However that may
be,
that
we
find the forms of a
)
still
reproduced so late as the year 363
earlier period
and in Jovian's column
A.D.:
I
of the sixth century.
is,
at
Ancyra
(e),
erected
during or shortly after his retreat with Julian's
army from
their
we
Persian expedition,
recognise
an application of one of the most general ornamental forms of ancient Persepolis. are
also
At Persepolis
be seen the pointed and
to
channelled
leaves so characteristic of Byzantine work, as seen
in the
d
and Caesars,
we remark
at
the
accompanying example from
at a later period,
Doric temple
Sta. Sofia (/);
during the rule of the
i. e.
Kangovar (g) contours
of
of
moulding precisely similar
to those affected in the Byzantine style.
Interesting and it is
no
less so to
instructive as
mark
it is
the derivation of these forms in the Byzantine style,
to trace
them and
the transmission of
Plate XXVIII.,
of others to
we
perceive
Thus in No.
epochs.
later
the
in
No.
3,
Andrew's cross within
a
leaf,
as
Texier and in Salzenberg, reappear at Sta. Sofia;
XXVIII.,
Plate circle,
On
so
is
common
the same
the as
foliated
a
Komanesque and
of No. 4 of the
Germany.
sixth
with slight variation, at No. 11
The
are almost identical
tween is
to
all
of the
toothings of the leaves
with those of No.
1
is
ornament.
but slight altera-
The curved and
century (Sta. Sofia)
at
Gothic
frieze is a design repeated with
tion at No. 17 from
Mark's).
St.
1,
given
peculiar
foliated
branch
reproduced,
seen
century (St.
eleventh of No. 19
(Germany)
(Sta. Sofia);
and be-
the examples on the last row but one (Plate XXVIII.)
be remarked a generic resemblance in subjects from Germany, Italy, and Spain, founded on
a Byzantine type.
The
last
row of subjects in
this
plate illustrates
and 36), showing the interlaced ornament native type;
52
whilst at
No. 35
(St.
so
affected
more
especially the
by the Northern
Romanesque
style (Nos.
nation, founded
27
mainly on a
Denis) we have one instance out of numbers of the reproduction
;
BYZANTINE ORNAMENT.
Eoman models; the type found on the Roman column
of the present subject,â&#x20AC;&#x201D; a
of
Thus we
the Byzantine style of time, reacted in in
course
its
;
and
its
co-relative
Arabian schools.
and yet
â&#x20AC;&#x201D; being
in Justinian's
it
systemised form upon the Western world, undergoing certain changes
was received, frequently gave
it
style,
took part as formative causes in
all
accompanying decoration, which, complete as we find
and these modifying causes, arising from the
the countries where cases
art,
and other countries,
Syria, Persia,
new and
its
one in the Komanesque
between Dijon and Chalons-sur-Saone.
at Cussy,
Eome,
see that
common
distinct
manners in
a specific character, and produced in some
it
of ornament
styles
of religion, art, and
state
the
in
how
Placing on one side the question of
Celtic,
Anglo-Saxon, Lombardic, and
Byzantine workmen
far
or artists were
employed in Europe, there can be no possible doubt that the character of the Byzantine school of ornament
very strongly impressed on
is
the earlier works
all
and even Western Europe,
of central
which are generically termed Eomanesque.
Pure Byzantine ornament
broad-toothed and acute-pointed leaves, which in
distinguished by
is
sculpture are bevelled at the edge, are deeply channelled throughout, and are
the running foliage
springings of the teeth with deep holes;
Nos. is
XXIX.
14, and 20, Plate XXIX*., Plate
1,
almost
gold
universally
thin
;
introduction of animal or other cipally to holy subjects, in a
figures
are preferred
conventional style, exhibiting
stiff,
several
in mosaic or painted work,
geometrical
to
very limited in sculpture, and in colour
is
at the
generally thin and continuous, as at
is
The ground, whether
patterns
interlaced
drilled
little
The
designs.
confined prin-
is
variety or feeling;
sculpture
is
of very secondary importance.
Eomanesque ornament, on the other hand, depended mainly on sculpture and
light
shade,
deep cuttings, massive projections, and a great
The
every kind with foliage and conventional ornament.
for effect:
work
place of mosaic
is
generally supplied
in coloured ornament, animals are as freely introduced as in sculpture, vide
XXIX*. XXIX*.
the ground
is
rich in
is
intermixture of figure-subjects of
by paint; ;
it
No. 26, Plate
no longer gold alone, but blue, red, or green, as at Nos. 26, 28, 29, Plate
In other respects, allowing for local differences,
and in the case of painted
for
glass,
example, handed
it
it
much
retains
down
to the
of the Byzantine character
middle, and even the close of
the thirteenth century.
One
style of
especially
period,
ornament, that in
Italy
principally in the twelfth
;
of geometrical mosaic work, belongs particularly to the
numerous examples of
and thirteenth
centuries,
shaped pieces of glass into a complicated stopped, 7,
defined,
11, 27, 31, are
9,
artists
seen
now
in
much
Nos.
interlacings,
the other,
1,
5,
33,
lines
arrangement of small diamonddirection of which
the
;
The examples from
different colours.
from Monreale, near Palermo.
of design coexistent in Sicily
and eminently Moresque consisting
of interlaced
now
is
central Italy, such as Nos.
at- least
is
the one, such as
:
in character, as
curves,
It
as
at
may
be remarked, that there are two
to
we have noted,
be seen by
consisting of diagonal
reference
to
Plate
XXIX.
Nos. 33, 34, 35, also from Monreale, in which
the influence, of Byzantine artists.
we
Altogether of a different
though of about the same period, are Nos. 22, 24, 39, 40, 41, which serve as examples
of the Veneto-Byzantine style
so
consists in the
This art flourished
simpler than those of the southern provinces and Sicily, where Saracenic
recognise, if not the hand,
character,
are
and
of diagonal
XXX.
Plate
introduced their innate love of intricate designs, some ordinary examples of which are to be
distinct styles
may
by means of
series
are given in
it
Eomanesque
;
limited in
more markedly Byzantine, however,
common
its
as
range, being almost local, and peculiar in style.
No. 23, with interlaced
at Sta. Sofia, as seen at Nos. 3, 10,
The opus Alexandrinum, mosaic work, chiefly from the
or
and
11, Plate
marble mosaic work,
different
differs
;
and the step ornament,
-
from the opus Grecanicum, or glass
nature of the material;
P
circles
XXIX.
Some
the principal
(that of complicated
53
;
BYZANTINE ORNAMENT. geometric design)
is
in examples of this class
The pavements
same.
the
still
the tradition of which was handed
;
a good idea of the nature of this ornament
Local
down from
in Italy are rich
the Augustan age of
given in Nos. 19, 21, 36, 37, and 38.
relation either to
little
and thirteenth centuries;
twelfth,
marble only
Roman
or Byzantine models.
Such
is
in
the effect
these
is
produced
by
No. 20, from
black and white
with these exceptions, and those produced by Moresque influence in the South of Italy,
;
the principles both of the glass and marble inlay ornament are to be found in ancient in
Rome
Ravenna; such are the pavements of the Baptistery and San Miniato, Florence, of the
Vitale,
eleventh,
is
Romanesque churches
on the system of marble inlay, existed in several parts of Italy during the Roman-
styles,
esque period, which bear
San
of the
every province under
Roman
sway, and especially
is
it
Roman
inlay,
remarkable in the various mosaics found
XXV.
at Pompeii, of which striking examples are given in Plate
Important as we perceive the influence of Byzantine Art to have been in Europe, from the sixth to the eleventh century,
and
still
later,
there
spreading Arab race, who propagated the East,
and
finally
The
no people
and
whom
it
affected
more than the great and
Mahomet, conquered the
creed of
finest
countries of the
In the earlier buildings executed by them at
obtained a footing even in Europe.
Cairo, Alexandria, Jerusalem, Cordova,
marked.
is
Sicily, the influence of the
traditions of the Byzantine school affected
more
Byzantine style
is
very strongly
or less all the adjacent countries
;
in
Greece they remained almost unchanged to a very late period, and they have served, in a great degree,
and in Eastern Europe.
as the basis to all decorative art in the East
J.
B.
WARING.
September, 1856.
* * For #
more information on
this subject, see "
Handbook
"
to
Byzantine and Romanesque Court
at
Sydenham.â&#x20AC;&#x201D;
Wyatt and Waring.
BOOKS REFERRED TO FOR ILLUSTRATIONS. Salzenbebq.
Alt Christliche Baudenkmale von Constantinopel.
Flandin et Coste. Texier.
Description de I'Armdnie, Perse,
Heideloff. Kreutz.
Voymje en Perse.
La
Gatlhabaud.
Src.
Die Ornamenlik des Mittelalters. Basilica di
San Marco.
L' Architecture
Du Sohmerard.
54
et les
Arts qui en dependent.
Les Arts du Moijen Age.
Baruas et Luynes (Due de). Recherches sur les Monuments de Normands en Sidle. Champollion Figeac. Palceographie Universelle. WI7J.EMIN. Monuments Francais inedits. Hessemer. Arabische und alt Ilalidnische Bau-Verzie'rungen. Digby Wyatt. Geometrical Mosaics of the Middle Ages. Waring and MaoQuoid. Architectural Arts in Italy and Spain. Waring. Architectural Studies at Burgos and its Neighbourhood.
V.â&#x20AC;&#x201D;Plates
Chapter
31, 32, 33, 34, 35.
ARABIAN ORNAMENT, FROM
CAIRO.
4â&#x20AC;&#x201D; PLATE XXXI. This Plate consists of the ornamented Architraves and
Soffits of
Windows
the
in the interior of the
Mosque
of Tooloon,
and nearly all the windows are of a different pattern. The main arches of the building but only a fragment of one of the soffits now remains, sufficiently large to make out the design. are decorated in the same way This is given in Plate XXXIII., No. 14. Cairo.
They
are executed in plaster, ;
Nos. 1-14, 27, 29, 34-39, are designs from architraves round the windows.
The
rest of the patterns are
from their
soffits
and jambs.
The Mosque
of Tooloon
building in Cairo, and
is
was founded
a.d. 87C-7,
and these ornaments are certainly of that date. It is the oldest Arabian known examples of the pointed arch.
specially interesting as one of the earliest
PLATE XXXII. 1-7.
9,16.
From
the Parapet of the Mosque of Sultan Kalaoon.
Ornaments round Arches
in
the Mosque
En
Ornaments round curved Architraves
in the
Soffit of
Mosque
Sultan Kalaoon.
one of the Main Arches in the Mosque of
Tooloon. 15-21.
reeyeh.
11-13.
14.
Nasi-
22.
23-25.
Ornaments on the Mosque of Kalaoon.
Wooden Stringcourse Pulpit. From the Mosque of Kalaoon.
The Mosque of Kalaoon was founded in the year 1284-5. All these ornaments are executed in plaster, and seem to have been cut on the stucco while still wet. There is too great a variety on the patterns, and even disparities on the corresponding parts of the same pattern, to allow of their having been cast or struck from moulds.
PLATE 1-7.
8-10.
From
the Parapet of the
Curved Architraves from Arch, Mosque
12.
Soffit of
13.
From Door
14.
Wooden
in
Mosque
of Saltan Kalaoon.
ditto.
En
Nasireeyeh.
the Mosque El Barkookeyeh.
Architrave,
Mosque En Nasireeyeh.
XXXIII. 15.
Soffit of
Window, Mosque
10, 17.
Wooden
Architraves.
18.
Frieze round
19.
Wooden
20-23.
of Kalaoon.
Tomb, Mosque En Nasireeyeh.
Architrave.
Ornaments from various Mosques.
PLATE XXXIV. These designs were traced from a splendid copy of the Koran in the Mosque El Barkookeyeh, founded a.d. 1384.
55
â&#x20AC;&#x201D;
ARABIAN ORNAMENT.
PLATE XXXV. Consists of different Mosaics taken from
Pavements and walls in Private Houses and Mosques in Cairo. and white marble, with red tile. Nos. 14-16 are patterns engraved on the white marble slab, and filled in with red and black cement. The ornament on the white marble on the centre of No. 21 is slightly in relief.
They
are executed
in black
The
by Mr. James William Wild, who passed a considerable time Arabian houses, and they may be regarded as very faithful transcripts of Cairean
materials for these five Plates have been kindly furnished
in Cairo studying the interior decoration of the
ornament.
AEABIAN ORNAMENT. WHEN
the religion of
Mohammed
spread with such astounding rapidity over the East, the growing
wants of a new civilisation naturally led to the formation of a new style of Art; and whilst that the early edifices of the
Mohammedans were
either
Spandril of an arch from Sta. Sophia.
to their it
is
own
uses, or buildings constructed
equally certain that the
at a very early period
56
new wants
to
old
Eoman
or
it is
certain
Byzantine buildings adapted
Salzenbebg.
on the ruins and with the materials of ancient monuments, be supplied, and the new feelings to be expressed, must
have given a peculiar character to their architecture.
ARABIAN ORNAMENT. old materials,
of
they endeavoured, in the new
The same
to imitate the details borrowed from old buildings.
parts of the structure, as
partly
the buildings which they constructed
In
Eoman
in the transformation of the
had already taken place
style to the Byzantine
But this very imperfection gave birth to a
were crude and imperfect.
new
followed
result
the imitations
:
order of ideas
they never
;
returned to the original model, but gradually threw off the shackles which the original model imposed.
The Mohammedans, very
The ornaments on Plate XXXI.
own.
a style of architecture complete in
itself,
Mohammedanism, and we
â&#x20AC;&#x201D; retaining,
any direct imitation of the previous
This result
style.
its
of
peculiarly their
art
in this
mosque already
find
true, traces of its origin, but being entirely
is
it
is
when compared
very remarkable
It can hardly be said that Christianity
with the results of the Christian religion in another direction.
produced an architecture peculiarly
style
of Tooloon in Cairo, which was erected in
Mosque
are from the
876, only 250 years after the establishment of
freed from
and perfected a
their history, formed
early in
own, and entirely freed from traces of paganism, until the twelfth
or thirteenth century.
The mosques
same time
at the
amongst the most beautiful buildings
of Cairo are
They are remarkable
in the world.
the grandeur and simplicity of their general forms, and for the refinement and
for
elegance which the decoration of these forms displays.
whom
appears to have been derived from the Persians, from
This elegance of ornamentation
Arabs are supposed to have derived many of their
The
reached them by a double process.
of
art.
arts.
It
is
more
the
than probable that this influence
Byzantium already displays an
The
Asiatic influence.
remains at Bi-Sutoun, published by Flandin and Coste, are either Persian under Byzantine influence, or, if of earlier
date, there
must be much of Byzantine
We
so similar are they in general character of outline.
ornament on a Sassanian diapers
which was derived from Persian sources,
have already, in Chapter
No. 16, Plate XIV., which appears to be the type of the Arabian
system of decoration totally at variance with
building, and which this spandril
it
is
may itself
much
it
the scroll
one even with
it,
arch
is
The as
the
is
is
first
â&#x20AC;&#x201D;the
attempt at throwing
is
The pattern
decorated in the same
way
exhibiting in this early stage
is
as the
soffits
They
There
is
also another feature connected
of Arabian
surface,
and the
The
differences
of the
all
of form which
those arrangements
which exist
result
from the
less perfection
They represent the
first
stage of
and the surface of the part to be decorated being
first
brought
were either stamped or traced upon the material, whilst
recognis-ed that the principles of the radiation of the lines
Many
soffit
and Moresque arches.
still
with a blunt instrument,- which in making the incisions slightly rounded the edges.
observation of
It will
distributed all over the spandril, so as to produce
of Arabian art the types of
are of plaster,
face, the patterns
in a plastic
We
at once
from a parent stem and the tangential curva-
had been either retained by Graeco-Roman tradition, or was
ture of those bnes
it
growing out one from the other:
of the distribution of the forms, the leading principles are the same.
state,
that as
ornaments from the Mosque of Tooloon, on Plate XXXI., are very remarkable,
collection of
an even
Be
a reminiscence of the acanthus
mouldings on the edge of the arch are ornamented from the
reach their culminating point in the Alhambra.
to
Graeco-Roman features of that
Asiatic influence.
still
off the principle of leafage
which was ever the aim of the Arabs and Moors.
surface decoration.
Sta. Sofia,
the foundation of the surface decoration of the Arabs and Moors.
continuous without break.
tint,
of the
not be impossible are the result of some
be observed that, although the leafage which surrounds the centre leaf,
an
III., referred to
and on the spandril of the arch which we here introduce from Salzenberg's work on
â&#x20AC;˘
will be seen a
may,
capital,
art
felt
by them from
natm e. -
of the patterns, such as 2, 3, 4,
5,
12, 13, 32,
38,
still
retain traces of this
Greek origin
two flowers, or a flower turned upwards and another downwards, from either end of a stalk there was this difference, that with the Greeks
the flowers or leaves do not form
Q
;
:
but
part of the scroll,
57
ARABIAN ORNAMENT. but grow out of
it,
whilst with the Arabs the scroll was transformed into an intermediate leaf.
shows the continuous characteristic of
derived from the Eomans, with the division at each turn of the
scroll
Eoman
seem to be one of the
The ornament we engrave here from
ornament, omitted.
Arabian.
Greek.
patterns on
of this
several others.
class,
Many
anxiety to exhibit as
With
Moreeqxie.
this Plate, chiefly
an upright tendency in their patterns
lines,
may be
of the patterns on
many
plate,
the
is
made
in
of the
this
always perfect
;
there
are
the ornaments also they exhibited
we
often two
XXXII., which
may be
period
is
also
our
from the same mosque as
so
inferior.
The guiding
excelled.
Mosque
XXXIV.
of Tooloon.
are
The
As compared, however,
seen at a glance.
of the masses, or in
never any gaps or holes
much
greater
skill,
â&#x20AC;&#x201D;
repeat the Arabian ornament, No.
varieties of lozenge diapers
The Moors
all
The Arabs never
arrived
the ornamenting of the surfaces instinct
same, but
the
is
the
In Moresque ornament the relation of the areas of the ornament to the
very inferior.
the difference,
be double in the lateral direction:
same period, they are very
ornaments, in which the Moors
is
having
those exquisitely-designed
whole of the ornaments on Plates XXXIII. and
at that state of perfection in the distribution
ground
Plate should
this
century, i.e. four hundred years later than those of the
with the Alhambra, which
is
all
therefore
varieties as possible preventing the engraving of the repeat.
progress which the style had
execution
of windows, and
soffits
where the repetition of the same patterns side by side produces another or
the ornament on the last
of the
from the
considered as the germs of
the exception of the centre ornament on Plate
of the thirteenth
scroll, so
Sophia would
Sta.
examples of the change.
earliest
Arabian.
The upright
No. 37
;
in the decoration
there was less
12,
of the
monotony.
To
surfaces of
exhibit clearly
from Plate XXXIII., compared with two
from the Alhambra.
introduced
and sometimes three
another planes
feature
into
on which
the
their
surface
patterns
ornament,
viz.
that
there
were drawn, the ornaments on
were the
upper plane being boldly distributed over the mass, whilst those on the second interwove themselves 58
ARABIAN ORNAMENT. with the
first,
enriching the
ornament
retains
oftentimes
most
Plate
ingenious, decoration
close
for
XXXII.
more variety in
Generally there was
inspection.
the feathering which forms so prominent a feature on the ornaments on
;
XXXII., XXXIII., was intermixed with plain
Plates
by which admirable contrivance a piece of
level;
breadth of effect when viewed at a distance, and affords most exquisite, and
treatment
surface
their
its
on a lower
surface
The ornament No.
XXXIII.,
Plate
13,
surfaces, is
Arabian.
;
see at Nos.
metal, and
pierced
in
approach to the perfection of distribution of the Moorish forms
we
such as
finely exhibits
it
18, 32>
17,
a very near
is
the
proportionate
Moresque.
Moresque.
diminution of the forms towards the centre of the pattern, and that fixed the Moors, that however distant an ornament, or however intricate
never broken by
law,
the pattern,
can always be
it
traced to its branch and root.
main
Generally, the
summed up
thus,
â&#x20AC;&#x201D;the
between the
that exist
differences
constructive
Arabian and
the Arabs possess more
features of
Moresque
may
styles
be
grandeur, and those of the
Moors more refinement and elegance.
The idea
exquisite
ornaments
Arabian
of
decorative
destroy the unity of find
on
the style,
XXXIV., from
Plate
Were
art.
it
and which
not
a copy of the
for
Koran, will
the
introduction
betray a Persian influence,
a better specimen of Arabian ornament.
As
it
is,
however,
it
of
would
it
give
flowers,
be
perfect
a
which
rather
impossible to
a very perfect lesson both
is
in form and colour.
The immense mass led
the
better
in
four
Roman
ruins
must have very
early
floors
of
a
number
great
of
the varieties which
this
fashion
produced with the Arabs.
can be obtained of what style in ornament consists than by comparing the mosaics
idea
XXXV.
Plate XLIII. others.
from
and monuments with mosaic patterns, arranged on a geometrical system; and we have
XXXV.
on Plate
No
derived
Arabs to seek to imitate the universal practice of the Romans, of covering the
their houses
on Plate
fragments of marble
of
with the
There
is
Roman
Yet how strangely different
mosaics, Plate
scarcely a
languages.
XXV.
;
the Byzantine, Plate
XXX.
form to be found in any one which does not
different
is
The mind
the
aspect of these plates!
receives
It
is
like
;
the Moresque,
exist
in
all
the
an idea expressed
from each the same modified conception, by the
sounds so widely differing.
59
ARABIAN ORNAMENT. The
twisted cord,
the interlacing of
lines,
the
crossing
>v_
of two squares
triangle arranged within a hexagon, are the starting-points in each
the
the main
,
the equilateral
differences resulting in
scheme of colouring, which the material employed and the uses to which they were applied,
mainly suggested. are
;
V
dados;
whilst
The Arabian and the Koman those
features of the buildings.
60
of the
are
pavements, and of lower tones; the Moresque
brighter hues, on Plate
XXX.,
are
decorations on the constructive
â&#x20AC;&#x201D;
Chapter IX.
;
Plates 36, 37, 38.
TURKISH ORNAMENT. I
i
JOc
i
I
PLATE XXXVI. From
1, 2, 3, 16, 18.
4.
From
the
5, 6, 7, 8, 13.
9, 12, 14, 15.
a Fountain at Pera, Constantinople.
10, 11, 17, 19, 21.
From Tombs at Constantinople. From the Tomb of Sultan Soliman
tinople.
I.,
From
the Yeni D'jami, or
new mosque,
Constantinople.
Mosque of Sultan Achmet, Constantinople. 20, 22.
Constan-
From
a Fountain at Tophana, Constantinople.
.
PLATE XXXVII. 1, 2, 6, 7, 8. 3.
From
the Yeni D'jami, Constantinople.
4, 6.
Rosace in the Centre of the Dome of the Mosque of Soliman I., Constantinople.
Ornaments in Spandrils under the Dome of Soliman I., Constantinople.
of the
Mosque
PLATE XXXVIII. Portion of the Decoration of the
The
Dome
of the
Tomb
of Soliman
architecture of the Turks, as seen at Constantinople,
based upon the early Byzantine monuments cation of the Arabian, bearing about the
;
same
their
is
I.,
Constantinople.
in all
its
structural features mainly
system of ornamentation, however,
relation to this style as Elizabethan
is
a modifi-
ornament does
to
Italian Eenaissance.
When
the
art
of one people
natural character and instincts,
is
adopted by another having the same religion, but differing in
we should expect
to
find a deficiency in all
the borrowing people ate inferior to their predecessors.
compared with the art of the Arabs
;
there
is
And
thus
it is
those qualities in which
with the art of the Turks as
the same difference in the amount of elegance and
refinement in the heart of the two people as exists in their national character.
We
are,
however, inclined to believe that the Turks have rarely themselves practised the arts
but that they have rather
commanded
the
execution than
mosques and public buildings present a mixed ornaments derived from Arabian and Persian details,
religion
floral
style.
On
been themselves executants. the
same
building,
ornaments, we find debased
side
by
Eoman and
All
their
side
with
Renaissance
leading to the belief that these buildings have mostly been executed by artists differing in
from themselves.
In more recent times, the Turks have been the
K
first
of the
Mohammedan 61
TURKISH ORNAMENT. races
to
abandon the traditional
of building of their
style
fashions of the day in their architecture of
European
artists,
the
forefathers,
modern buildings and
but designed in the most approved European
The productions of the Turks
Mohammedan
;
at
the
and
palaces
to
adopt the prevailing
being not only the work
style.
Great Exhibition of 1851 were the least perfect of
all
the
exhibiting nations.
In Mr. M. Digby Wyatt's admirable record of the state of the Industrial Arts of the Nineteenth be found
Century, will
specimens of
Turkish
embroidery exhibited
in
1851, and
compared with the many valuable specimens of Indian embroidery represented
readily
be seen,
Turks must be very 62
be
same work.
Turkish.
Elizabethan.
will
the
may
Turkish.
Turkish,
It
in
which
from the simple matter of their embroidery, that the art-instinct
inferior
to
that
of
the
Indians.
The Indian embroidery
is
as
ot
perfect
the in
TURKISH ORNAMENT. distribution of form,
and in
all
the principles of ornamentation, as the most elaborate and
important
article of decoration.
The only examples we have these
are
of perfect
Minor, and
executed in Asia
chiefly
ornamentation are to be
most
probably
thoroughly Arabian, differing from Persian carpets in being
found in Turkey carpets
The designs are
by Turks.
not
much more
but
;
conventional in the treatment
of foliage.
By
XXXVII.
comparing Plate
The general
perceived.
readily
few minor differences that
The
ornament both in the Arabian and Moresque
surface of an
left plain,
painted
the differences of style will be
is
styles is only
obtained by sinking lines on this surface
;
rounded,
slightly
or where the surface
the additional pattern upon pattern was obtained by painting.
The Turkish ornament, on the find
XXXII. and XXXIII.
of the distribution of form are the same, but there are a
be desirable to point out.
it will
and the enrichment of the surface was
with Plates
principles
in
contrary,
the Arabian MSS., Plate
presents
XXXIV.,
a
carved
in black
and such ornaments
surface, lines
on the gold
are
flowers,
we
as
here
carved on the surface, the effect being not nearly so broad as that produced by the sunk feathering of
and Moresque.
the Arabian
Another Arabian, This
and
peculiarity,
one which at once
is
the great abuse which was
is
very prominent in
made
distinguishes
a
piece
Turkish ornament
of
from
of the re-entering curve A A.
the Arabian, but more especially in the Persian styles.
See Plate
XLVI. With the Moors
it is
This peculiarity was
France and period so
Italy,
no longer a feature, and appears only exceptionally. adopted in the Elizabethan ornament, which, through the
It will be seen on reference to Plate
and on the
It
is
of
common.
spiral curve of the
inside
Renaissance
was derived from the East, in imitation of the damascened work which was at that
very
main stem
;
XXXVI.
that this swell always occurs on
the inside of the
with Elizabethan ornament the swell often occurs indifferently on the
outside.
difficult,
nay, almost impossible, thoroughly to explain by words differences in style of
ornament having such a strong family resemblance as the Persian, Arabian, and Turkish readily detects them,
much
in the
same way
as a
Roman
statue
is
;
yet the eye
distingui^ed from a Greek.
The
general principles remaining the same in the Persian, the Arabian, and the Turkish styles of ornament, there will be found a peculiarity in the proportions of the masses,
more
or less grace in the flowing
mode
of the curves, a fondness for particular directions in the leading lines, and a peculiar
of inter-
The
weaving forms, the general form of the conventional leafage ever remaining the same.
degree of fancy, delicacy, or coarseness, with which these are drawn, will at once distinguish
relative
them
as
the works of the refined and spiritual Persian, the not less refined but reflective Arabian, or the unimaginative Turk.
Plate tinople
;
XXXVIII. it is
is
;
dome
of the
tomb
the most perfect specimen of Turkish ornament with which
approaches the Arabian. black
a portion of the decoration of the
One great feature of Turkish ornament
is
in ancient
examples where blue
is
I.
at Constan-
are acquainted, and nearly
the predominance of green and
and, in fact, in the modern decoration of Cairo the same thing
more prominent than
we
of Soliman
is
observed.
Green
chiefly used.
63
is
much
.
Chapter
X.—Plates
39, 40, 41, 41*, 42, 42*, 42f, 43.
MORESQUE ORNAMENT, FROM THE ALHAMBRA. »K8^
PLATE XXXIX. INTERLACED ORNAMENTS. 1-5, 16, 18, are Borders
on Mosaic Dados.
Bands enclosing Panels on the
Square Stops in the Bands of the Inscriptions.
13, 15.
Plaster Ornaments, used as upright and horizontal
0-12, 14.
Painted Ornament from the Great Arch in the Hall of
17.
walls.
the Boat.
PLATE XL. SPANDRILS OF ARCHES 1
2. 3.
From From From
Arch of the Court
the centre
of the Lions.
the Entrance to the Divan Hall of the
4.
Two
From
the Entrance to the Court of the Fish-pond from
the Hall of the Boat.
Sisters.
the Entrance to the Court of the Lions from the Court of the Fish-ponds.
5, C.
From
the Arches of the Hall of Justice.
PLATE XLL LOZENGE DIAPERS. from the Hall of the Boat.
5.
Ornament
from the Hall of the Ambassadors.
6.
„
in Panels of the Courts of the Mosque.
7.
„
in Panels, Hall of the Abencerrages.
8.
„
over Arches, entrance to the Court of Lions.
1.
Ornament
in Panels
2.
„
„
3.
„
in Spandril of Arch, entrance to Court of Lions.
4.
„
in
Doorway of the Divan, Hall
of the
Two Sisters.
in Panels of the Hall of the Ambassadors.
PLATE XLI*. !),
10.
Ornaments
11.
Soffit of
12.
Ornaments the
in Panels,
Court of the Mosque.
13.
Ornaments
Two
in Sides of
Windows, Upper
in Spandrils of Arches, Hall of the
Aben-
cerrages.
Great Arch, entrance to Court of Fish-pond. 14, 15.
Story, Hall of
Ornaments
16.
Sisters.
PLATE
„
in Panels, Hall of the Ambassadors.
in Spandrils of Arches, Hall of the
Two Sisters.
XLII.
SQUARE DIAPERS. ]
.
Frieze over Columns, Court of the Lions
2.
PLATE 3.
Panelling in Windows, Hall of the Ambassador*.
XLII*.
Panelling of the centre Recess of the Hall of the Ambassadors.
S
4.
Panelling on the Walls,
Tower
of the Captive.
65
MORESQUE ORNAMENT.
PLATE 5.
Panelling on the Walls, House of Sanchez.
6.
XLIIt.
Part of the Ceiling of the Portico of the Court of the Fish-pond.
PLATE
XLIII.
MOSAICS. Pilaster, Hall of the Ambassadors. Dado, ditto. Dado, Hall of the Two Sisters. Pilaster, Hall of the Ambassadors.
1.
2. 3.
4.
Dados, Hall of the
5, 6.
Two
11.
Pilaster, Hall of Justice.
8.
Dado, Hall of the
14. 15.
Sisters.
16.
it is
Alhambra
is at
marvellous system
their
of
grammar
in
are best acquainted, but also because
decoration reached
the very summit of perfection of Moorish
can find no work so fitted to illustrate a contains a
we
the one of their works with which
the one in which
Dados, Hall of the Ambassadors.
From a Column, Hall of Justice. Dado in the Baths. Dado in Divan, Court of the Fish-pond.
ornament of the Moors have been taken exclusively from the Alhambra,
illustrations of the
not only because is
Window, Hall of the Ambassadors. Hall of the Ambassadors. Dado, nail of Justice. in centre
Pilaster,
O EN A MEN T.
MORESQUE Our
Dado
12, 13.
Sisters.
7.
Two
9.
10.
Grammar
of
Ornament
culminating point.
as that in
The
We
which every ornament
Every principle which we can derive from the study of the ornamental
itself.
of any other people is not only ever present here, but was by
art
its
the Parthenon of Greek art.
art, as is
it
the
Moors more universally and
truly obeyed.
We the
find in the
Alhambra the speaking
Greeks, the geometrical
art of the Egyptians, the natural grace
combinations of the
Romans,
the
Byzantines, and
and refinement of the
Arabs.
The
ornament wanted but one charm, which was the peculiar feature of the Egyptian ornament, symbolism. This the religion of the Moors forbade
;
but the want was more than supplied by the inscriptions,
which, addressing themselves to the eye by their outward beauty, at once excited the intellect by the of deciphering their curious and complex involutions, and delighted the imagination
difficulties
read,
when
by the beauty of the sentiments they expressed and the music of their composition.
" There
To gave a
is
the artist and those provided with a life
they repeated, Look
good deeds of the king. powerful but God, that glory.
66
He
Arabic inscription from the Alhambra.
no conqueror but God."
and
learn.
mind To
to estimate the value of the
beauty to which they
the people they proclaimed the might, majesty, and
To the king himself they never ceased declaring alone was conqueror, and that to
Him
that there was
none
alone was for ever due praise and
â&#x20AC;&#x201D;
;
MORESQUE ORNAMENT. The
of this wonderful structure were fully aware of the
builders
greatness of their work.
It
is
asserted in the inscriptions on the walls, that this building surpassed all other buildings; that at sight of
its
wonderful domes
all
other domes vanished and disappeared
grew pale
poetry, that the stars
in their light
through envy of
in the playful exaggeration of their
;
much beauty
so
;
and, what
more
is
to
our purpose, they declare that he who should study them with attention would reap the benefit of a
commentary on decoration.
We
have endeavoured to obey the injunctions of the poet, and
Moors
of the general principles which appear to have guided the
common
principles which are not theirs alone, but
attempt here to explain some
will
in the decoration of the
The
to all the best periods of art.
Alhambra
principles which
are everywhere the same, the forms only differ.
The Moors
1.*
we hold
ever regarded what
to be the first principle in architecture
â&#x20AC;&#x201D;to
decorate
construction, never to construct decoration: in Moorish architecture not only does the decoration arise
from
naturally
construction,
the
but
the constructive idea
out
carried
is
every
in
detail
the
of
ornamentation of the surface.
We the
eye,
object other, it
and
the intellect,
is
itself
find
the
:
the absence of
feels
when
When
an
do not stand alone
Mohammedan
:
races,
when the works
and Moors
ornament
They ever regard the
especially,
come
have constantly regarded
this rule
every ornament arises quietly and naturally from
;
useful as a vehicle for the beautiful
the same principle was observed in
art declines that true principles
All lines
and therefore never can pretend to true beauty, however harmonious
a useless or superfluous
the surface decorated.
2.
from
affections are satisfied,
to afford this repose,
be in
we never
the
mind any want^
constructed falsely, appearing to derive or give support without doing either the one or the
it fails
may
" repose which the
believe that true beauty iu architecture results from that
to be disregarded
and :
it
in this they is
only
in an age of copying, like the
or,
;
;
the best periods of art
all
when
present,
of the past are reproduced without the spirit which animated the originals.
grow out of each other
in gradual
undulations
;
there
no excrescences
are
;
nothing
could be removed and leave the design equally good or better.
In a general sense,
we use the word here and yet there
if
construction
in a
more limited
sense
beauty of form,
fatal to
could be no excrescences
to, there
;
but
the general lines might follow truly the construction,
:
might be excrescences, such as knobs or
and yet would be
construction,
be properly attended
bosses, if
which would not violate the rule of
they did not grow out gradually from the
general lines.
There can be no beauty of form, no perfect proportion or arrangement of
lines,
which does not
produce repose. All transitions
Thus the
of curved lines from
transition
the curves,
as
at
curved,
would cease to be agreeable
B.
Where two
curves are
or
of curved lines from
if the
break at A were too deep
separated by a
break (as in this case), they must, and with the Moors always do, run parallel to an imaginary line (c)
be tangential to each other as
:
for
straight,
/
^/
.
must be gradual. in
proportion to 11
/
^/
where the curves would
were either to depart from
this,
in the case at D, the eye, instead of following gradually
down the
curve,
would run outwards, and
repose would be lost.^
* This essay on the general principles of the ornamentation of the Alhambra is partially reprinted from the " Guide Book Alhambra Court in the Crystal Palace," by the Author. t These transitions were managed most perfectly by the Greeks in all their mouldings, which exhibit this refinement in the highest degree; so do also the exquisite contours of their vases. to the
67
X
s
j
MORESQUE ORNAMENT. The general forms were
3.
were then
They
cared for
with ornament, which
in
filled
first
was again subdivided and enriched
balance admirably
When
form.
chief
their
success
from
the greatest distinctness
:
is
Their main
observance.
its
obtained
the detail
;
seen at a distance, the main lines strike the eye
comes into the composition; on a
we
inspection,
closer
lines
the interstices
;
for closer
inspection.
and the harmony and beauty of
carried out this principle with the greatest refinement,
ornamentation derive
by general
these were subdivided
;
see
their
all
and
contrast
divisions
never interferes with the general as
;
we approach
nearer, the detail
further detail on the surface of the
still
ornaments themselves. 4.
Harmony
inclined,
form appears to consist in the proper balancing and contrast of the straight, the
of
and the curved.
in colour there can be no perfect composition in which either
As
either
of the three primary colours
is
whether structural or decorative, there can be no perfect composition in which
wanting, so in form,
of the three primary
figures
is
and the
wanting;
and harmony
varieties
composition and
in
design depend on the various predominance and subordination of the three.*
In surface decoration, any arrangement of forms, as at monotonous,
and
affords
consisting only
A,
towards
the angles, as at B, and you have at once an increased pleasure.
circular
tendency,
at C,
as
and you have now complete harmony.
—
•m
7K-
O.
O O
o.
oto
e
leading form or tonic
We may
o O (r-ii— o. o o e-^^-^e-a o QQ
eye has
now no longer any want
Then add
In this case the square
the angular and
;
lines giving a
the
is
curved are subor-
produce the same result in adopting an angular
composition, as at
bc
a
is
dinate.
o.
ate_ak—
of straight lines,
but introduce lines which tend to carry the eye
but imperfect pleasure;
D
add the
:
correct
the tendency to
of the
inclined
an(j
we have
still
that could be supplied. 5.
lines
lines as at E,
follow
more
once
circles, as
at F,
perfect harmony, i.e. repose, for the
-
In the surface decorations of the Moors
out of a parent stem
be traced to
at
angular direction
only the
but unite these by
;
and we
its
all
lines flow
every ornament, however distant, can
:
branch and root.
They have the happy
art
of so adapting the ornament to the surface decorated, that the
ornament as often appears
to
have suggested the general form
by
as to have been suggested
it.
foliage flowing out of a parent stem,
as
in
ornament just dotted down, without a reason
modern for
its
practice, existence.
In
all
cases
we
find the
and we are never offended,
by the random introduction of an
However
irregular
the space they
*
There can be no better example of this harmony than the Greek temple, where the straight, the angular, and the curved most perfect relation to each other. Gothic architecture also offers many illustrations of this principle ever)' tendency of thus, the capping of the buttress is exactly lines to run in one direction is immediately counteracted by the angular or the curved what is required to counteract the upward tendency of the straight lines ; so the gable contrasts admirably with the curved windowhead and its perpendicular mullions. + It is to the neglect of this obvious rule that we find so many failures in paper-hangings, carpets, and more especially articles of costume the lines of papers generally run through the ceiling most disagreeably, because the straight is not corrected by the angular, or the angular by the curved so of carpets the lines of carpets are constantly running in one direction only, carrying the eye right through the walls of the apartment. Again, to this we owe all those abominable checks and plaids which constantly a custom detrimental to the public taste, and gradually lowering the tone of the eye for form of this disfigure the human form generation. If children were born and bred to the sound of hurdy-gurdies grinding out of tune, their ears would no doubt This, then, is what is certainly taking place suffer deterioration, and they would lose their sensibility to the harmonious in sound. are in
;
:
;
:
;
—
with regard to form, and
it
requires the
rising generation to put a stop to
68
it.
most strenuous
efforts to
be
made by
all
who would
take an interest in the welfare of the
;
MORESQUE ORNAMENT. have to
commence by dividing
they always
fill,
into equal areas, and
it
round these trunk-lines they
in their detail, but invariably return to their parent stem.
fill
They appear
we
nature, as
this
in
work by a process analogous
to
see in the vine-leaf; the object being
sap from the parent stem to the extremities,
it
to
would divide the leaf as near as may be into equal
minor divisions
of the
which
lines,
most minute
filling-in of
So, again,
areas.
again subdivided by intermediate
is
the sap-feeders.
also follow another principle
parent stem, as
the
main stem
follow the same law of equal distribution, even to the
all
The Moors
6.
each area
;
of
distribute the
evident the
is
that
to
we may
;
that of radiation from
nature with the human, hand, or
see in
in a chestnut leaf.
We may
how
the example
see in
beautifully all these lines radiate from
each leaf diminishes towards the extremities, and portion to the perfection
The
leaf.
so also did the
;
how each
area
is
the
stem; how
parent
in pro-
Orientals carry out this principle with marvellous
We
Greeks in their honeysuckle ornament.
have
already remarked, in Chapter IV., a peculiarity of Greek ornament, which
appears to follow the principle of the plants of the cactus tribe, where one leaf grows out of another.
This
is
generally the case with Greek ornament
the acanthus-leaf scrolls are a series of leaves growing out one from the other in a continuous line, whilst the Arabian
and Moresque ornaments always grow
out of a continuous stem. All junctions of curved lines with curved, or
7.
each other;
this
also
Oriental practice are on the
consider to
always
leaf;
and
ornamentation, which we
to
call
be a law
accordance
in
same principle winch
of every
lations
is
we
shall
these
find
with
straight, should
be tangential to
Many
it.
of the
Moorish ornaments
observable in the lines of a feather and in the articu-
is
this
is
due that additional charm found in
the graceful.
what we have before described constitutes
We
witli
of curved
found everywhere in nature, and the
laws of equal
It its
may be
the
called
all
perfect
melody of form,
as
harmony.
distribution,
radiation
from a
stem,
'parent
continuity of line, and tangential curvature, ever present in natural leaves.
We
8.
would
nature of the exquisite curves in use by the Arabs and Moors.
call attention to the
As with proportion, we think that those proportions most
difficult
agreeable, it
for
the eye to
detect ;*
so
we think
will
that
shall
to be universally the case, that in the best periods of art all
on curves of the higher order, such as the conic sections;
The are
all
The
will
be
be least apparent
;
and we
shall find
mouldings and ornaments were founded
whilst,
when
art
declined,
circles
and
much more dominant.
researches of Mr. Penrose have
shown that the mouldings and curved
lines in the
Parthenon
portions of curves of a very high order, and that segments of circles were very rarely used.
exquisite curves of the
Eoman
able to
it
those compositions of curves will be most
where the mechanical process of describing them
compass-work were
In
be the most beautiful which
architecture,
describe as
mostly parts of
Greek vases are well known, and here we never
on the contrary,
to appreciate
circles,
curves
this refinement is lost;
of
the
find portions of circles.
Eomans were probably
as
little
a high order, and we find, therefore, their mouldings
which could be struck with compasses.
* Ail compositions of squares or of circles will be
monotonous, and afford but little pleasure, because the means whereby they So we think that compositions distributed in equal lines or divisions will be less beautiful than those which require a higher mental effort to appreciate them. are produced are very apparent.
t
69
MORESQUE ORNAMENT. In the early works of the Gothic period, the tracery would appear to have been of compass-work than in
offspring
the later period,
much
the
less
which has most appropriately been termed the
Geometrical, from the immoderate use of compass- work.
Here
and
period,
a curve (a)
is
so
much
common
to
Greek Art,
it
Gothic
Mohammedan
delighted in by the
This becomes graceful the more
to the
races.
departs from the curve which
the union of two parts of circles would give.
A
9.
still
further
charm
is
found in the works of the Arabs
and Moors from their conventional treatment of ornament, which, forbidden as they were by their creed to represent living forms,
They ever worked
they carried to the highest perfection.
nature worked, but
as
they took her principles, but did not, as we do, attempt to copy her works.
direct transcript;
this, again, they do not stand alone: in every period of faith in art,
by the
ideal
always avoided a
all
In
ornamentation was ennobled
never was the sense of propriety violated by a too faithful representation of nature.
;
Thus, in Egypt, a lotus carved in stone was never such an one as you might have plucked, but a conventional representation perfectly in keeping with the architectural part to
;
members of which
it
formed a
was a symbol of the power of the king over countries where the lotus grew, and added poetry
it
what would otherwise have been a rude support.
The
Egyptians were not
colossal statues of the
little
men
carved on a large scale, but architectural
representations of Majesty, in which were symbolised the power of the monarch, and his abiding love of his people.
In Greek
and
ornaments, no longer symbols, as in Egypt, were
art, the
in their sculpture applied to architecture,
relief very
further conventionalised;
they adopted a conventional treatment both of pose and
that of their isolated works.
different to
In the best periods of Gothic art the imitation of nature
still
never attempted
is
;
floral
ornaments are treated conventionally, and a direct
but as art declined, they became
idealised,
less
and more
direct in imitation.
The same at
may be
decline
conventionally
first
but as the art declined, figures and draperies, through which light was to be
;
own shades and shadows.
transmitted, had their
In the early illuminated tints,
with
little
traced in stained glass, where both figures and ornaments were treated
MSS.
the ornaments were conventional, and the illuminations were in
shade and no shadow
;
flat
whilst in those of a later period highly-finished representations
of natural flowers were used as ornament, casting their shadows on the page.
ON THE COLOURING OF MORESQUE ORNAMENT. When we form,
so
examine the system of colouring adopted by the Moors, we
archaic
styles
eternal
in
common
of art,
although we find in is
find,
with
that as
with colour, they followed certain fixed principles, founded on observations of nature's laws,
and which they held all
shall
all
with
practised
all
;
the
nations
during periods of
somewhat of a
and immutable
those
local or
who have faith,
the
in
and
same true principles prevail;
temporary character, we
same grand ideas embodied
In
practised the arts with success.
yet discern in
different forms,
all
much
and expressed,
that
so
to
speak, in a different language. 10.
The
ancients always used colour to
as a further
70
means
assist
in the development of form, always employed
of bringing out the constructive features of a building.
it
â&#x20AC;&#x201D;
;
MORESQUE ORNAMENT. Thus, in the Egyptian column, the base of which represented the root
â&#x20AC;&#x201D; the
shaft, the stalk
buds and flowers of the lotus or papyrus, the several colours were so applied that
the capital, the
the appearance of strength in the column was increased, and the contours of the various lines more fully developed.
In Gothic architecture,
colour was always employed to assist in developing the forms of the
also,
panel-work and tracery; and this
the present colourless condition of the idea of elevation
was
by upward-running
art, again,
we always
with the ornaments in relief
without
lost
The
developes
it
accompanied by a modification of colour,
marked by a change
of
colour
sanguine complexion of the
lashes, the
by colour ;
and
altogether
and in more
distinctness,
whose works every
disposed as
so
to assist in
producing
For example, flowers are separated by colour from their leaves and
these again from the earth in which they is
while
judicious application
its
have in this but followed the guiding inspiration of Nature, in
distinctness of expression.
form
the
form.
its
new forms which would have been
constantly
in
it.
artists
transition of form is
and
edifices,
find the constructive lines of the building well defined
an apparent additional height, length, breadth, or bulk, always results from
idea,
which,
of colour,
spiral lines
adding to the apparent height of the column, also helped to define
In Oriental
form an
difficult to
is
it
In the slender shafts of their lofty
buildings.
further increased
still
an extent of which
effected to
is
thus
;
lips,
So
grow. the
colour
of the
the rosy bloom
visibly bringing out the form.
the
also in
We
of all
human
hair,
the
figure every
the
cheek,
eyes, all
the
assist
know how much
stalks,
change of
eyelids in
and
producing
the absence or im-
pairment of these colours, as in sickness, contributes to deprive the features of their proper meaning
and expression.
Had
nature applied but one colour to
as monotonous in aspect.
It
defines the outline of each
;
is
detaching equally the modest
and the glorious sun, parent of
The
11.
colours
and
blue, red,
all
colour,
green
It it
;
is
tions, also,-
it
in
it
springs,
shines. all
the 'primaries,
cases,
The secondary colours, purple, green, and orange, occur only in the eye,
formed a point of repose from the more
be found, however, on a minute
of
many
particles of blue colour,
brilliant
colouring
of the ornaments are found
examination, that the colour originally
was blue, which being a metallic pigment, has become green from the
by the presence of the
modelling and
from the grass from which
from the firmament in which
true that, at the present day, the grounds
will always
lily
employed by the Moors on their stucco-work were,
yellow {gold).
Mosaic dados, which, being near the above.
they would have been indistinct in form as well
all objects,
the boundless variety of her tints that perfects the
effects
This
of time.
which occur everywhere in the crevices
to
be
employed is
proved
in the restora-
:
which were made by the Catholic kings, the grounds of the ornaments were repainted
both green and purple.
It
may be remarked
among
that,
and the Moors, the primary colours were almost
entirely,
the Egyptians and the Greeks, the Arabs if
not exclusively, employed during the
early periods of art; whilst during the decadence, the secondary
colours
became of more importance-
Thus, in Egypt, in Pharaonic temples, we find the primary colours predominating; in the Ptolemaic temples, the secondary
:
so
also
on the early Greek temples are found the primary colours, whilst at
Pompeii every variety of shade and tone was employed. In modern Cairo, and in the East generally, we have green constantly appearing side by side with red,
where blue would have been used in This
glass,
is
earlier times.
equally true of the works of the Middle
Ages.
In the early manuscripts and in stained
though other colours were not excluded, the primaries were chiefly used; whilst
we have every variety of shade and 12.
With
the
Moors, as a
tint,
in later times
but rarely used with equal success.
general rule,
the
primary
colours were used
on
the
upper portions 71
â&#x20AC;&#x201D;
;
MORESQUE ORNAMENT. of objects, the secondary natural law
with the tertiaries on the earth
buds and
This also appears to be in accordance with a
the lower.
where we generally find the primaries on the
as also in flowers,
;
and the secondaries on the leaves and
flowers,
The ancients always observed
this rule
stalks.
the best periods of art.
in
In Egypt, however, we do see
the secondary green used in the upper portions of the temples, but this arises from the
occasionally
Egypt were symbolical
that ornaments in
fact,
on
tertiary
the primary blue in the sky, the secondary green in the trees and fields, ending
we have
;
and
a building,
;
and
would necessarily be coloured green
it
if
on the upper part of
a lotus leaf were used
but the law
;
true
is
main
in the
the
;
general
aspect of an Egyptian temple of the Pharaonic period gives the primaries above and the secondaries
below
but in the buildings of the Ptolemaic and
;
inverted, and the
palm and
lotus-leaf capitals give
Roman
periods more especially, this order
was
a superabundance of green in the upper portions
of the temples.
In Pompeii we find sometimes in the interior of the houses a gradual gradation of colour downwards
from the
from light to dark, ending with black
roof,
convince us that they
felt it
We
as a law.
but this
by no means
so universal
as to
have already shown in Chapter V. that there are
many
;
is
examples of black immediately under the ceiling.
Although the ornaments which are found in the Alhambra, and in the Court of the Lions
13.
especially, are at the present
day covered with several thin coats of the whitewash which has at various
periods been applied to them, we may be said to have authority
our reproduction
by scaling
places
for
;
not only
off the
a system, that any one
shown
for the first
was coloured.
may
for the
whole of the colouring of
many
the colours be seen in the interstices of the ornaments in
whitewash, but the colouring of the Alhambra was carried out on so perfect
who
will
make
this a study can, with
on being
almost absolute certainty,
time a piece of Moorish ornament in white, define at once the manner in which
So completely were
all
it
the architectural forms designed with reference to their subsequent
colouring, that the surface alone will
indicate the
colours
they were destined to receive.
Thus, in
using the colours blue, red, and gold, they took care to place them in such positions that they should
be best seen in themselves, and add most to the general
red, the strongest colour of the three, in the depths, where
on the surface
by
blue in the shade, and gold
;
arrangement alone could their true
this
separated by white
bands, or by the
on
all
value
14.
and
be
they placed
might be softened by shadow, never
obtained.
shadow caused by the
surfaces
The
relief of the
:
for
several
it
is
evident that are
colours
ornament
either
â&#x20AC;&#x201D; and
itself
colours should never be allowed to
this
impinge
other.
In colouring the grounds of the various diapers the blue always occupies the largest area
this
is
in
accordance with the theory of optics, and the experiments which have been made
with the prismatic spectrum. of 3 yellow, 5
red,
The
and 8 blue
;
rays of light are said to neutralise each other in the proportions thus,
put together to produce a harmonious
it
requires
effect,
As
in
the "Alhambra," yellow
the blue
is
still
the others. yellow,
it
surfaces exposed to light
appears to be an absolute principle required in colouring
upon each
On moulded
effect.
further increased, to
a quantity of blue equal to the red and yellow
and prevent the predominance of any one colour over is
replaced by gold,
which tends
towards
counteract the tendency of the red to
a reddish-
overpower the
other colours.
INTERLACED PATTERNS.
We
have already suggested, in Chapter IV., the probability that the immense variety of Moorish
ornaments, which are formed by the intersection of equidistant
72
lines,
could be traced through the
MORESQUE ORNAMENT. The ornaments on Plate
Arabian to the
Greek
principles; Nos.
1-12, 16-18, are constructed
(Diagram No.
fret.
In the
2).
XXXIX.
on one principle (Diagram No,
V .••**«
1),
two
general
No. 14 on the other
diagonally crossed by horizontal and
series the lines are equidistant,
first
on
constructed
are
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BSKNRKaiaiBBBBBKjBBBB^ l2lllRAaBl»iR5ii irrai Diagram. No.
Diagram No.
1;
But by the system on which No. 14
perpendicular lines on each square.
and horizontal lines are equidistant, and
number
of patterns that can
mode
of colouring
constructed, the perpendicular
be produced by these two systems would appear to be infinite
be seen, on reference to Plate
will
2.
the ground
or
engraved might be made to change
XXXIX.,
may be
the variety
that
Any one
The
only each alternate square.
cross
the diagonal lines
is
inns
of
further increased
still
the
surface
lines.
its
aspect,
by bringing into prominence
it
by the
which we
patterns
these
and
;
have
different chains or other
general masses.
LOZENGE DIAPERS. The general
of Plate
effect
XLI. and XLI*.
Composed
claimed for the ornament of the Moors.
and fail
effective
than any others in our
The
to approach.
each leading
its
collection,
the
branch and
flowing off of the
root, the division
at once justify the superiority
of but three colours, they are
we have
more harmonious all
the others
constructive idea whereby
we have contended, the
upon another, the gradual
rests
we think,
and possess a peculiar charm which
various principles for which
of the lines,
curvatures flower to
line
will,
from curve to curve, the tangential
transitions
ornaments from a parent stem, the tracing of each
and subdivision of general
lines,
will
readily be perceived in
every ornament on the page.
SQUARE DIAPERS. The ornament No.
1,
on Plate XLIL,
is
a good example
of the principle
we contend
for,
that to
produce repose the lines of a composition should contain in equilibrium the straight, the inclined, and the curved.
We
have lines running horizontally, perpendicularly, and diagonally, again contrasted by
circles in opposite directions.
run in any direction eye strikes
is
So that the most perfect repose
it
is
inclined
to
dwell.
ornamental panels and centres, being carried over the
The leading way
obtained, the tendency of the eye to
immediately corrected by lines giving an opposite tendency, and wherever the
upon the patterns
most cheerful and
is
The blue ground
of the
inscriptions
and
red ground by the blue feathers, produces a
brilliant effect.
lines of the
as the interlaced
ornaments Nos. 2-4, Plates XLII. and XLII*., are produced in the same
ornaments on Plate
XXXIX.
In Nos. 2 and 4
u
it
will be
seen
how 73
the repose .
MORESQUE ORNAMENT. of the pattern
is
obtained by the arrangement of the coloured grounds
by form
additional pattern besides that produced
Pattern No. 6, Plate XLIf.,
is
exists in the
and how,
also,
by
this
means an
from the arrangement of the colours.
a portion of a ceiling, of which there are immense varieties in the
Alhambra, produced by divisions of the
which
results
;
circle
crossed
by intersecting
copy from the illuminated Koran, Plate
squares.
XXXIV., and
It
is also
the same principle
is
very
common on
the
ceilings of Arabian houses.
The ornament No. system on which
it
5,
is
Plate
XLII"j\,
viz.
that by
of extreme delicacy,
All the
constructed.
important principles in Moorish design, general happy result,
is
the
â&#x20AC;&#x201D;one
pieces
being
and
similar,
is
it
remarkable for the ingenious illustrates
one
of
the
most
which, more perhaps than any other, contributed to the
repetition
of a
few simple elements the most beautiful and
complicated effects were produced.
However
much
disguised,
the
mosaics, in which their imagination
may
appear, they are
They
all
the principle
all
the
had
full play.
of ,
ornamentation is
of
the
Moors
Diagram No.
2,
cited on the
is
constructed
evidenced by the great use they made of
However complicated the patterns on Plate XLIII.
very simple when the principle of setting them out
from the intersection of equidistant
greatest variety
n
of
Their fondness for geometrical forms
geometrically.
arise
whole
lines
other
round fixed centres. side,
and
in fact, geometrical combinations on this system
is
is
No. 8
once understood. is
constructed on
the principle which produces the
may be
said to be infinite.
XI.â&#x20AC;&#x201D; Plates
Chapter
44, 45, 46, 47, 47*, 48.
PERSIAN ORNAMENT.
PLATES XLIV., XLV., XLVI. Ornaments from Persian MSS.
in the British
Museum.
PLATES XL VII., XL VII*. From
a Persian Manufacturer's Pattern-Book, South Kensington
PLATE From
The Mohammedan
a Persian
XLVIII.
MS. South Kensington Museum.
architecture of Persia, if
we may judge from
Flandin and Coste's " Voyages en Perse," does not appear Arabian buildings
of
general outlines are
Although
Cairo.
much
presenting
us
much
less
the Arabian
Moors, were free to introduce animal their decoration led to a
much
less
and Moresque.
life,
and
this
is
features, the
mixing up of subjects drawn from
real
even
felt in
it
became of more importance
Persian ornament
is
a mixed style
similar to the Arabian, and probably derived from a
portions of the Alhambra.
The
life
in
With the Arabs and Moors, ornaments
common
;
in their
combining
origin, with
an attempt at the natural, which sometimes has influenced both the Arabian and Turkish is
all
The Persians, unlike the Arabs and the
pure style of ornament.
and reached a higher point of elaboration.
the conventional, which
main
Their system of ornamentation also appears
with their inscriptions had to supply every want, and therefore structures,
have ever reached the perfection of the
pure, and there would appear to be a great want of elegance in
less
pure than
to
the representations published in
considerable grandeur in the
the constructive features as compared with those of Cairo. to
Museum.
styles,
and
great attention paid to the illuminating of manuscripts
75
PERSIAN ORNAMENT.
Mohammedan
in Persia, which, doubtless, were widely disseminated in
the influence of this mixed
The
style.
countries, would readily
decorations of the houses of Cairo and Damascus, the mosques
and fountains of Constantinople more especially, exhibit
mixed
this
style
groups of
;
constantly found growing from a vase and enclosed in panels of conventional
are
The ornament
modern India
of
spread
influence of the Persian
also feels this ever-present
book-cover from the India House (Plates LIII.
and LIV.)
an example of
is
natural flowers
Arabian ornament.
mixed
this
outside
the
;
In a
style.
is
treated in the pure Arabian manner, whilst the inside (Plate LIV.) is quite Persian in character.
The ornaments on Plate XLIV., from illuminated MSS. mixed character we have have great
The geometrical
referred to.
in the British
with the Arabian, but are less perfect in distribution.
affinity
Museum,
also the
present
patterns are purely conventional ornament, and
are from backgrounds of pictures, representing tapestry on the walls
;
Nos. 1-10, on the contrary, great elegance, and
they possess
the masses are well contrasted with the grounds.
The
patterns
on Plate
were intended for glazed
XLV.
tiles,
are
so
abundantly used by the
and Moresque mosaics, they exhibit a the arrangement of colour.
and
tertiary colours are
It will
representations
chiefly
marked
be observed
that,
Persians.
Compared
with
probably
Arabian
the
both in the distribution of form and in
inferiority,
much more dominant than
pavements and dados, and
ot
throughout our Persian subjects, the secondary
in the Arabian (Plate
XXXIV.),
Moresque,
or in the
where blue, red, and gold, are the prevailing harmonies, and, as may be seen at a glance, with much increased effect.
The ornaments on Plate XLVI. have 23-25, are very variety to
little
XXIV.), a great and
also in
common ornaments
a
much
be found in these, numerous as they similarity will be found
to
in all the leadiDg lines
be a manufacturer's pattern-book.
to a geometrical
When
;
of the construction of the ornaments,
but the masses are
much
evenly
less
at
South Kensington
The designs exhibit much
elegance,
as
showing the extreme limit of this conven-
natural flowers are used as decoration, and subjected
arrangement, they can have neither shade nor shadow, as was the case with the later
of the Mediaeval School
papers and
floral
â&#x20AC;&#x201D;
see Plate
carpets of
LXXIII. modern
which forms the title-page to the book, as well
â&#x20AC;&#x201D;without
times.
falling
under that reproach
The ornament
at the
so justly
top of Plate
as the borders throughout, present that
have considered as characteristic of the Persian the Arabian and the Moresque.
76
style,
and which, we think, renders
it
due
XLVIIL,
mixed character
of pure ornament, arranged in conjunction with the ornamental rendering of natural forms, which
to
but
great simplicity and ingenuity displayed in the conventional rendering of natural flowers.
tional rendering, reached, but not exceeded.
to the floral
is
prevail.
Both these Plates and Plate XLVIII. are very valuable,
MSS.
16,17,21,
indeed there
:
and XLVII*. are arranged from a very curious Persian book
Museum, which appears is
MSS.
Compared with the Arabian MSS. (Plate
are.
the surface decoration of the ornaments themselves
XL VII.
Plates
greater affinity with the Arabian; Nos. 7,
the heads of chapters in Persian
However, the same general principles
distributed.
and there
for
so
much
we
inferior
Chapter XII.— Plates 49, 50,
51, 52, 53, 53*, 54, 54*, 55.
INDIAN ORNAMENT, FROM THE EXHIBITIONS OF
1851
AND
1855.
PLATE XLIX. Ornaments" from Works in Metal, exhibited
PLATES
L.,
in the Indian Collection in 1851.
LI, LII.
Ornaments from Embroidered and Woven Fabrics, and paintings on Vases, exhibited at
PLATES
in the Indian Collection in 1851
,
and now
South Kensington Museum.
LIIL, LIU*., LIV., LIV*.
Specimens of Painted Lacquer-work, from the Collection at the India House.
PLATE LV. Ornaments from
The
Woven and Embroidered Fabrics and
Exhibition of the
Works
Painted Boxes, exhibited in the Indian Collection at Paris in 1855.
of Industry of all Nations in 1851 was barely opened to the public
ere attention was directed to the gorgeous contributions of India.
Amid
the
presence of so
general disorder everywhere apparent in the
much
unity of design, so
much
skill
application
and judgment in
elegance and refinement in the execution as was observable in of
all
the other
Mohammedan
contributing countries,
—Tunis,
all
its
of Art
to
application, with so
observed an entire absence of any
common
much
Egypt, and Turkey,
nations of Europe
—excited
a degree
its fruits.
there was
everywhere to be
principle in the application of Art to manufactures,
from one end to the other of the vast structure there could be found but a novelty, irrespective of fitness, that all design was based
x
of
the works, not only of India, but
of attention from artists, manufacturers, and the public, which has not been without
Whilst in the works contributed by the various
manufactures, the
fruitless
upon a system of copying
— whilst
struggle
after
and misapplying 77
;
INDIAN ORNAMENT. the received forms of beauty of every bygone style of Art, without one single attempt to produce an
Art in harmony with our in metal, the weaver
forms peculiarly
and the
and
a
common
—there
the principles,
all
were to
found
be
in
misapplying the
alternately
isolated
the unity, all the truth, for which
and strengthened with their growth.
The Tunisian
retaining the
still
common
United by a
the
collections at
four
we had looked elsewhere
faith, their art
had necessarily
each according to the influence to which each nation
expression, this expression varying in
subject.
carver in stone, the worker
because we were amongst a people practising an art which had grown up with their
this
civilisation,
was
all
each
—the
each other, and
painter, borrowing from
appropriate to
corners of the transepts in vain,
present wants and means of production
Moors who created the Alhambra
art of the
exhibiting the same art, but modified by the character of the
the Turk
;
mixed population over which they
rule
the Indian uniting the severe forms of Arabian art with the graces of Persian refinement. All the laws of the
which we have already observed in the
of form
distribution
From
Moresque Ornament are equally to be found in the productions of India. embroidery, or most or earthen vessel, care for the
work
elaborate
we
the highest work of
of the loom, to the constructing and decorating of a child's toy
work the same guiding
find everywhere at
same absence of
general form, the
Arabian and
principles,
is
always the same
ornament
or superfluous
excrescences
all
—there
we
;
nothing that has been added without purpose, nor that could be removed without disadvantage.
same is
division
equally to
and subdivision of their general be found
individual expression.
In the Indian
and have, doubtless, been more subjected
alised,
The ornaments on Plate XLIX. are and
variety exhibited in 1851,
all
is
not one of principle, but of
ornaments are somewhat more flowing and
style
The
which forms the charms of Moresque ornament,
lines,
the difference which creates the style
here;
find
less
convention-
to direct Persian influence.
from Hookhas, of which there was an immense
chiefly taken
remarkable for great elegance of outline, and for such a judicious
treatment of the surface decoration
ornament
every
that
tended to
further
develope the general
form. It will be seen that there tional
:
such as Nos.
are two kinds of ornament,-
1, 4, 5, 6, 8,
showing how unnecessary
in
it
is for
The ingenious way
in
attempted
is
object
fully
is
decorated
is
expressed
any work of decoration to more than indicate the general idea of which the full-blown flower
by means
not destroyed, as
it
simple as
as
would
it
from the surface.
natural flowers
;
On
the Persian,
the comparison shows
own
Plate
how much
20,
shown in No.
is
are
15, in three positions
very suggestive.
elegant.
The unity
The intention
of the
surface
of
of the
by the European method of making the flower
be
as near like a natural flower as possible, with its
pluck
14, 15,
these latter are to us very valuable lessons,
:
Nos. 14 and 15, the folding back of the leaf in No.
the artist
one strictly architectural and conven-
which are treated as diagrams; and the other, such as Nos. 13,
in which a more direct imitation of nature
a flower.
—the
light
and shade and shadow, tempting you
XLVIL,
will
be seen a similar treatment
of Persian influence there is in
to
of
this floral style of
India.
In the application of the various ornaments
judgment
always shown.
is
The ornament
on the narrow necks of the Hookhas are occupied
it.
the different portions
of the objects the greatest
invariably in perfect scale with the position
are the small
it
occupies
;
pendent flowers, the swelling forms of the base
by the larger patterns; at the lower edge, again, appear ornaments having an upward
•tendency, and, at the
out of
is
to
same time, forming a continuous
Whenever narrow flowing borders
with lines flowing in an opposite direction
;
line
are used, as
round the form to prevent the eye running in No.
24, they are contrasted by others,
the general repose of the decoration
is
never for a
moment
lost sight of.
In the equal distribution of the surface ornament over the grounds, the Indians exhibit an instinct 78
â&#x20AC;&#x201D;
â&#x20AC;&#x201D;
.
INDIAN ORNAMENT. The ornament No.
and perfection of drawing perfectly marvellous.
on the green and red grounds was so perfect, that
copy
woven
when viewed
fabrics,
so as to obtain
economy in the production of our Plates has been able
not always, therefore,
Kensington of
woven
it is
Museum
to
necessarily limited the
should be visited and studied by
deepest
in
which the colours are fused that coloured objects
A
number
due regard
we have
of printings, and
The Indian
to
collection at
South
any way connected with the production
in
all
viz.
In this collection will be found the most brilliant colours perfectly harmonised
fabrics.
All the examples show the nicest adjustment of the massing
ornament to the colour of the ground
the
from an embroidered
very remarkable.
is
obtain the proper balance of colour.
impossible to find there a discord.
of the to
The way
what they always appear to seek, a neutralised bloom,
at a distance should present
L.,
was beyond the power of a European hand to
it
with the same complete balance of form and colour.
it
on Plate
The exact balance obtained by the gold embroidery
saddle-cloth, excited universal admiration in 1851.
in all their
I,
and
richest
shades,
;
receiving
every colour or tint, from the palest and most delicate
amount
the
just
of ornament
that
it
is
adapted
to
bear.
The following general 1
When
the ground
rules,
which are applicable to
all
woven
fabrics,
may be
gold ornaments are used on a coloured ground, where gold is
Where
darkest.
the gold
is
is
observed
:
used in large masses, there
used more thinly, there the ground
and more
lighter
is
delicate. 2.
into it 3.
When
a gold ornament alone
is
used on a coloured ground, the colour of the ground
by ornaments or hatchings worked in the ground-colours on the gold
When
ornaments in one colour are on a ground of contrasting colour, the ornament
from the ground by an edging of a lighter colour, to prevent 4.
When, on
all
carried
is
itself. is
separated
harshness of contrast.
the contrary, ornaments in a colour are on a gold ground, the ornaments are separated
from the gold ground by an edging of a darker colour,
to prevent the gold
overpowering the ornament.
See No. 10, Plate L. 5.
In other
cases,
where varieties of colour are used on a coloured ground, a general outline of gold,
ornament from the ground, giving a general tone
of silver, or of white or yellow silk, separates the
throughout.
In carpets and low-toned combinations of colour, a black general outline
The
object always appears to be, in the
not harshly, defined
;
woven
In
used for this purpose.
fabrics especially, that each
ornament should be
that coloured objects viewed at a distance should present a
that each step nearer should exhibit fresh beauties effects
is
;
and a
close inspection, the
neutralised
softly,
bloom
;
means whereby these
are produced.
but carry out
this they do
architecture of the
the same principles
Arabs and Moors.
The
of surface decoration which
spandril of a
we
find
in
the
Moorish arch, and an Indian shawl, are
constructed precisely on the same principles.
The ornament on of painted decoration.
Plate LIIL, from a book-cover at the India House,
The general
tion of the flowers over the lines of the
cover,
a very brilliant example
proportions of the leading lines of the pattern, the skilful distribu-
surface, and, notwithstanding the intricacy,
stalks, place it far .before
any European
effort of this
Plate LIV., the ornaments are less conventional in
observed the limit of the treatment of flowers on
specimen of two marked styles:
is
a
flat
class.
the perfect continuity of the
On
their treatment
surface
!
;
the inside of the same
but how charmingly
This book-cover
the outside, Plate LIIL, being after the Arabian
offers
in
itself
is
a
manner, and the
inside after the Persian.
79
——
——
-
Chapter XIII.— Plates 56, 57, 58.
HINDOO ORNAMENT. »—
> "t®
PLATE LVI Ornaments from a Statue
in Basalt at the
PLATE Burmese, of Glass.
Burmese Shrine.
3.
Burmese Standard.
C. P.
From Burmese
0. P.
Shrine.
Ornaments from the Copies of the Paintings on the walls of the Caves at A junta— Crystal Palace.
12. 13.
4.
Burmese
14.
5.
Hindoo.
Gilt
Chest.— C. P.
United Service Museum.
6-9.
Hindoo Ornaments.
10.
11.
Burmese.— C. P. Hindoo.— U. S. M.
We
have not been
—E.
I.
lo.
H.
Burmese.— British Museum. Hindoo.— E. I. H. Hindoo.— U. S. M.
Hindoo.— E. I. II. Burmese.— C. P.
10-19, 21.
Burmese.— U. Burmese.— C. P.
20, 22-25.
26.
able,
with the materials at
illustrations for a fair appreciation of the
— C. P.
LVIIT.
East India House. Crystal Palace.
Burmese.
Burmese, from a Monastery near Prome.
11,
Burmese Shrine.
2, 3.
Royal Asiatic Society.
7-10, 12-17.
C. P.
PLATE 1.
of the
LVII.
Crystal Palace.
1.
2.
4-6.
House
command
in
this
S.
M.
country, to procure
sufficient
nature of Hindoo ornament.
In the works hitherto published on the ancient architecture of India, sufficient attention has not
been directed to the ornamental portions of the buildings to enable us to recognise the true character of
Hindoo ornament. In early publications on the art of Egypt
rendered, that existed so
it
all
the works of scuplture and ornament were so falsely
has taken considerable time for the European public to become persuaded that there
much grace and
refinement in the works of the Egyptians.
The Egyptian remains, however, which have been transported existing in Egypt,
to
this country, the casts of others
and the more trustworthy representations which have of
placed this beyond doubt, and Egyptian art
is
taking
Y
its
late
been published, have
true place in the estimation of the public.
81
HINDOO ORNAMENT.
When
we
the same thing shall have been done for the ancient architecture of India,
better position than
we
are at present to form an opinion
how
far
to take rank as a really
is entitled
it
shall be in a
whether the Hindoos are only heapers of stones, one over the other, adorned with grotesque
fine art, or
and barbaric sculpture.
Had we
possessed only picturesque views of the Parthenon and the Temples of Balbeck and Palmyra,
we should unhesitatingly have But the contour of a
single
Eomans were
the
that
said
far
greater
moulding from the Parthenon would
the highest point in
and refinement.
civilisation
Although ornament
most properly an accessory to architecture, and never should be allowed to
is
usurp the place of proper structural features, or to overload or disguise them,
monument; and by
very soul of an architectural
mind which has been devoted
of care and rule
the ornament alone can
it
we judge
All else in any building
to the work.
and compass, but by the ornament of a building we can best discover how
at the
judgment, and
at once reverse the
who had reached
proclaim loudly that we were viewing the works of a people
than the Greeks.
architects
same time an
No one
can
is
in
all
cases the
truly of the
may be
amount
the result of
far the architect
was
artist.
peruse
the Essay on Hindoo Architecture
by
Ram Raz*
without feeling that a
higher state of architectural perfection has been reached than the works published up to the present
In this work not only are precise rules laid down for the general
time would lead us to believe.
arrangement of structures, but
also
minute directions are given
for
the
divisions
and subdivisions of
each ornament.
One
of the precepts quoted
perfection was cared for:
of symmetry!
"Woe
In building an
Ram
by
them who dwell
to
edifice,
how much
to be cited, as showing
Raz deserves
the general
in a house not built according to the proportions
therefore, let all its parts,
from the basement
to
the roof, be
duly considered."
Among
the directions for the various proportions of columns, bases, and capitals,
a rule for finding
is
the proper diminution of the upper diameter of a column in proportion to the lower.
Ram
Raz
of the column at
the base by as
by the Hindoo architects was
rule adopted
says, that the general
many
parts
to divide the diameter
there were diameters in the whole
as
height of the
column, and that one of these parts was invariably deducted to form the upper diameter. it
is
apparent that the higher the column the
less
it
will diminish;
and that
the apparent diminution of the diameter in columns of the same proportion
is
this
From which
was done because
always greater according
to the height.
The
best
LVL, from
specimens of Hindoo ornament we have been able to procure are represented in Plate
a statue of Surga, or the Sun, in basalt, at the house of the Asiatic Society,
to belong to a period
between the
fifth
and ninth century
In the sacred books quoted tectural
members with
:
Ram Raz
by
lotuses and jewels
The ornaments
are very beautifully
The ornament No. 8 represents the lotus, seen as
executed, and evidently betray Greek influence.
were in plan, with the buds in side-elevation
A.D.
and supposed
it is
are
it
held in the hand of the god. several
directions
to
ornament the various archi-
which s^em to be the chief types of the decoration on the
;
mouldings.
The
architectural features of
Definite instructions are quoted
the other. is
that the
evident
by
consist
Ram
Raz
chiefly of
mouldings heaped up one over
for the varying proportions
whole value of the style will consist in the more
these transitions are effected is
Hindoo buildings
;
but, as
we
said before,
we have no opportunity
of judging
the case. * " History of the Architecture of the
82
Hindoos."
By Earn Raz.
of each,
and
it
or less perfection with which
London, 1834.
how
far this
HINDOO ORNAMENT. (
find
Plate LVTI.
>n
we have gathered together
the examples of decorative ornament that
all
we could
on the copies of the paintings from the Caves of Ajunta, exhibited by the East India Company
at the
Crystal Palace.
a European hand,
it
is
As these difficult
such as the ornaments, at
any
style.
that
we
It
is
all
copies,
to say
notwithstanding that they are said to be faithful, are yet by
how
far they
events, there
is
so
may be
little
relied upon.
marked
In the subordinate portions,
character, that
very singular, that in these paintings there should be so
little
they might belong to
ornament
;
a peculiarity
have observed in several ancient paintings in the possession of the Asiatic Society.
a remarkable absence of ornament even on the dresses of the figures.
83
There
is
Chapter
XIV.â&#x20AC;&#x201D;Plates
59, 60, 61, 62.
CHINESE ORNAMENT.
PLATE The Ornaments, Nos.
1,
LIX.
8-17, 24-28, 33-35, 40, 42, are Painted on Porcelain.
Nos. 2-7, 18-23, 29-32, 30-39, 41, are from Paintings.
PLATE LX. The Ornaments, Nos. 1-12,
16, 19-24, are
Painted on Porcelain.
Nos. 17, 18, from Pictures. Nos. 13, 22, 23, from
Woven Fabrics. Wooden Boxes.
Nos. 14, 15, Painted on
PLATE The Ornaments,
LXI.
Nos. 1-3, are Painted on
Wood.
Nos. 4-6, 9, 10, 12-15, 17, 18, are Painted on Porcelain.
Nos.
7, 8, 11,
No.
10,
Woven
Fabrics.
from a Picture.
PLATE
LXII.
Conventional Renderings of Flowers and Fruit, Painted on Porcelain.
Notwithstanding the high antiquity of the all
their
civilisation of the
Chinese, and the perfection which
manufacturing processes reached ages before our time, they do not appear to have made
advance in the Fine Arts.
Mr. Fergusson,
his admirable "
in
that " China possesses scarcely anything worthy of the
engineering works, with which the land
is
name
Handbook
much
of Architecture," observes
of Architecture," and that
all their
great
covered, " are wholly devoid of either architectural design
or ornament." â&#x20AC;˘
z
85
;;
CHINESE ORNAMENT. In their ornamentation, with which the world articles
the numerous manufactured
familiar through
of every kind which have been imported into this country, they do not appear to have gone
beyond that point which as
so
is
it is, is
fixed,
and
reached by every people in an early stage of civilisation:
is
subject neither to progression nor retrogression.
is
New
form they are even behind the
Zealander
the happy instinct of harmonising colours.
what we should expect
;
As
but they
with
all
Eastern nations,
more a faculty than an acquirement,
this is
the arriving at an appreciation of pure form
;
In the conception of pure
common
possess, in
their art, such
it is
just
a more subtle process, and
is
is
the result of either more highly endowed natural instincts, or of the development of primitive ideas
by
successive generations of artists improving
The general forms of many
on each other's
efforts.
of the Chinese porcelain vases are remarkable for the beauty of their
but not more so than the rude water-bottles of porous clay which the untutored Arabian
outline,
banks of the Nile, assisted only by the instincts of his gentle race
potter fashions daily on the
the pure form of the Chinese vases
is
often destroyed
;
and
by the addition of grotesque or other unmeaning
ornaments, built up upon the surface, not growing from
it
:
from which we argue, that they can
possess an appreciation of form, but in a minor degree.
In their decoration, both painted and woven, the Chinese exhibit only just so belong
to
a
primitive
combinations form
Their
people.
the basis
;
most
those
are
efforts
in
much
would
art as
which
geometrical
but even in these, whenever they depart from patterns formed by the
they appear to have
intersection of equal lines
successful
imperfect idea of the
a very
of spaces.
distribution
Their instinct of colour enables them, in some measure, to balance form, but when deprived of this aid they do not appear to be equally successful.
examples. are
Patterns
more
1,
13,
8,
The
19, being generated
18,
diapers on Plate
by
LXIX.
will furnish us with
which ensure an equal distribution,
figures
perfect than Nos. 2, 4-7, 41, where the arrangement depends
more upon caprice; on the
other hand, Nos. 28, 33, 35, 49, and the other patterns of this class on the Plate, are examples in
which the instinct of the amount of
balancing colour required would determine the
Chinese share with the Indian this happy power in their woven fabrics of any fabric
is
;
The
mass.
and the tone of the ground
always in harmony with the quantity of ornament which
it
has to
The
support.
Chinese are certainly colourists, and are able to balance with equal success both the fullest tones of colour and the most delicate shades.
They most
are not only successful in the use of the primaries, but also of the secondaries and tertiaries
successful, perhaps, of all in the
management of the
lighter tones of pure colours,
â&#x20AC;&#x201D;
pale blue,
pale pink, pale green, prevailing.
Of purely ornamental
On
but very few.
ornament
â&#x20AC;&#x201D; such
as
Plate
we
or conventional
LX.
are
some examples
LXII.
Plate
In
all
although the arrangement
cases, is
as with us, violate consistency.
landscape and ornament, not
other than geometric
is
instinct
generally unnatural and
restrains
it
them within the true
unartistic, they never,
so far conventional, that
however we
may
feel
infer that they
close observation
We
of radiation from
which
is
or
limit;
and
by shades and shadows,
it to
must be
close observers of nature.
It
be unartistic,
In their
floral
is
is
we
are
patterns,
their fidelity in copying
the taste to idealise upon this
wanting.
have already referred in the Greek chapter to the peculiarities of the Chinese fretwork.
86
of fruit,
the parent stem, and tangential
could not well be otherwise, as the peculiarity of the Chinese
and we hence
;
In their printed paper-hangings, the whole treatment, both of figures,
moreover, they always observe the natural laws :
Chinese possess
always supplied by a representation
is
shocked by an overstepping of the legitimate bounds of decoration.
curvature
the
such as Nos. 17, 18, Plate LXI.
ornament:
however, their
patterns,
They have no flowing conventional
in 1-3, 5, 7, 8.
find in all other styles; the place of this
of natural flowers interwoven with lineal see
forms,
No.
1,
;
CHINESE ORNAMENT. Plate
LXL,
is
a
continuous meander like the Greek
No. 4, Plate LX., a curious instance of a
On
the whole, Chinese ornament
its characteristic
feature
of a lively imagination
;
is
oddness,
is
â&#x20AC;&#x201D;we
fret
;
Nos.
2-9,
art,
frets
with a curved termination.
a very faithful expression of the nature of this peculiar people
cannot
call
it
capricious, for caprice
but the Chinese are totally unimaginative, and
wanting in the highest grace of
specimens of irregular
18,
â&#x20AC;&#x201D; the
all
is
;
the playful wandering
their works are accordingly
ideal.
^ 87
——
——
— —
XV.— Plates
Chapter
—
— —
——
63, 64, 65.
CELTIC ORNAMENT. -*+.
*-«>-
PLATE
LXIII.
LAPIDARY ORNAMENTATION. 1.
2.
The Aberlemno Cross, formed of a single Chalmers, -Stone Monuments of Angus.
Slab, 7
ft.
high
Ornament on the base of Stone Cross in the Churchyard of St. Vigean's, Angusshire. Chalmers.
Ornament
Central portion of Stone Cross in the Cemetery in the Island of Inchbrayoe, Scotland.
Circular
5.
3.
of Base of Cross near the old
4.
Ornament on the Cross Angusshire.
Church
in the
Churchyard
of
Meigle,
Chalmers. Chalmers.
of Eassie, Angusshire.
—In addition to the various
ornaments observed on the stones here figured, a peculiar ornament occurs only in many of the Scotch crosses, which has been called the Spectacle Pattern, consisting of two circles, connected by two curved lines, which latter are crossed by the oblique stroke of a decorated Z. Its origin and meaning have long puzzled antiquaries the
Note.
:
only other instance which
Walsh's Essay on
ever
met with
of the occurrence of this ornament
upon a Gnostic
is
Gam
engraved in
Christian Coins.
—
—
Manx and Cumberland crosses as well as on that at Penmon, Anglesea a pattern occurs analogous to the one represented in our Greek Plate VIII. Pigs. 22 and 27. It was probably borrowed from the Roman tessellated
On some classical
we have
of the
pavements, on which
it is
occasionally found
:
it
never occurs in
MSS.
or Metal-work.
PLATE LXIV. INTERLACED STYLE. 1-6,
10-22, 20, 42-44, are Borders of Interlaced Ribbon Patterns, copied from Anglo-Saxon and Irish MSS. in the British
Museum, the Bodleian
and the Libraries of
St. Gall
Library, Oxford,
29.
Interlaced Panel, from the Psalter of St. Augustine in
30.
Ornament formed
the British
and Trinity College,
the Ilarleian Library in the British
31.
Museum.
Terminal Ornament of Initial Letter, formed of inter-
32.
in the Paris Library,
Interlaced
No. 693.
Silvestre.
Ornament, from Irish MS. at
Book
artists.
25.
35.
Interlaced Triquetral Pattern, from the Coronation Gos-
36.
Circular
pels of the
Humphries. Silvestre.
Terminal Ornament, with Foliage and naturally-drawn Animals introduced, from the Golden Gospels.
38 and 40.
28.
Pattern of Angulated Lines, from the Gospels of Lindisfarne. End of 7th century.
of four conjoined Triquetral, from the
Initial Letters
(Magnified.)
from the Gospels
of Lindisfarne,
with interlaced Patterns, Animals, and angulated Lines.
Angulated Ornament, with interlacement, from the Bible
Anglo-Saxon Kings.
Ornament
Sacramentarium of Rheims.
HUMPHRIES. 27.
of St. Penis.
Interlaced Ornaments, formed of red dots, from
the Gospels of Lindisfarne.
from the Corona-
Terminal Interlaced Ornament, from the Tironian Psalter in the Paris Library.
Rheims Sacra-
Silvestre.
(Magnified.)
of the Anglo-Saxon Kings, a production of
Pranco-Saxon 24.
Initial Letter,
Silv; stre.
Angularly Interlaced Ornament, from the Golden Gospels.
34 and 37.
Terminal Ornament of tion
33.
from the Franco-Saxon
9th century.
St. Gall.
Keilkr. 23.
Initial Letter,
Quatrefoil Interlaced Ornament, from the
mentarium.
laced and spiral lines, from the copy of the Gospels
9.
Part of Gigantic
Bible of St. Denis.
Humphries. 8.
from the
St. Gregory, in the
Library of Rheims. 9th or 10th century.— Silvestre.
Interlaced Ribbon Patterns, from the Golden Gospels in
Oth or 7th century.
of four Triquetrse conjoined,
Franco-Saxon Sacramentarium of
Dublin. 0, 7.
Museum.
39.
9th century.
End
of 7th century.
(Magnified.)
Terminal Ornament, with Dogs'-heads, from the FrancoSaxon Sacramentarium of Rheims. Silvestre.
41 and 45.
Quadrangular Interlaced Ornaments, from the
Missal of Leofric in the Bodleian Library.
A
89
—
CELTIC ORNAMENT.
PLATE LXV. SPIRAL, DIAGONAL, ZOOMOEPHIC, Initial Letter,
1.
from the Gospels
7th century. 2.
Ornament
3.
Interlaced
British
of angulated Lines,
British
(Magnified.)
Animals,
from the Book of Kells, in the
of
Lambeth
Gospels of
Terminal Border of Interlaced Animals, from Gospels of
Panels of Interlaced Beasts and Birds, from Irish Gospels at St. Gall. 8th or 9th century.
10.
Q, formed of an elongated Angulated Animal, from
Initial
Psalter of Ricemarchus, Trinity College, Dublin.
the Library
One Quarter
18
century.
7.
Interlaced Ornament, from ditto. Interlaced Animals.
Gospels of
Mac Durnan.
(Magni-
Ditto,
from the Arundel
20
Ditto,
from the Gospels of Canute,
— Humphries.
End Diagonal Patterns.
13.
Gospels of
Mac Durnan.
Ditto,
21.
(Magnified.)
Psalter, No. 166, British
Museum.
Museum.
in British
of 10th century.
from the Benedictional of yEthelgar.
Terminal Ornament of Spiral Pattern, with Birds.
Diagonal Patterns, from Gospels of Lindisfarne.
11.
10th
Silvesthe.
1!).
fied.)
10,
Page
9th cen-
(Magnified.)
8.
9.
of Frame, or Border, of an Illuminated
of the Benedictional of yEthelgar at Rouen.
(Magnified.)
tury.
End
of 11th century.
(Magnified.)
from the Gospels of Lindisfarne.
Diagonal Patterns, from Irish MSS. at St. Gall.
G.
(Magnified.)
15 and 17.
(Magnified.)
Mac Duman, in
9th century.
Palace.
Spiral Patterns,
14.
Lindisfarne.
from the Gregorian Gospels.
Museum.
Diagonal Pattern.
5 and 12.
of
(Magnified.)
Library of Trinity College, Dublin. 4.
End
of Lindisfarne.
Museum.
AND LATEE ANGLO-SAXON OENAMENTS.
(Magni-
Part
of large Initial Letter in the Gospels of Lindisfarne.
fied.)
(Real size.)
Humphries.
CELTIC ORNAMENT. The
genius of the inhabitants of the British Islands has, in
of a class or style singularly at variance with
been indicated by productions
those of the rest of the world.
characteristics at the present time, those of our forefathers,
In the Fine Arts, our immense Druidical temples are
so.
all ages,
Peculiar as
are
our
from the remotest ages, have been equally still
the wonder of the beholder
;
and
in
succeeding ages gigantic stone crosses, sometimes thirty feet high, most elaborately carved and ornamented with
devices of a style
unlike those of other nations, exhibited the old genius for lapidary erections
under a modified form inspired by a new
The
earliest
monuments and
faith.
of ornamental
relics
art
which we possess (and they are
numerous than the generality of persons would conceive) are introduction of Christianity into
these
islands,* that
we
so intimately connected
are compelled to refer
endeavours to unravel the history and peculiarities of Celtic Art; scarcely attempted interest equal,
to
be
performed,
although possessing, from
its
to
more
far
with the early
the latter in
our
a task which has hitherto been
extreme nationality, a degree of
one would have thought, to that connected with the history of ornamental art
in
other
countries. 1.
Historical
Evidence.
— Without
attempting to reconcile the various statements which have
been made by historians as to the precise manner of the introduction of religion into Britain, we have the most ample evidence, not only that
it
had been long established previous
to
the arrival of
* The Pagan Celtic remains at Gavr' Innis, in Brittany, New Grange, in Ireland, and, I believe, one Druiilical monument near Harlech, in Wales, exhibit a very rude attempt at ornementation, chiefly consisting of incised spiral or circular and angulated lines.
90
CELTIC ORXAMENT. St.
Augustine ia A.D. 596, but that in several important points of doctrine the old British
differed from the missionary sent by St. Gregory the Great.
out by
existing
still
Scriptures,
and two of these are
St.
preserved
still
one in the Bodleian Library at Oxford, and the other
;
They
each Gospel scarcely differing from the ordinary writing of the text, the
two being merely written
in
the
;
line or
first
Gospel preceded by a portrait of the Evangelist (one only
in red ink, each
remains, namely, that of St. Luke), seated under
still
Holy Gospels, written
are copies of the
rounded characters common in that country, and destitute of ornament
Italy, in the large uncial or letter of
religionists
most completely borne
is
Gregory sent into England various copies of the Holy
Corpus Christi College, Cambridge.
in the Library of
initial
evidences.
artistic
This statement
a
round-headed arch, supported upon marble
columns, and ornamented with foliage arranged in a classical manner.
the most ancient Italian
All
manuscripts are entirely destitute of ornamental elaboration.
The
case
these islands
the most
totally different with
is
manuscripts known to have been written in
ancient
and as these are the chief supports of our theory of the independent origin of Celtic
:
ornament, and
moreover, we are constantly opposed by doubts as to the great age which has been
as,
assigned to these precious documents, their venerable antiquity.
we must enter
true, indeed, that
It is
a
into
little
palaeographical
none of them are dated
has inserted his name, which the early annals have enabled us to identify,
the
Dimma Mac
or Gospels of St.
Book
of
Armagh, have been
Nathi
;
exists, in
to periods
from the
latter
observes,
"these
seventh century up to the
Charters are generally written in
more
a
compare, for
century, and
Catal. of
MSS.
p.
xxiv.)
;
the
MS.
Vespasian,
King
free
A
third
species
by the
afforded
MSS.
of evidence
fact of
many
manner than the
expeditious
A
known under the name
1,
generally
King
at
or
St.
Chad
great antiquity of our very
them being
still
preserved
were carried by the Irish and Anglo-Saxon missionaries.
only cite the case of St. Gall, an Irishman, whose
or, again,
;
Boniface
The is
in various
great
places
number
abroad, whither
is
they
of monastic establishments ;
and we need
to
the monastic
matter of historical record
name has not only been given it
is
situated.
many
The of the
and include a number of fragments of elaborately-ornamented volumes long venerated as relics of the founder. is
still
preserved at Wurtzburgh, where
it
In like manner, the Book
preserved at Fulda with religious care
(an Irishman), the Apostle of Franconia, was discovered still
the
without being
;
monastic books of this establishment, now transferred to the public library, comprise
of the Gospels of St.
of the
ancient national manuscripts
establishment which he founded, but even to the Canton of Switzerland in which
executed in these islands, and
to
670 (Casley's
A.D.
Reculver, a.d. 679
Mac Eegol
impossible
quite
is
it
of the East Saxons,
of Kent, dated
founded by our countrymen in different parts of Europe
oldest manuscripts in Europe,
Astle
as
are coeval with the Charters.
of the
of
and
and although,
;
observable between Charters and books
is
Charter of yEthelbald, dated A.D. 769, with the Gospels of perfectly convinced that the
and
:
other libraries,
Now
Charters of Sebbi
of Lotharius
Regol
each other."
they authenticate
example, the Cottonian
Psalter of St. Augustine, with
Museum and
Norman Conquest
books written in the same ages, yet a similarity of character the same
Mac
not later than the ninth century.
of contemporary Anglo-Saxon Charters existing in the British
in
to fix the period
proof of the early date of the volumes, in the unrivalled
collection
written
but in some the scribe
;
and thus
Bodleian Gospels, written by
the
satisfactorily assigned
Another equally satisfactory evidence
half of the
in proof of
In this manner the autograph Gospels of St. Columba; the Leabhar
of the execution of the volume.
Dhimma,
detail
is
in his tomb,
;
and that of
St.
Kilian
stained with his blood, and
is
annually exhibited on the altar of the cathedral on the
anniversary of his martyrdom.
Now, to the
all
these manuscripts, thus
proved to have been written in these islands at a period prior
end of the ninth century, exhibit peculiarities of ornamentation
totally
at variance with those
91
CELTIC ORNAMENT. of all other
save only in
countries,
places
may have
where the Irish or Anglo-Saxon missionaries
introduced their own, or have modified the already existing
And
styles.
we may
here
ohserve that,
although our arguments are chiefly derived from the earl}7 manuscripts, the results are equally applicable to
contemporary ornamental metal
the
or
stone- work
of which
the designs
;
many
are in
cases
so
entirely the counterparts of those of the manuscripts, as to lead to the conclusion that the designers
of the one class of ornaments supplied also the designs for the other.
some of the great stone crosses, that-
the case in
So completely, indeed,
is
this
we might almost fancy we were examining one
of
the pages of an illuminated volume with a magnifying glass.
Peculiarities of Celtic Ornament.
2.
the entire absence of foliage or other
in
first,
â&#x20AC;&#x201D;The
acanthus being entirely ignored
and elaboration,
phyllomorphic or vegetable ornament,
and secondly, in the extreme
;
various
the
of
chief peculiarities of the Celtic ornamentation consist,
patterns,
classical
and excessive minuteness
intricacy,
mostly geometrical, consisting
â&#x20AC;&#x201D; the
ribbon-work,
of interlaced
diagonal or spiral lines, and strange, monstrous animals and birds, with long top-knots, tongues, and tails,
intertwining in almost endless knots.
The most sumptuous Lindisfarne and
St.
Chad, and some of the manuscripts at
the most elaborate patterns of these facing the
compartments, the whole
in
commencement
of each
of the four
work* must have been very great; the
mass of
Book
cf the manuscripts, such for instance as the St.
Gall,
Gospels of
of Kells, the
have entire pages covered with
forming beautiful
cruciform designs, one
The labour employed
Gospels.
such a
in
care infinite, since the most scrutinizing examination
with a magnifying glass will not detect an error in the truth of the lines, or the regularity of the
and
interlacing;
with
yet,
harmonious
minuteness, the most
this
all
effect
of colouring
lias
been
produced.
Contrary to the older plan of commencing a manuscript with a letter in noways or scarcely differing
from the remainder of the
text, the
pages was ornamented
an
size,
in
commencement
equally elaborate
of each Gospel opposite to these grand tessellated
The
manner.
letter
initial
was
often
of
gigantic
occupying the greater part of the page, which was completed by a few of the following letters
or words,
each letter generally averaging about an inch
we
those of the cruciform designs,
find all
in
In these
height.
initial
pages,
as
in
the various styles of ornament employed in more or less
detail.
The most
universal and singularly diversified ornament employed
manuscripts, consists of one or more convolutions,
and
numerous examples of
this
in
their
either
of
ornament
patterns
these designs, an
of ;
as,
for
idea
the
instance, in
ribbons run parallel
to
Plate LXIV., Fig. 11.
extremely
our
common
are introduced occurs in Plate
and LXIV. exhibit
colouring the ribbons with different tints,
effects are
Of the
produced.
curious intricacy
and angulated
LXIV.
some of these Sometimes two
upper compartment in Fig. 5 of Plate LXIII.
early
in
in metal, stone, or
easily be obtained by following the ribbon in
The simplest modification
pavements, but rarely in is
may
dilated
is
in the angles of Fig. 27, Plate
â&#x20AC;˘which
By
in varied styles.
each other, but are interlaced
allowable the ribbon
artificers
Plates LXIII.
geometrical.
upon a coloured or black ground, many charming
some
When
symmetrical and
often
by
narrow ribbons interlaced and knotted, often excessively intricate
to
alternately, as fill
up
in
Fig.
12
of this pattern of course
Another simple form
MSS. and metal-work
LXIV., Fig.
36.
;
Plate
LXIV.
particular spaces in the design, as in is
the double oval, seen
This occurs in Greek and Syriac MSS., in
MSS.
of
is
that
known
Roman as
tessellated
the triquetra,
an instance in which four of these
triquetral,
Figures 30 and 35 in the same Plate are modifications
of this pattern. * In one of these pages in the Gospels of and twenty of the most fantastic animals.
92
St.
Chad, which we have taken the trouble to copy, there are not fewer than one hundred
CELTIC ORNAMENT. Another very distinguishing ornament profusely introduced into early work of monstrous animals, birds, lizards, and
most
manner
fantastic
figure
so as to
fill
the
up a required
thus introduced
also
is
in
;
on one
as
on one of the bosses of the Duke of Devonshire's Lismore crozier are several such
and
In
groups.
fantastic
human
intertwining together
drawn
of the Monasterboice Cross in the Crystal Palace, where are four figures thus singularly
of the panels intertwined,
long interlacing ribbons,
into
often symmetrical, but often irregular, being
;
but of rare occurrence, the
Occasionally,
space.
snakes of various kinds, generally extravagantly elongated, with
and tongues, extended
top-knots,
tails,
kind consists of
all
LXIII.
Plate
groups
are
of animals thus
The most
intertwined.
intricate
examples are the groups of eight dogs (Plate LXV., Fig. 17) and eight birds (Plate LXV., Fig. 15)
from one of the
Gall MSS., and the most elegant
St.
of the interlaced ribbons touch each
'Quid
is
Fig.
16)
and much more
far less geometrical
no other than the
is
from the Psalter of Ricemarchus, Bishop of
Gloriaris,'
it
In the later Irish and Welsh MSS. the edges
and the designs are
The strange design (Plate LXV.,
confused.
that
other,
LXV., Fig. 8)
the marginal ornament (Plate
is
from the Gospels of Mac Durnan, at Lambeth Palace.
Q
initial
It will be seen
David's A.D. 1088.
St.
Psalm
of the
intended for a monstrous animal, with one top-knot extended in front over
its
nose, and a
second forming an extraordinary whorl above the head, the neck with a row of pearls, the body long
and angulated, terminated by two contorted be
and grim claws, and a knotted
legs
Very
indeed, for the animal to unravel.
difficult,
which
tail,
it
would
often, also, the heads alone of birds or beasts
form the terminal ornament of a pattern, of which various examples occur in Plate LXIV., the gaping
mouth and long tongue forming a not ungraceful
The most spiral
characteristic,
more
or
spiral
may
ingeniously this pattern
Fig.
be
22,
which
It
of the
design
skilled
in
is,
12, are instances of this
In the MSS., and
in Plate LXIII., Fig. 1,
also
work, found its
pattern
occur in
several
in
different
that this
circular ;
Z
at
and never
from the irregularity
was not drawn by an
of bronze
we
It is
more
unknown
of
artist
is
Instances in metaluse,
about a foot in
enamelled plates of early Anglo-Saxon
rarely found in stone-work, the only instance
are aware, being on the font of Deerhurst Church.
ornament does not appear in MSS. executed in England
that this
Bearing
after the ninth century,
the oldest ornamented font in this country. is
composed of diagonal
lines,
never interlacing, but generally
equal intervals apart, forming a series of Chinese-like patterns,* and which, as the letter
reversed, seems
great modification, elaborate
objects
also in small, circular,
parts of England.
Another equally characteristic pattern
Z, or
the finer
forming a long, curved design, like an ancient Irish trumpet, the mouth of which
lines
we may conclude
arranged
how
This pattern has also been called the trumpet pattern, from the spaces between
occurrence in England, as far as
mind
all
genuine Celtic patterns, but indicates a certain amount either of carelessness or of
the
this
all
spiral lines always take the direction of a C,
represented by the small pointed oval placed transversely at the broad end.
work of
of coils
ornament,
Plate LXIII., Fig. 3, shows
of the real size.
that the central ornament
diameter, occasionally found in Ireland
of
off to the centres
from the circumstance, but
itself,
any two of the
in
is
5,
1,
and
therefore, evident, not only
extraneous influence.
is
produced by two or three
that
is
converted into the diagonal pattern.
and more ancient metal and stone-work, these that of an S.
patterns,
Celtic
Plate LXV., Figs.
lines.
magnified; and
less
the
all
from a fixed point, their opposite extremities going
starting
lines
formed by other
however, of
finish.
MSS.
as
it
to
be the primary element,
may be
seen
in
Plate
LXV.,
may be termed Figs.
4,
9,
purely geometrical and regular, but in rude work
design, as in Plate LXIII., Figs.
1
and
in
10, it
pattern. 11,
and
It is capable of 13.
In the more
degenerates into an irregular
3.
* Several of the patterns given in the upper pait ef the Chinese Plate
and metal-work, as well as
6,
Z
the
LIX. occur with scarcely any modification
our MSS.
B B
93
in our stone
CELTIC ORNAMENT. Another very simple ornament occasionally used in our MSS. consists of a placed at equal
Plate
LXV., Fig.
from the
last
is,
See Plate LXIV., Figs. 28 and 36
a series of steps.
ornament we
more ornamental
indeed, the simplest of
shall notice is,
and
details,
MSS.
Irish
Sometimes,
one
are, indeed,
all,
initial letters, as well as of
the
they were even formed into patterns, as in Plate LXIV., Figs. 34
also,
Origin of Celtic Ornament.
as they appear in their purest
â&#x20AC;&#x201D;The
various
We
and
Ireland
that
of the
local
the
latter
styles
in those parts
entering
into the
materially assist in determining this
identity
employed
occurs in all
their
and
question.
;
at the
and
It
is
satisfactorily
known
end of the seventh century.
predecessors.
least
is
England and Wales, would, we think, our argument that Venerable Bede
sufficient for
The famous Gospels
But
it is
Museum,
of Lindisfarne, or
disciples of the Irish St.
they
as
Columba,
so that it is not at all surprising
;
and no such remains
exist in
their Irish
the north of
Germany
.
One
class
all
of writers, anxious
Irish Churches, has referred
by the
these peculiarities of ornament were derived
them
to a
overthrow the independence of the
to
Roman
origin,
and has even gone
suppose that some of the grand stand crosses of Ireland were executed in Italy.
MS.
by
support to the idea that the ornamentation of Anglo-Saxon MSS., &c, was of
early Christians of these islands.
a single Italian
of St. Cuthbert,
were when they arrived in England, had certainly no
Various have been the conjectures whence
and
Book
an unquestionable proof of such employ-
is
a Teutonic origin.
ancient British
like
equally true that Lindisfarne was an establishment founded
ornamental design of their own
would give the
was in
examination
careful
scholars should have adopted the styles of ornamentation used
The Saxons, pagans
peculiarities of
A
instance
it
that this volume was executed by Anglo-Saxon artists at Lindisfarne
by the monks of Iona, who were the that their Anglo-Saxon
first
true, indeed, that the Anglo-Saxons, as well as the Irish,
is
these styles of ornamentation.
it
the
in
Churches were identical in their peculiarities, and the
Irish
monuments.
It
preserved in the Cottonian Library in the British
ment
Irish
Anglo-Saxon MSS., and of the Roman, Romano-British, and early
Christian inscribed and sculptured stones of the western parts of
informs us, that the British
and
name.
question, whether the
of ornament from the early British Christians, or whether
early
j
where the old Celtic races longest
were originated, and thence dispersed over England.
of the
origin
the tenth or eleventh centuries
fifth to
to give the Celtic as their generic
purposely, indeed, avoid
received their letters
of ornament described above were practised
styles
and most elaborate forms
we have not hesitated
prevailed,
so far as
As, however, not
older than the ninth century, nor a single piece of Italian stone sculpture having
the slightest resemblance to
An
consisting merely of red dots or
of the chief characteristics distinguishing Anglo-Saxon
throughout Great Britain and Ireland from the fourth or
to
and
37. 3.
as
;
however, by no means characteristic of Celtic ornament occurring elsewhere
These were in great use as marginal ornaments of the great
points.
and
This
2.
angulated lines,
series of
earliest period.
The
and
apart, forming
distances
those
of this
country, can
be produced, we at once deny the assertion.
examination of the magnificent work upon the Catacombs of Rome, lately published by the French
Government, in which
all
the inscriptions
and mural drawings executed by the early Christians are
elaborately represented, will fully prove that the early Christian art
no share in developing that of these
islands.
It is true that the
and ornamentation of Rome had
grand
tessellated pages of the
MSS.
above described bear a certain general resemblance to the tessellated pavement of the Romans, and had they been found only in Anglo-Saxon in various parts
of England,
MSS. we might have
and which
in the seventh
conjectured that such pavements existing
and eighth centuries must
uncovered, were the originals from which the illuminator of the
the Irish MSS., and in the
94
MSS. which
MSS. had taken
still
have remained
his idea
are clearly traceable to Irish influence, that
we
;
but
it
is
in
find these pages
CELTIC ORNAMENT.
Roman
most elaborately ornamented, and we need hardly say that there are no in Ireland, the It
may, again, be
from the
most
Romans never having
Roman
visited that island.
common
said that the interlaced ribbon patterns, so
tessellated
inartificial character,
seen, for instance, in Plate
pavements
tessellated
and mosaic work
but in the
;
MSS., &c, were derived
in the
was of the simplest and
latter the interlacing
bearing no resemblance to such elaborate, interlaced knotwork as
LXIII.
In
in the
fact,
Roman
to be
is
remains the ribbons are simply alternately
laid over each other, whilst in the Celtic designs they are knotted.
Another perpetually It
is
class of writers insists
accustomed
certainly true
inscriptions
upon
to
hear called Runic
that in the
crosses,
upon the Scandinavian origin
Isle
of
knots,
Man,
and connected with Scandinavian
however, the Scandinavian nations were Christianised by missionaries from
turies
more recent than the
still
oldest
existing in
and
Denmark and Norway
A
lately published,* is sufficient to disprove such
given in
representations
hesitation in asserting
it
As,
our
these islands, and as
moreover, they are several cen-
comparison of our plates with
very excellent series of illustrations of the ancient Scandinavian
of the 460
Runic
find
described.
our MSS., there can be no grounds for asserting that the
finest of
ornaments of the MSS. are Scandinavian.
as,
;
still
superstitions.
and Bewcastle, we
as well as at Lancaster
ornamented with many of the peculiar ornaments above
crosses are quite unlike those
we are
of these ornaments, which
an
assertion.
relics
those
in the
contained in the
Copenhagen Museum,
Only one figure (No. 398) in the whole
that work exhibits the patterns of our MSS., and
That the Scandinavian
to be a reliquary of Irish work.
artists
we have no
adopted Celtic
ornamentation, especially such as was practised about the end of the tenth or eleventh centuries, evident
from the similarity between their carved wooden churches (illustrated in detail by M. Dahl)
Museum
and Irish metal-work of the same period, such as the Cross of Cong in the Irish
is
Academy
in Dublin.
Not only the Scandinavian, but
magne and
of the Royal
his successors,
also the earlier
together with
those
of
and more polished
artists of the school of Charle-
Lombardy, adopted many of the peculiar
ornaments in their magnificently illuminated MSS.
Celtic
They, however, interspersed with them classical
ornaments, introducing the acanthus and foliage, giving a gracefulness to their pages which we look for in vain in the elaborate,
in Plate
LXIV.,
of Frankish art
is
but often absolutely painfully intricate, work of our
copied from the Golden Gospels in the British
of the ninth century, in which
Anglo-Saxon and Irish patterns were, however, size)
in
Such
is
Museum,
artists.
we perceive such a combination so closely copied (always,
Our
Fig. 25,
a magnificent production
The
of ornament.
however, of a
much
some of the grand Frankish MSS. that the term Franco-Saxon has been applied
larger
them.
to
the case with the Bible of St. Denis in the Bibliotheque Nationale, Paris, of which forty pages
are preserved in the Library of the British
of the real
Museum.
Plate LXIV.,
fig.
31,
is
MS.
copied from this
size.
It remains to inquire, whether
Byzantium and the East may not have afforded the ideas which
the early Celtic Christian artists developed in the retirement of their monasteries into the elaborate patterns which before the seat Irish
we have been examining.
The
fact that
this
style
of
ornament was
fully
developed
end of the seventh century, taking in connexion with that of Byzantium having been the
of Art from the
middle of the- fourth century,
will
suggest the possibility that the British or
missionaries (who were constantly travelling to the Holy
obtained the ideas or principles of some of these ornaments.
* In the division of this
Danish work devoted
to the
Bronze age we
Land and Egypt) might have
To prove
find various
there
this assertion will, indeed,
examples of
spiral
be
ornaments on metal-work, but
always arranged in the CQ manner,' and with but very few inartificial combinations. In the second division of the Iron perio find various examples of fantastical intertwined animals, also represented on metal-work. Nowhere, however, do the interlao patterns, or the diagonal Z-like patterns, or the trumpet-like spiral patterns, occur.
95
we
1
<1
also
ribbon
â&#x20AC;&#x201D;
CELTIC ORNAMENT. because so
difficult,
Certain, however, exhibits no
little
analogy with our Celtic patterns
monuments
the latter and the early
M. Didron,
in his Iconographie de
Art previous to the seventh or eighth century.
real Byzantine
that the ornamentation of
is
it
known of
is
of
St.
much
a
;
Sophia, so elaborately illustrated by H. Salzenberg,
resemblance
greater
however, between
exists,
Mount
Athos, representations of some of which are given by
In
our Egyptian Plate X., Figs. 10, 13-16, 18-23, and
Dieu.
Plate XI., Figs. 1,4, 6, and 7, will
be perceived patterns formed of spiral lines or ropes, which
have suggested
of our
the
pattern
spiral
ornaments
Celtic
majority of these Egyptian examples the spiral line
however,
enough
is
it
it
arranged like an
is
be perceived that in the
will
In Plate X., Fig.
S.
11,
arranged C-wise, and thus to a greater degree agrees with our patterns, although wide
detail
in
but
;
may
for
The
them.
elaborate
common
interlacements, so
in
Moresque
ornamentation,
agree to a certain extent with the ornaments of Sclavonic, Ethiopic, and Syriac MSS., numerous examples of which are given by Silvestre, and in our Palaiographia Sacra Pictoria
had their origin in Byzantium or Mount Athos, we might worked out, however, in a
We
different
manner by the
lie
and
as all these, probably,
ed to infer a similar origin in the idea,
and Anglo-Saxon
Irish
;
have thus endeavoured to prove that, even supposing the early
artists.
might
artists of these islands
have obtained the germ of their peculiar styles of ornament from some other source than their own national genius, they had, between the
period of the introduction of Christianity and
the
beginning
of the eighth century, formed several very distinct systems of ornamentation, perfectly unlike in their
developed state to those of any other country
owing
to the breaking
and
;
this,
when the whole
too, at a period
up of the great Roman empire, was involved
of Europe,
in almost complete darkness as
regards artistic productions. 4.
Later Anglo-Saxon Ornament.
composed of gold bars
by some of the Anglo-Saxon
moreover, decorated
being,
appear that
it
for the decoration of
artists,
being introduced into
titles
These frames were ornamented with foliage and buds
and stems were interwoven together,
ideas, the leaves
with elegant
circles,
was in the south of England that
squares,
this style of
as
fully illustrated in
the Archaiologia,
lozenges,
or
quatrefoils.
ornament was most
Of these the Benedictional belonging
library of Rouen, are close rivals of
Cambridge.
The Gospels
us the Figure 20 in Plate
There can be foliage
little
of
it
is ;
the most magnificent
;
to the
It
â&#x20AC;&#x201D;the
would
fully elaborated,
St.
Duke
two others, however, now
iEthelwold, in of Devonshire, in
the public
as is also a copy of the Gospels in the library of Trinity College,
King Canute
in the British
Museum
is
another example, which has afforded
LXV.
doubt that the grand MSS. of the Frankish schools of Charlemagne, in which
was introduced, were the originals whence our
the introduction of foliage
among
later
Anglo-Saxon
artists
adopted the idea
their ornaments. J. 0.
96
but, true to the
;
well as with the gold bars
the grandest examples having been executed at Winchester, in the Monastery of
the latter half of the tenth century.
equally
It consisted of a frame-like design,
surrounding the page, the miniatures or
entirely
the open space in the centre.
angles
the middle of the tenth century another and
MSS., and equally unlike that of any other country.
their finest
interlaced
employed
of ornament was
striking style
â&#x20AC;&#x201D;About
WESTWOOD.
of
CELTIC ORNAMENT.
BIBLIOGRAPHICAL REFERENCES. Antiquities of Ireland
Ledwick.
Spalding Club.
4tO.
Also, Rertim
2 vols. 4to. 1818. O'Conor. Biblioth. Stoivensis. Hibernicarum Scriptores veteres. 4 vols. 4to. Petrie.
Essay on the Round Towers of Ireland.
Betham.
Irish Antiquarian Researches.
O'Neill.
Illustrations of the Crosses of Ireland.
Gage,
J.
Sculptured Stones of Scotland.
loyia, vol. xxiv.
Large 8vo.
Ellis, Sir H.
Account ofCadmoris Paraphrase of Scripture History,
in Archaioloyia, vol. xxiv.
2 vols. 8vo.
Goodwin, James, B.D.
Folio, in Parts.
Evanyelia Auyustini Gregoriana, in Trans.
Cambridye Antiq. Soc. No.
13, 4to. 1847,
Keller, Dr. Ferdinand. Bilder und Schriflziiye in den Irischen Manuscripten ; in the Mitlheilunyen der Anliq. Qeselhch. in Zurich. Bd. 7, 1851.
Bastard, Le Comte de. Ornements Francais. Imp. fol. Paris.
Westwood,
Worsaae,
â&#x20AC;&#x17E;
J. 0.
Palceoyraphia Sacra Pictoria.
4to.
1843-1845.
In Journal of the Archeeoloyical Institute, vols. vii. and x. Also numerous articles in the Archaoloyia Cambrensis.
Cumming. Chalmers.
J. J.
A.
el
with eleven plates.
Miniatures des Manuscrils
Afbildninger fra det Kony.
Museum i KjSbenhavn.
8vo. 1854.
And
Du Sommerard, Shaw, Silvestre and Champollion, Astlb (on Wriliny), Humphreys, La Croix, and Lysons (Magna Britanthe general works of Willemin, Strutt,
Langlois,
Illustrations of the Crosses of the Isle of
Stone Monuments of Anyusshire.
Fol. 1856.
Dissertation on Si. JEthehvold's Benedictional, in Archao-
Imp.
Man.
4to.
nia).
fol.
C C
97
XVI.— Plates
Chapter
66, 67, 67*, 68, 69, 69*, 70, 71, 72, 73.
MEDIEVAL ORNAMENT.
PLATE LXVI. Conventional Leaves and Flowers, from MSS.
of different periods.
PLATES LXVIL, LXVll*. Collection of Borders, from Illuminated MSS., from the 9th
PLATE Diapers on Walls, from Miniatures
in
to the 14th century.
LXVIII.
Illuminated MSS., from the 12th to the Kith century.
PLATE LXIX. Stained Glass of different Periods and Styles. 1, 5,
li,
8.
2, 4. •">.
7.
Church
at Attenberg, near Cologne.
9, 11.
Cathedral of Soissons.
Chapter-house, York Cathedral.
10.
St.
Southwell Church, Nottinghamshire.
13.
Cathedral at Troyes.
North Transept, York Cathedral.
14.
Canterbury Cathedral.
Thomas
at Strasburg.
PLATE LXIX*. Stained Glass of different Periods and Styles. 12, 17. .
15.
16,96.
St. Cunibert,
Cologne.
Canterbury Cathedral.
Abbey
18-24, 25, 27, 20. 28.
Cathedral of Bourges.
Cathedral of Angers.
of St. Denis.
99
;
.
MEDIyEVAL ORNAMENT.
PLATE LXX. Encaustic Tiles.
13th and 14th centime
PLATE LXXI. Illuminated MSS., No. 1-12 are of the 12th century
;
13
is
of the 13th century.
1
12 and 13 are from the Illuminated Books of the Middle Ages.-
HUMPHREYS. The remainder
of the
Ornaments on
this Plate
from the
B.-itish
Museum.
PLATE LXXII. Illuminated MSS., No. 13, 14, of the 13th century. 1,
2 3 7
8,
and
15, are
1,
3-6, 8-11, 14th century.
from the Illuminated Books of the Middle Ages.
The remainder from the
PLATE
British
the Beginning to the
End
2, 7, 12, 15, of
15,
the 15th century.
from a MS. in the possession of the Author.
Museum.
LXXIII.
Illuminated MSS., No.
MSS. from
2.
of the 15th century.
3.
11-15, from the Illuminated Books of the Middle Ayes.
The remainder from the
British
Museum.
MEDIEVAL OKNAMENT.
The
transition
from the round arch, characteristic
of the thirteenth century,
is
of the
readily traced in the buildings in
Romanesque
style to
which the two
the Pointed style
styles are intermingled
universally in the thirteenth but the passage from Romanesque Ornament to that which prevailed so All traces of the acanthus leaf have disappeared, and we find a purely concentury is not so clear.
ventional style of ornament universally prevalent in to
this
style
is
found in the illuminated MSS.
derived in some of their features from the Greek
100
all
the buildings of the time.
The
nearest approach
of the twelfth century, which appear to have been
MSS.
The ornaments
are formed of a continuous
MEDI/EVAL ORNAMENT.
Warmington Church, Northamptonshire. — W. Twopeny.
Wells.— Collins.
Early English.
Wflrmington Church. Northamptonshire.— W. Twopeny.
stem, throwing off leaves on
and arrangement of the
the
lines in
outer
side,
Decorated.
and terminating in a
any given space
is
Wells.— Collins.
The general
flower.
disposition
exactly similar to the arrangement of Early English
sculptured ornament.
Early
There
period.
Ornament
English is
as
much
of the Greeks.
It is
from them.
fulfils
lint it
It
is
the most perfect, both in principle and in execution, of the Gothic
elegance and refinement in modulations of form as there
every one of the conditions which
remained perfect only so long as the
idealised
and more
is
in the ornament
always in perfect harmony with the structural features, and always grows naturally
style
we
desire to find in a perfect style of Art.
remained conventional.
direct in imitation, its peculiar beauties disappeared,
and
As it
this style
became
ceased to be an orna-
mentation of structural features, but became ornament applied.
DD
less
101
MEDIAEVAL ORNAMENT. In the capitals of the columns in the Early English architecture the ornament arises directly from above the necking
the shaft, which flower.
This
is
mode
analogous to the
on the contrary, where a
much
splits
up
a series
into
of decorating
each
of steins,
Stone Church, Kent
;
and, therefore, the shaft
it
style,
was no longer possible
terminated by a bell-shape,
â&#x20AC;&#x201D; Published by the Topographical Society.
The more and more
round which the leaves are twined.
is
terminating in a
In the Decorated
the Egyptian capital.
nearer approach to Nature was attempted,
to treat a natural leaf as part of the shaft
stem
natural these were made, the less artistic
became the arrangement.
The same thing occurs ill
the
Early English
mouldings of the
in the bosses which cover the intersections of the
the stems
bosses
ribs,
of the
On
ribs.
flowers forming the bosses are
the vaulting
continuations of the
subsequent periods the intersections of the ribs were concealed by
whilst in
the overlaying of the boss, which was here as
much
an application as was the acanthus leaf to the bell
of the Corinthian capital.
In the spandrils of the arches, so long as the conventional style was retained, one vigorous main
stem was distributed over the
spandril,
from which sprang the leaves and flowers
;
but when the
natural was attempted, the stem ceased to be the guiding form of the ornament, and lost in
the endeavour to represent in stone the softness of nature.
gradually
disappears,
and the spandrils are often
filled
with
The main stem
three
immense
all
grace
as a leading feature
leaves springing from a
twisted stem in the centre.
From
few
the
remains which
exist
still
of the decorations of the interior
of buildings,
unable to form a very complete idea of this class of ornament of the thirteenth century.
from illuminated MSS. are not a architectural,
and there were
the other, that there
is
so
safe
many
we
are
The ornaments
guide, as, after the twelfth century, the style is rarely very
schools of illumination,
and they borrowed
often great mixture in the same illumination.
so
much one from
It is unlikely, that while
the
sculptured ornament was so universally conventional, that the decorated portion of the same building
could have departed from the
102
style.
â&#x20AC;&#x201D;
KJ ^r-icAij^.
MEDIAEVAL ORNAMENT.
On
Plates
LXVII. and LXVII*. we give a
of borders
selection
found
on
MSS.,
illuminated
ranging from the ninth to the fourteenth century; and on Plate LXVIII. diapers from walls, chiefly
There are very few
taken from the back-grounds of illuminations, from the twelfth to the sixteenth.
of either class that could be worthy accompaniments to the pure conventional ornament of the Early
English
style.
In the thirteenth century, beyond
all others,
the Alhambra, Salisbury, Lincoln, Westminster,
architecture was in its zenith. all
general effects combined with the most elaborate decoration.
although the forms widely
They
exhibit the
same care
undulations of form,
differ,
for the leading
In
the principles on
all
these buildings there
same elegance and refinement
arrived
at
in
the ornamentation,
walls, with stained
glass
and encaustic
when every moulding had
its
colour
by
the
effort, it,
â&#x20AC;&#x201D;the
light
must be vain
cannot alone sustain the
tiles,
â&#x20AC;&#x201D;a
and when, from
appropriate ornament; an effect which must
its
style reached that it
burnt out; not only architecture, but
immediately began to decline,
indeed.
which was
effect
best adapted to develope its form,
So glorious a point, indeed, had the
have been glorious beyond conception.
which accompanied
the
in all the decoration.
the floor to the roof, not an inch of space but had
exhausted
a family
masses of the composition, the same appreciation of the
The- attempt to reproduce in our time a building of the thirteenth century
Whitewashed
is
which they are based are the same.
same correct observation of natural principles
the
of Cairo,
Collins.
Wells Catliedral.
likeness;
The mosques
possess the same secret of producing the broadest
was
the decorative arts
all
decline which never stops
till
the style dies
out.
In the examples of encaustic
tiles
on Plate
and the best adapted to their purpose, are the never so of
the
much natural
LXX.
will
it
be seen that the broadest in
such as Nos. 17, 27.
earliest,
effect,
Although there was
decline as to attempt an appearance of relief, yet a near approach to a representation
forms
in patterns such as
of
leaves
may
be seen in No.
1
6
;
and a very marked decline
is
observed
No. 23, where tracery and the structural features of buildings were represented. 103
;
MEDIAEVAL ORNAMENT.
On in
LXVI.
Plate
MSS.
are arranged a great variety of conventional leaves and flowers from illuminated
Although many of them are in the originals highly illuminated, we have printed them here
two colours only, to show how possible
By adapting
leaves.
it
represent in diagram
to
is
any natural
and by adding
further increased,
still
By
the
to
LXXIL, LXXIIL, we have endeavoured
styles in
any example in the subsequent is
fulfilled
from
every way,
in
;
springs
this
styles
On
Plate
LXXI.
the letter
There
N
is
here, also,
not surpassed by
is
Here the true purpose of illumination
The
main stem, sweeping boldly from the
a
forms the chief ornament
letter itself
a grand volute
out into
base, swelling
exactly at the point best adapted to contrast with the angular line of the letter
this is beautifully
:
sustained again by the green volute, which embraces the upper part of the N, and prevents over,
and
so nicely proportioned that
is
colours also
the stems
number
expressed, without attempting positive
is
MSS.
of
character
most beautifully balanced and contrasted;
are
of the
in
this
style
and we consider
certainly
is
We
of the Byzantines.
style,
believe that,
principle so universally in the
Eastern,
from
relief, is
the
it
of the
The
it.
in
which the rotundity of
a fruitful lesson.
There are an immense
finest
kind of illumination.
and was probably a
its universal
ornamentation
and the way
falling-
it
able to sustain the red volute which flows from
is
it
of
invention.
artist's
to gather together types of the various styles
we have reproduced.
pure decorative writing.
it is
appearance
by conventionalising the form
stock
of ornamental illumination from the twelfth to the end of the fifteenth century.
evidence of decline from the very earliest point.
of
a combination of different varieties
on the same principle, there need be no limit to an
leaf or flower
In Plates LXXI.,
many
these leaves or flowers to a volute stem, almost as
could be produced as there are separate ornaments on the page.
they might be
the general character
prevalence,
The general
development of the illumination led to the adoption of the
it
Early English, which
follows
the
exactly
same same
laws in the general distribution of form.
This style, from constant repetition, gradually lost the peculiar beauty and fitness which derived from as
we
first
inspiration,
We
No. 13 of the same plate.
see in
series of scrolls repeating
From
and died out by the scroll-work becoming too
or with tails on one side of the
page, such as 9, 10, 11, 12.
more importance, and from the vignette form, which was
chief
ornament on the page, Plate
LXXIL,
The border gradually comes
to be of
at first general,
the manner of No. 15 to that of Nos. 7 and 2, where the border a red line, and the border
No. 8
elaborate,
have no longer the same balance of form, but the four
but the general text becomes enclosed either in borders round the page, as at No.
tint.
and
is
filled
up by intermediate stems and
1,
we gradually
arrive through
bounded on the outer edge by
is
flowers, so as to
produce an even
a specimen of a style very prevalent in the fourteenth century, and which
is
had
each other most monotonously.
period we no longer find the initial letters forming the
this
minute
it
architectural in character.
It
is
is
very
generally to be found on small missals, and surrounding very beautiful
miniatures.
The gradual progress from the
conventional ornament, Nos.
flat
rendering the relief of natural forms in Nos. 15,
There
is
also
to
and
14,
to the
attempt at
readily be traced through Nos. 9,
10,
11.
be remarked a gradual decline in the idea of continuity of the main stems, and
although each flower or group of leaves in Nos. 15, is
7, 2, will
13
7, 2,
may
still
be traced to their roots, the arrangement
fragmentary.
Up
to
this
period
the
outlined with a black line
began to usurp the
office
ornaments are
still
within
the province -of the scribe, and are
and then coloured, but on Plate of the scribe
;
LXXIIL we
all
first
shall find that the painter
and the farther we proceed the more does the legitimate object
of illumination seem to be departed from.
We
have the
104
first
stage in No. 5, where a geometrical arrangement
is
obtained with conventional
l
CZku^>
^
MEDLEVAL ORNAMENT. ornament enclosing gold panels, on which are painted groups of flowers 6,
7, 8,
9,
we
10, 15,
conventional ornament
find
intermingled
we
All continuity of design being abandoned,
fragmentary way.
natural flowers arranged
with
In
slightly conventionalised.
a
in
through this to No. 11, when
arrive
a natural flower and a conventional ornament appear on the same stem, to Nos. 12, 13, where the sway, and represents flowers and
painter has full
the art of illumination had arrived at it
insects
stage
this
could go no farther,
it
ends in the desire to copy an insect so faithfully that Nos.
1, 2,
it
when
and, of course,
For
and
is
â&#x20AC;&#x201D; and
No.
3,
where the
This style also died out in the same
arrived thus far there could be no further progress.
it
MSS. than
the ornament
effect,
fled
being purely geometrical forms, became imitations of natural branches,
character of the ornament on
ornament.
It led to the style
became highly coloured on the gold ground.
way, the interlacings, from
like
had
are specimens of a peculiar style of Italian MSS., which was a revival in the fifteenth
interlaced pattern
illuminated
all ideality
should appear to be alighting on the page.
century of the system of ornament so prevalent in the twelfth.
The
â&#x20AC;&#x201D;
When
on the page.
casting their shadow
does the sculptured ornament of the
it
illuminated
of the
instance,
stained glass appears to follow
â&#x20AC;&#x201D;the
stained
MSS.,
it
monuments
closely that of the
of the
same period, and,
appears to us to be always in advance of structural
of the
glass
much more
century possesses
twelfth
the
same breadth of
constructed in the same way, as the sculptured ornament of the thirteenth, whilst the
stained glass of the thirteenth century
is,
The
according to our view, already in a state of decline.
same change has taken place which we have already observed on comparing No. 13 with No. Plate
LXXI.
The constant
masses.
Now
same forms has gradually led
repetition of the
which the general
is
12,
as it
effect is
considerably
suffers.
fact, if fact it is.
are of the twelfth century.
of the fourteenth, and
ornaments
an over-elaboration of out
are
of scale
one of the most beautiful features of the Early English
and
in such perfect relation in point of scale
a very curious
The
to
On
Plates
effect
to the
Nos. 3 and 7 are of the thirteenth.
we think
a
mere glance
at the general
the general
style, that the
members which
LXIX. and LXIX*.
with
it
from
detail,
ornament
decorates, this
seems
the ornaments from Nos. 12 to 28
all
Nos.
1, 2, 4, 5,
6,
8,9, 10, 11, are
effect of the plates will establish
what
we have here advanced. In the stained glass of the twelfth century we shall always find
shown
to belong to a true style of art.
We
need only
all
call attention
the principles which
we have
here to the very ingenious
way
in which the straight, the inclined, and the curved, are balanced and contrasted in all the diapers.
common
In Nos. 2 and 4 we have an example of a very
principle,
which
character, viz. a continuous ground pattern forms a tint interlacing with a
In Nos.
1, 5, 6, 8,
which ended in the total figures
through which
life
we
thoroughly Eastern in
more general
surface pattern.
commencement
of the direct natural style,
of the true principles of stained glass,
when both ornaments and
of the fourteenth century neglect
is
was to be transmitted,
see the
in
the attempt to render
them
over-true, had
own shades and shadows.
e
v.
10,">
their
XVII.â&#x20AC;&#x201D; Plates
Chapter
74, 75, 76, 77, 78, 79, 80, 81, 82.
RENAISSANCE ORNAMENT.
PLATE LXXIV. 1, 8, 9.
Bas-reliefs coli,
from the Church
of Sta.
Maria dei Mira-
from the Church of San Michele
Bas-reliefs
4, 6.
Venice.
in
Murano,
Venice.
from the Scuola
San Marco, Venice. upwards of Fig.
2.
Bas-relief
3.
Bas-relief forming the continuation
di
2.
Bas-reliefs
5, 7.
from the Scala dei Giganti, Venice.
PLATE LXXV. From
1,2.
a Collection of Casts taken under the superinof Professor Varny, from the principal
C.
Cinque-cento Monuments of Genoa.
From
â&#x20AC;˘;.
the
first
From Genoa. From Venice. From the Church of Santi Giovanni e Paolo, From the Hotel Bourgtheroulde, Rouen.
4, 5, 8, 9, 11.
tendence
7.
Ghiberti Gate of the Baptistery, Florence.
10.
Venice.
PLATE LXXVI. 1.
2.
by Andrea Sausovino, from the Church of Sta. Maria del Popolo, Rome. Bas-relief from the Church of Sta. Maria dei Miracoli,
cento Ornaments of Genoa, taken under the superintendence of Professor Varny.
Bas-relief
Venice. 3.
Bas-relief
4.
Bas-relief
0.
from the Hotel Bourgtheroulde, Rouen. from a Collection of Casts of the best Cinque-
from Genoa. from the Martinengo Tomb, Brescia. Bas-relief from the Base of the " Trois Graces Germain Pilon in the Louvre.
5, 7, 8, 10.
9.
Bas-reliefs
Bas-relief
" of
PLATE LXXVIL 1-3.
Ornaments enamelled on Copper in the early Limoges Champleve' style, from the Hotel Cluny
4-8.
Ditto, of a later period.
-Museum, Paris.
9.
12.
in the
Enamels on Gold Ground, from the Louvre. Silver Inlay in Ivory, of the Sixteenth Century, from
the Hotel Cluny. 18.
11.
Hotel Cluny.
15-17.
Similar objects in Boxwood, from the same
18-20.
From
21.
the
Century, in
Sixteenth
30.
Painted Ornaments, Hotel Cluny.
31.
From
32.
A
33-35.
Armour
of Henri in., in the Louvre.
From
the
Armour
of Francois
II.,
in the Louvre.
40, 41.
Repousse Ornaments in Copper, from the Hotel Cluny. Limoges Champleve Enamel, from the same Museum.
42-44.
From
37-39.
Museum.
Limoges Enamels,
the
Metal Plate in the same Museum. From Metal Work, in the Louvre.
Goldsmiths'
Work
of the Sixteenth Century, in
the Louvre. a Picture in Limoges Painted Enamel, Sixteenth Century, in the Hotel Cluny.
From
the
45, 40.
47.
Ornament
Enamels on Gold Ground, Sixteenth Century, Louvre.
48.
Ebony Cabinet of the Sixteenth CenHotel Cluny.
Ivory Inlay in Ebony, from the above. Painted Ornament, from the above.
50-53.
Sixteenth-century
From
ditto, in the
Portion of an tury, in the
Inlaid
in
Louvre.
Ornament mi n Dagger Sheath
Century,
in
the
Limoges Champleve Enamel on Copper, from the
same Museum. 22-24.
Pottery of Louvre.
29.
36.
From a Casket in the Hotel Cluny. From a Powder-hom in Iron of the Sixteenth Century, in the
From
Hotel Cluny.
Ornaments from the background of a Picture, Hotel Cluny.
10,11.
27, 28.
the Hotel Cluny.
of the Sixteenth
49.
54-50. 57-61.
in Copper,
from the above.
Limoges Champleve Enamel, from the above. Accessories to Pictures, from the above. Limoges Champleve Enamel.
From
107
RENAISSANCE ORNAMENT.
PLATE LXXVIII. 1-36.
Ornaments taken from Specimens of Hispano-Arabic, French, and Italian Earthenware, preserved in the South Kensington Museum, and principally from the Majolican Wares of Pesaro, Gubbio, Urbino, Castel Durante, and other Italian towns of the Fifteenth, Sixteenth, and Seventeenth Centuries.
PLATE LXXIX. 1-3.
Ornaments selected from the faience, or Enamelled Earthenware, of Bernard de Palissy, in the Hotel Cluny.
4-10.
11-13.
From
From
22, 23.
Sixteenth
German
Pottery, en yres, with Painted Glaze
From Earthenware,
French, Spanish, and Italian, in
the Hotel Cluny.
Century, in the
Louvre.
the
of the Sixteenth Century, in the Hotel Cluny.
24-33.
faience of the
Porcelain of the Seventeenth Century, in the
Louvre.
From Specimens of Majolica, in the Hotel Cluny. From faience of the Fifteenth Century, in the Hotel Cluny.
14-18, 21.
From
19, 20.
From
34.
the Louvre.
PLATE LXXX. 1,2.
Ornaments from faience.
24-27.
3-6.
Ornaments from faience of the Sixteenth Century.
28-32.
7-10. 11, 12. 13.
Ornaments from faience of the Seventeenth Century.
33.
From/««erace with Metallic Lustre.
34-38.
From
39^42.
a Vase in Venetian Glass of the Sixteenth Cen-
From Gres Flamand. or Earthenware. From faience of the Sixteenth Century. From a Carved-wood Panel of the Seventeenth Century. From Enamelled Earthenware. From Silk Embroidery on Velvet.
tury.
14-21. 22, 23.
From faience From faience
of the Sixteenth Century.
N.B.
—The whole of the Specimens on this Plate have been
derived from the Hotel Cluny, Paris.
of an Earlier Date.
PLATE LXXXL 1.
From
2.
Wood
a Sideboard carved in wood, dated 1554, in the Hotel Cluny.
Panels of the Sixteenth Century, in the Hotel
Cluny. 3.
4-6.
From an Oak Chair-back, in the Hotel Cluny. From Carved-wood Stalls of the Fifteenth Century, in the Hotel Cluny.
From Furniture, in the Hotel Cluny. Beam of the end of the Fifteenth Century,
7-10, 25, 26, 35, 36. 11.
End
of a
17.
18.
Carved Ornament from the Louvre.
19.
From
22.
Stone Balustrading, from the Chateau d'Anet.
23.
Stone Carving from the Louvre.
24.
From
From
Furniture of the Sixteenth Cen-
tury, in the Hotel Cluny. 14, 15.
From
16.
From
Boxwood Comb,
in the
Hotel Cluny.
a Chimneypiece, in the Hotel Cluny.
Carving in Marble from the celebrated Basin in the Fountain of the Chateau Gaillon, now in the Louvre.
31, 32.
Stone Carving, Seventeenth Century, in the Louvre.
33.
Furniture of the Fifteenth Century, in the Hotel Cluny.
a
27-30.
in the Hotel Cluny. 12, 13, 20, 21, 39, 40.
Shutter Panels of the end of the Fifteenth Century, in the Hotel Cluny.
34,38. 37.
Wood From From
Carving, from the Hotel Cluny. the Fountain of the Chateau Gaillon, Louvre.
the Stock of an Arquebus of the Sixteenth Century, in the Hotel Cluny.
a Sideboard, in the Hotel Cluny.
PLATE LXXXII. 1-9.
Carved Ornament from Oak Furniture of the Sixteenth Century, in the Hotel Cluny.
10, 11, 19, 34.
From
the
Bed
From Oak Furniture Century, in the Hotel Cluny. 108
18.
From a Sideboard of the Fifteenth Century. From an Oak Sideboard, dated 1524, in the Hotel Cluny.
of Francois
I.,
in the Hotel
Cluny.
12,13,14,32,33.
15-17.
of
the
Sixteenth
20-29.
From
30, 31.
Panels of Shutters of the end of the Fifteenth Century, in the Hotel Cluny.
Furniture of the Sixteenth Century, in the Hotel Cluuy.
RENAISSANCE ORNAMENT.
If two
which the
one the
latest date at
glimmer
in the land over
which
â&#x20AC;&#x201D;
beauty
classical
it
direct,
â&#x20AC;&#x201D; there
had once shed
The
in the progress of their researches.
under their shadow and
truth
to
its feeblest
made
have almost utterly died out in the lapse of
monuments of the ancient Romans,
that the material
is,
and majestic, that
Fragments of exquisite beauty,
forget them.
to
themselves to trace, the
dazzling rays, and the other the earliest effort
its
scattered thickly over the soil of Italy, were so substantial live
set
doubt that they would not only meet, but cross one another,
little
is
diligently
though lingering, light of Roman greatness waned to
what most historians declare
to excite a veneration for
ages
Art and Literature
students of Italian
intelligent
marble, were to be had for the trouble of turning up the
soil
it
in
was impossible to stone, bronze,
that scarcely covered
and
them; and thus
they were, from time to time, pressed into service for tombs, and as accessories in buildings, in the of which the principles of Art
construction
entirely lost sigbt of. to
bloom
Hence, the Gothic style was at
slow to take root in Italy, and destined
once,
Almost concurrently with the introduction of the pointed
but for a short season.
brilliantly,
which those fragments owed their beauty had been
to
arch into Northern Italy by an Englishman, in the construction of St. Andrea, at Vercelli, early in
and with the German works of Magister Jacobus,
was
the thirteenth
century,
commenced
favour of the ancients and their arts by that great reviver of antique sculpture, Nicola
in
Pisano.
The
world of
letters.
of
the
close of the
thirteenth
century was further marked
Dante, in his time, was scarcely
Mantuan, and a profound student
great
known
less
in
is
classical
Roman and Grecian
protest
a
by a complete revolution
in
the
In the fourteenth century,
learning.
often fancied, but in labouring incessantly in the
world of the long-lost texts of the
Assisi,
as a Christian poet than as an emulator
Petrarch and Boccaccio, intimate friends, spent long and laborious or prose, as
at
authors.
lives,
not in writing Italian poetry
preservation and restoration
to the
Cino da Pistoia and other learned
commentators and jurists brought into fashion the study of the great " Corpus " of ancient law, and maintained academies in which lucid account
of
it
was adopted
a text.
as
Heathen Mythology, and who
Boccaccio
instituted
first
it
was who
a chair for
first
gave to Italy a
the study of the Grecian
language at Florence, bringing over Leontius Pilatus, a learned Greek, from Constantinople, to be the
first professor.
of notables, Braccioliui,
These
among whom
efforts
at a revival
of classical learning were seconded by a numerous band
the names of John of Ravenna (Petrarch's pupil), Liouardo Aretino, Poggio
.Eneas Sylvius
(ultimately
Pope Pius
II.,
Medici, are most popularly and familiarly known.
men
as these
It
had accumulated. in public and private
1458-1464), and Cosmo, the father of the was at a moment when the labours of such
libraries
all
that could be recovered of classical
learning, that about the middle of the fifteenth century the art of printing was introduced into Italy.
Under the auspices of the Benedictines of Subiaco, the Germans Sweynheim and Pannartz press in the celebrated Monastery edition of Lactantius,
Oratore."
popular,
Thus, while first
gave
up
their
1465, their
Rome in 1467, the first-fruits of their labour was Germany and F ranee biblical and ecclesiastical literature, and
"Cicero de
Removing in
Scholastica, from which issued,
set
the year
employment
of Santa
in
to
to
the
printer
;
in
FF
Italy,
classical,
for
a
time,
in
England
almost exclusively 109
;
RENAISSANCE ORNAMENT. engaged
Scheffer,
the learned Aldus Manutius.
It
less
learned editor than
Classics.
Among
his
earliest
dream
of
Poliphilus,
works
was a
lie
editions
of
the
one ever memorable in the history of Art,
is
by the learned
written
Fra Colonna.
ecclesiastic
profusely illustrated with engravings on wood, the design of which has been frequently ascribed
is
to
who was a no
This remarkable man,
" Hypnerotomachia," or
the
to the ateliers
invented the Italic character, subsequently adopted by
lie
from about the year 1490 gave to the world in rapid succession
printer,
and Latin
(ireek
by Louis XI.
sent
learn " le nouvel art par lequel on faisait des livres," carried his acquired
to
knowledge from Mayence to Venice, where
zealous
who was
Nicholas Jenson, the Frenchman,
his attention.
of Fust and
no
an
great
less
profound
Through those
than Andrea Mantegna.
artist
study of ancient ornament,
types
of form
The
ages were disseminated over the Continent of Europe.
"De Re
1485, set the
Florence, in
iEdificatoria," at
of the
those
1511, as well
upon the
seal
as
middle
Rome, about
publication of Vitruvius at
1486, at Florence in 1496, and at Venice, with illustrations, in
work,
which display a
illustrations,
opposed to
diametrically
of Alberti's great
tendency of the
classical
matters of Art, and afforded the means of speedily transmitting to other countries the details
age in
warmly taken up throughout
of ancient design, so
the Gioliti in the same city, and
and thus the
the Giunti at
art of printing speedily caused a
had that noble
The
Italy.
successors of the first Aldus at Venice,
Florence, rapidly multiplied the standard classics
movement
of revival
to
become cosmopolitan, which,
remained undiscovered, would very probably have been limited, to a great extent,
art
to the soil of Italy.
Long, however, as we have already asserted, before the aspirations of the
mine
labourers in the
first
of antiquity had been thus brought to fruition, indications had been given in the world of Art
antagonism on the part of the Italians to Gothic forms.
of an almost inherent
which surround the ceilings of the Church of
Assisi, ascribed to
acanthus had been drawn with considerable accuracy trecento,
It
movement can be
elements
said to
century that
some productions of of
details
classic
have borne really valuable
came
it
In
fruit.
it
comparatively
a later
period, and
unknown
and
study of
a
century that the Renaissance
the
of
was scarcely until the middle of the
anywise a literal revival.
confess' a preference for the freshness
free to
from
design
earliest stage
its
when Nature was recurred
were
forms at
to be in
earlier stage,
this
deficiencies, supplied
of
was scarcely, however, until the beginning of the fifteenth
Art in Italy was unquestionably a revival of principles, and fifteenth
Cimabue, the father of painting, the
while Nicola Pisano and other masters of the
;
had derived many important
century,
or thirteenth
antique remains.
In the ornaments
Conscious as we to
for
may
suggestion, and
unimitated, there
may
the actual
exist
under a more regular system of education
;
be, that in
occasional
we
are yet
and naivete with which the pioneers worked, over the more
complete but more easily obtained graces of an almost direct reproduction of the antique.
The
first
great step in advance was taken
by the celebrated Jacopo
della
been driven from his birth-place, Sienna, to Lucca, executed about the year of that city, a interesting
monument
woik
(of
to
llaria di
who having
Querela,
1413,
the Cathedral
in
Caretto, wife of Giunigi di Caretto, Lord of the City.
In this
which a good cast may be seen in the Crystal Palace) Jacopo exhibited a careful
recourse to nature, both in the surrounding festoons of the upper part of the pedestal and the " puttini," or chubby boys supporting
them; the
legs of one of the " puttini.'"
simplicity of his imitation being revealed by the little
His great work, however, was the fountain in the Piazza del Mercato
Siena, which was completed at an expense of two thousand two hundred gold ducats,
present
sad state of decay offers unmistakable evidence
this
capo
and
he
many
a"
opera
was
vicissitudes,
110
lie
was known
made Warden he
died
bandy
as
of the in
the
of
Jacopo della Fonte. Cathedral year
1424,
in
that
his
rare
ability.
After his
This work brought him city,
where, after a
aged sixty-four.
and even
life
of
in its
execution
of
much
distinction,
much
labour and
Although one of the unsuccessful
RENAISSANCE ORNAMENT. candidates for the second bronze door of the Florence Baptistery, as we shall presently
much esteemed during
his
after
Great, however, as were his merits, he was far surpassed in the correct imitation of nature,
death.
and
and exercised a great and salutary influence on sculpture
his life,
he was
see,
in grace, dexterity,
and
ornamental combination, by Lorenzo Ghiberti, who was one
in
facility
of his immediate contemporaries. In the year 1401, Florence, under an essentially democratic form of government, had risen to be
one of the most flourishing as
" Arti," represented by deputies
called
guilds,
In this civic democracy the trades were distinguished
of Europe.
cities
The Consuls
(consoli).
in
resolved
the
above-
mentioned year to raise another gate of bronze to the Baptistery, as a pendant to that of Andrea Pisano, which had been previously executed in a very noble, but
The Signoria,
a public competition
artists
appear to have voluntarily retired in his favour
The beauty
that date the gate was finished, and put up.
three years from
and
this resolve to the best artists of Italy,
and with two others, Brunelleschi and Donatello, was pronounced
trial,
These two last-named
style.
Lorenzo Ghiberti, a native of Florence, at that time very young
was opened.
(twenty-two), ventured on the
worthy.
made known
or executive government,
Gothic
still
of
and
;
in
twenty-
design and work-
its
manship induced the Signoria to order another of him, which was ultimately finished about the year 1444.
It
would be impossible to overrate the importance of this work, either as regards
influence on art
or
merit,
intrinsic
its
â&#x20AC;&#x201D; standing,
as
The ornament
any age for excellence of design and workmanship.
LXXV.,
Fig.
which encloses and
3),
surrounds the
panels,
Lorenzo Ghiberti belonged to no school, neither can education
from
his father-in-law, a goldsmith
homage and study
his
works received from
He
formation of any school of pupils.
;
and
men
spite of all their beauty,
these
he
influence
founded
on Art
(which extended from 1400 to
;
be seen rather in the
life
and masculine vigour
of
person
freest
of
Luca
della
qualities of both
and the
;
Robbia, who, during his long
Cathedral of Sta. Maria
of
gates
della
San
trial-piece
in
The former are
ornaments, were so happily blended life
which he competed with Ghiberti
Giovanni Battista
and the
;
latter,
by
his
for
the
magnificent
This combination of architectural and sculptur-
Fiore at Florence.
esque ability was, indeed, a distinguishing feature of the
idea that the whole sprang to
life
In the person
and most graceful analogy with the antique.
by the excellence of the celebrated
the
from his
to the art, which, in
of Filippo Brunelleschi the talents of the sculptor and the architect were combined.
execution
study.
1480), executed an infinity of works, the ornamental details of which
were carried out in a style of the
sufficiently evinced
careful
he received his
died in his native city at a good old age, in the year 1455.
the
in
one
to
is
were often wanting in the compositions of Ghiberti
were happily united
artists
most
worthy of the
is
said
in
a portion of which see Plate
such as Buonarotti and Raffaelle than
of his immediate followers, Donatello, imparted a
One
be
it
his
(Tor
historical
similar specimen
by any
unrivalled
does,
it
its
with mouldings and
Figures, foliage, and conventional
period.
other
in one perfect form in the
structural
mind
forms,
of the artist
as
convey the
to
by whom
the work
was executed.
A
development of taste coincident with that noticeable in Tuscany took place at Naples, Rome,
Milan, and Venice.
At Naples, the torch that was
lit
by Massuccio was nanded on by Andrea Ciccione,
Bamboccio, Monaco, and Amillo Fiore.
At Rome, the opulence attracted to the
of the princes, and the great works undertaken by the successive pontiffs,
Imperial city the highest procurable ability;
and hence
palaces and churches fragments of exquisite decorative sculpture are
Baldassare
Peruzzi, and
Baccio Pintelli (of
whom
still
it
to be
is,
that in
met
the
with.
various
Bramante,
arabesques on the interior of the Church of Sant'
Agostino, one of the earliest buildings of the pure revival executed in the
Imperial,
our woodcuts
give some elegant examples), and even the great Raffaelle himself did not disdain to design ornaments
111
RENAISSANCE ORXAM DXT.
'
-"'' :
for
carvers,
of the
Of
fancy.
the
purest
taste
perfection
\:.h\./"-^'
and most exquisite
attained
in
this
depart-
'
ment
of art
wooden
by the last-named
the celebrated
artist,
of the choir of San Pietro dei Casinensi,
stalls
at Perugia, will long
The carrying Bergamo does
out
remain unquestionable evidence.
of
these
by Stefano da
carvings
to the admirable composi-
full justice
tions of Raffaelle.
At Milan, the important works of the Duomo,
and the Certosa able school of art
Pavia,
created a truly remark-
among
the most celebrated mas-
at ;
Panel from the Piscina of the High Altar ef
ters of
t*'C
Certosa, Pavia.
which may be noticed, Fusina,
Amadeo, and Sacchi.
The
been traditional in that
doubt that these
sculptor's talent
had long
and there can be no
locality,
artists
Solari, Agrati,
embodied
in
the
forms the lingering traditions of the Maestri
Como
highest-
Coma-
from whose genius
achi,
or Freemasons,
many
of the most celebrated buildings of the middle
of
;
ages derived their highest graces of adornment.
O
Of
i^V^a
Aralesques designed by
Lac io Piutelli, for the Church ol Sant' Ag^stino, Rome.
112
Panels from the Piscina of the High Altar of the
Arabesques designed by
Certosa, Pavia.
Church of Sant' Agostiuo, Rome.
Baccio Fiuteili, fur the
—
RENAISSANCE ORNAMENT. all
the
better
Lombard
known
as
must be reserved
Cinque-centists, however, the highest admiration
Bambaja, and
his pupil Brambilla,
Our woodcuts,
must ever remain marvels of execution.
for Agostino Busti,
whose exquisite works in arabesque at the Certosa selected from the Piscina of the
High
Altar,
furnish some idea of the general style of the Pavian arabesques.
At Venice, the Griulio, Sante,
ments.
names which
great
first
call
notice are those of the
for
and Antonio), through whose talents that
They were followed by
but their lesser glories are
Matteo Civitale (born
Eiccio, Bernardo,
city
Lombardi
was adorned with
and Domenico
its
(Pietro, Tullio,
most famous monu-
Mantua, and many other sculptors
di
altogether eclipsed by those of the great Jacopo Sansovino.
143.5, died 1501) fully maintained the reputation of the period.
;
At Lucca,
Eeturning to
Tuscany, we find, towards the close of the fifteenth century, the greatest perfection of ornamental sculpture, the leading characteristic of which, however,
we now no longer
find to be the sedulous
imitation of nature, but rather a conventional rendering of the antique. the greatest of the celebrated school of the Fiesolani
bring to our recollection
many
other principal towns of the
exquisite
monuments which abound
Grand Duchy.
and their works have been surpassed in
—Benedetto
These
this
style of art
was pre-eminent
in
his art
;
and
of
Mino da
da Majano, and Bernardo
Fiesole Kossellini,
in the churches of Florence,
artists excelled alike in
it
Of
these,
and the
wood, in stone, and in marble,
only by those of their predecessors
already named, and by some few others, their contemporaries. as the elder Sansovino,
The names
and simple
we have
Andrea Contucci, better known
would appear impossible to carry ornamental
modelling to greater perfection than he has exhibited in the wonderful monuments which form the pride of the
Church of
master's name,
Sta.
may
Ornaments from the Piscina of tin; High Altar of tbc Certosa, Favia.
Maria
del Popolo, at
Eome.
be regarded as his only
rival.
His pupil, Jacopo Tatti, who subsequently took his »
Of him, however, more
hereafter.
Portions of Pilasters from the Church of Sta. Maria dei Miracoli, Venice.
GG
H3
RENAISSANCE ORNAMENT. Having thus succinctly traced the it
must constantly be borne
historical succession of the great sculptors of Italy, all of
mind, were ornamentists
in
we proceed
also,
workman.
and shade produced by
whom
which those by
it
light
at ever-varying angles of impact.
it
difference in effect between a scroll of the volute form, in which the relief gradually diminishes
and
it
is
its
and one in which the
eye,
uniform throughout,
relief is
is
very
to their undeviating preference for the former over the latter, that the Cinque-cento
are indebted for the infallibly pleasing results they attained alike in their simplest
artists
art-
not only in surfaces parallel to the grounds from
infinite variations of plane,
from the starting of the volute to ;
and
was wrought availed themselves of the play of
which the ornament was raised, but brought to a tangent with
The
artist
of the most peculiar and most fascinating qualities of the best Cinque-cento ornament
One
in relief is the skill with
great
some few of those
to point out
which may, as we conceive, be derived from a study of their works by the
lessons
whom,
and most
complicated combinations of spiral forms.
This refined appreciation of delicate shades of relief in sculpture was carried to fection
by Donatello, whose authority in matters of
taste
was held
its
in the highest possible
greatest
esteem by the
contemporary Florentines, and whose example was followed with respect and devotion by of artists.
Not only was he the
was the
first
to
combine that
is
obtained within apparently impracticable limits of
style of
work with mezzo and
alto relievo
his
craft
ever
to
overstep
the
tions
elements derived from the
â&#x20AC;&#x201D;
for
they
only through
sister art
may
hence we
Cinque-centisti with
These inven-
of Painting.
a sedulous study of the antique
tated with the greatest avidity by the
â&#x20AC;&#x201D;
but he
of sculpture,
almost worthy of the name, though
are
relief,
thus maintaining an almost
;
conventions
special
Donatello enriched the Florentine practice of the
many
classes
Too good a master
pictorial division of his subject into several planes.
of
all
to practise the bassissimo relievo, in which the effect of pro-
first
jection and of rounded modelling
per-
arrived
at
were adopted and imi-
ornamentists of the period
;
and
some of the most peculiar and striking technical
trace
excellence of the best Eenaissance carving and modelling.
Ultimately, and at
acme
its
of perfection, this
system of regular
arrangement of ornament in planes was so ingeniously managed tion
to light
sented
only
and shade,
that,
points
certain
some dominant geometrical to
bring to
viewed from a distance, the relievo pre-
salience.
selected
for
A
while
no inspection could be too
or " chasing," of the best Italian Cinque-
in
the
gates
Ghiberti Plate
114
convey a tangible idea of the type
to
The " cisellatura,"
1, 8, 9,
may be
Plate
;
in
of the
seen in the Church of the Miracoli,
LXXIV.), by the Lombardi
of Sta. Maria del Popolo (Fig.
Maria
connecting the
figures
appreciation of the refinements of sur-
Venice (Figs.
of Sta.
and
yet nearer approach revealed the leafage
convention,
cento ornament, such as
Church
approach of a few paces served
close to test the artist's perfect
face texture.
Small Pilasters of Murble Staircase in the
An
figures.
and delicate tendrils necessary of nature
with reference to
symmetrically disposed
the sense of vision the lines
points of greatest
in rela-
1,
Baptistery,
Florence (Fig.
the carvings of San
LXXIV.);
the
Scuola di
;
in the Church
Plate LXXVI.), Rome, by Sansovino
Michele
San Marco
di
3,
Plate
Murano
(Fig. 2,
;
LXXV.), by (Figs.
Plate
4,
6,
LXXIV.); dei Miracoli, Venice, Tullio Lombardo, ad. 1485, about.
RENAISSANCE ORNAMENT. the Scala dei Giganti (Figs. 5, 7, Plate
The
fibres of
LXXIV.)
;
and other buildings
a leaf or tendril are never misdirected, nor
beyond
is
all
praise.
Nature's tendency to grace in growth per-
is
Smoothness and detail are never added excepting where they have some
verted or misapprehended.
perform
specific function to
at Venice,
and while labour
;
touch was a labour of love,
it
is
so prodigally
never thrown away, as
is
is
bestowed as to show that every additional
too often the case in the present day, in
converting those portions of a design which should be secondaries or tertiaries in point of interest into primaries.
In the hands of
artists less
profoundly impressed than was Donatello with a sense of the just limit
of convention in sculpture, the importation of pictorial elements into bas-relief soon degenerated into
confusion.
Even the great Ghiberti marred the
effect
many
of
most graceful compositions by
of his
the introduction of perspective, and accessories copied too directly from nature.
mental sculptures of the Certosa the fault
is
spectator with grave admiration at their beauty and dolls'
houses peopled by
foliage, rather
fairies,
In
many
of the orna-
exaggerated until monuments, which should impress the
decked with garlands, hung with
him
only to amuse
serve
dignity,
and
tablets,
fancifully
â&#x20AC;&#x201D; resembling
overgrown with
than serious works of Art commemorating the dead, or dedicated to sacred uses.
Another reproach which may with justice be addressed such monuments nected with
many
the incongruity of the association of ideas con-
is
suggested by the ornaments
purport, and those
their
to
displayed in their friezes, pilasters, panels, spandrils, and other enriched
features.
comic masques, musical instruments,
Tragic and
semi-Priapic terminals, antique altars, tripods, and vessels of libation,
dancing amorini, and hybrid marine monsters and chimeras, har-
monise but
ill
monuments reared
with
This fault of the confusion of things sacred
cated to religious rites.
may
and profane
in consecrated edifices or dedi-
not, however, be
altogether
upon the
laid
justly
shoulders of the artists of the Renaissance, whose works served but to reflect the
logic
dominant
an age in which the revival of mytho-
spirit of
symbolism was but a protest against the hampering trammels
of ascetic tradition erected into
dogmatism under the
rulers of the
when
East, and endorsed by the Church during those centuries
cendancy over an ignorant and turbulent population was at
The minds
height.
most
of even the
religious
its
men were imbued
with such incongruous associations in the fourteenth century is
all
its as-
greatest
;
and
it
not necessary to go further than the " Commedia " of Dante, which the world of literature has designated as the Divine Epic, to re-
cognise
and
skeins of Gothic
the tangled
classical
inspiration with
which the whole texture of contemporary literature was interwoven.
To the relief is
since Small a ifi
Pilaster
the
of
in
architect, the
study of Italian Cinque-cento ornament in
of no less utility than
no
style
can possibly be to the sculptor,
it
has ornament ever been
spaced
arranged to contrast more agreeably with the direction
chulSTof jacent architectural lines by which
Sta. Maria dei racoii, Venice.
better
it is
out,
or
of the ad-
bounded and kept in subor-
Mi-
dination.
Parely,
if
ever, is
an ornament suitable
position placed in a vertical one, or vice versa;
ments and the mouldings, or the
styles
whole, at variance with one another.
and
rails,
In Plates
SxDatt Pilaster of the Giant's Staircase, Ducal Palace,
Venice, by Benedett-> fend
Domenico da Mantua.
for
and
rarely, if ever,
by
which regularity
a
horizontal
are the proportions of the orna-
and symmetry are given to the
LXXIV., LXXV., and LXXVI.,
are collected a series
115
:
RENAISSANCE ORNAMENT. of specimens, in the majority of
which gracefulness of
upon
natural, distribution of the ornament
Church of
in their works at the
LXXVL, di
Maria
Sta.
Fig. 2); Andrea Sansovino at
and a highly
artificial,
though apparently
are the prevailing characteristics.
dei Miracoli, Venice (Plate
Eome
LXXIV., Figs
Mantua, at Venice (Plate
field,
its
line,
LXXVI.,
(Plate
LXXIV.,
Fig. 1); and
The Lombardi,
Figs. 1, 8, 9; Plate
Domenico and Bernardino
5 and 7), attained the highest perfection in these respects.
\t a subsequent period to that in which they flourished the ornaments were generally wrought in more uniformly high
relief,
and the stems and
were thickened, and not
tendrils
so
uniformly tapered, the
accidental growth and play of nature were less sedulously imitated, the field of the panel was
and
fully covered with enrichments,
more bustling and
its
The
less refined.
and
to
work
sculptor's
serted itself in competition with the architect's in self-defence,
more
whole aspect made
A
as-
the latter
:
keep the sculpture down, soon be-
gan
make
to
mouldings heavy
his
and a more ponderous
Of
crept into fashion.
perceive indications
LXXV,
Figs.
and
1, 2, 4, 5, 8, 9,
Plate
and
11
;
Figs. 4, 5, 7, 8,
from the celebrated Martmengo
Tomb,
at Brescia, also clearly exhibits
tendency to
this
of the
in
Fig. 6 in the last-mentioned
10.
plate,
tendency
much
in
represented
LXXVL,
and in Plate
this
ornament we already
to plethora in
Genoese work
style altogether
filling
up.
In the art of painting, a move-
ment took place concurrent with we have thus
briefly noticed in sculp-
Giotto, the pupil of Cimabue,
ture.
threw
that
off
dition,
nature.
the shackles of Greek tra-
and gave his whole heart His ornament,
like
that
to
of
his master, consisted of a combination Vertical Running Ornament from the Church of 6ta.
Maria dei Miracoli, Venice.
thus.
of painted
mosaic work,
interlacing Portion
bends, and free rendering of the acan-
f a
Doorway in one of tlie Palaces of the Dorias near the Church of tan Matteo, Uen<>a.
In his work at Assisi, Naples, Florence, and Padua, he has invariably shown a graceful appre-
hension of the balance essential to be maintained between mural pictures and mural ornaments, both in quantity, distribution, and relative colour.
understood and
adopted during the
These right principles of balance were very generally
fourteenth
century
Orcagnas, Pietro di Lorenzo, Spinello Aretino, and
diligent student of antiquity, as
Campo
may
it
mural em-
as Donatello
Hampton
might have been drawn by an ancient Roman.
Andrea
had moved sculpture, and that not
ornament borrowed from the antique.
fortunate as to possess of his at
116
less
be recognised in the architectural backgrounds to his pictures in
was who moved painting
figures alone, but in every variety of
we
others, were admitted masters of
Santo, and in the noble arabesques which divide his pictures at San Gimignano.
Mantegna, however,
are so
many
and Simone Memmi, Taddeo Bartolo, the
That rare student of nature in the succeeding century, Benozzo Gozzoli, was a no
bellishment.
the
;
in
The magnificent cartoons
Court, even to their minutest decorative details,
Towards the
close of the fifteenth century, the
style,
RENAISSANCE ORNAMENT. of polychromy took a fresh and marked turn, the peculiarities of which, in connexion with arabesque
and grotesque ornament, we reserve
the
fire
which was the
to France,
Turning from Italy
a subsequent notice.
for
of Renaissance Art, which had been
of the European nations to light
first
kindled in Italy,
we
warlike expeditions
that the
find
torch at
its
of Charles VIII. and Louis XII. infected the nobility of France with an admiration for the splendours of Art met with by
them
at Florence,
change might have been seen in
1499 to the
memory
The
Rome, and Milan.
was unfortunately destroyed in 1793) in the monument erected
(for it
of the first-named monarch, around which
celebrated
the
Aldus, and
for his
royal master
of Verona,
architect,
good editor of Vitruvius, to
first
and designed
Fra Giocondo,
visit
bronze, of
gilt
and
friend
He
France.
the
elder
1499 to
1506,
fellow-student
remained there from
of
two bridges over the Seine, and probably many minor works which
The magnificent Chateau de
have now perished.
female figures, in
In the same year, the latter sovereign
the Virtues, were grouped completely in the Italian manner. invited
coming
of the
clear indication
first
begun by Cardinal d'Amboise
Gaillon,
the year
in
1502, has been frequently ascribed to him, but, according to Emeric David and other French
upon
logists,
insufficient
The
grounds.
evidence
internal
is
entirely
and against (Hocondo, who was more of an engineer and student than an ornamental intermingled with
much
that
very fairly classical,
is
almost as unjust to Griocondo to ascribe
French
produced, by a
her
artist,
artist.
Moreover,
that
would be
it
him, as to France to deprive her of the credit of having
The whole
monument.
Renaissance
great
first
which were published by M. Deville in
we
to
it
much Burgundian work,
so
is
French origin,
favour of a
in
archaeo-
learn that Guillaume Senault was architect and master-mason.
It
is,
accounts
of the
1850, set the question almost entirely at rest
for
;
from them
however, just possible that
Giocondo may have been consulted by the Cardinal upon the general plan, and that Senault and his
companions, for the most part French,
by whom,
we may judge from
if
may have
carried out the
was Bertrand de Meynal, who had been commissioned fountain, so well
(Plate
LXXXL,
known
who had
studied in
It
Rome.
monument
was, however, in the
In
all
the
inclose
the
bodies of the corners
four
are
royal four
I.,
statues
XII.,
now
all
at
from good Italian examples. St. Denis,
near Paris, and one of the
was
disposition
This beautiful work of art
by Jean Juste of Tours. naked
of Justice,
;
came
under every arch
is
Cardinal
ville
to France, as the following
less
est
escus, restans des
de Tours au
Royne Anne, &C. Not
placed an apostle
The
Wisdom
;
and
the whole
:
represent the
bas-reliefs
himself
signalised
by
of Louis XII. has been often ascribed to Trebatti (Paul Ponee), but it was finished
Duprat :â&#x20AC;&#x201D; " II
somme de 400 de la
time
first
valour.
The monument
the
the
Twelve semicircular arches
triumphal entry of Louis into Genoa, and the battle of Aguadel, where he
before he
for
was executed between
Strength, Prudence, and
being surmounted by statues of the King and Queen on their knees.
his personal
who
Colin Castille,
work
pair, represented
large
may
essential particulars, the portions of Renaissance
of Louis
1518 and 1530, under the orders of Francis
beautiful Venetian
been
united to masterly execution of detail in France.
at
Italian
the Louvre, and from which
in
Tantique,"
a,
the sixteenth century, that symmetry of architectural
of
principal
very possibly have
"tailleur
as
not Burgundian in style are very pure, and differ scarcely at
richest
Genoa the
we have engraved some elegant ornaments.
of art-workmen
list
carry from
to
Vasque du Chateau de Gaillon, now
Figs. 27, 30, 34, 38)
especially figures in the
a Spaniard
as the
The
details.
the style, some of the most classical of the arabesques were wrought,
lieu
de.
extract from the royal records proves.
deu a Jehan Juste, 1200 que je
mon
lui avoie
sculteur
ordinaire,
Francis porteur
I.
de
addresses ceste
la
pardevant or donnez pour la menage et conduite
St Denis en Franco, de la sculpture de
marbre de feuz Roy Loys
et
Novembre 1531."
worthy of study than the tomb of Louis XII., and executed at the same period, are the
HH
117
RENAISSANCE ORNAMENT. beautiful carvings in alto
Cathedral of Chartres forty-one
groups,
completing that
Portions of the
Tomb
;
i
relievo,
which ornament the whole exterior of the choir of the
the subjects are taken from the lives of our Saviour and the Virgin, and from
fourteen part
and basso
of which are
of the
[I.,
Duke
the
new clock-tower
work of Jean Texier, who commenced erected
by him.
of Brittany, and his wife, Marguerite do Foix, erected
by Michel Colombe,
but
friezes,
by Anne
of Brittany in the Carmelite
1514, full
Church
free
and
graceful,
118
are, perhaps, the
at Nantes,
and the heads
the arabesque ornaments, which almost entirely cover the projecting parts of the
and mouldings of the base,
after
of truth
a.d. 1507.
and beauty, the figures animated and natural, the drapery life;
in
These compositions are
most beautiful portions
;
full of
pilasters,
they are very diminutive
>
—
RENAISSANCE ORNAMENT. which are those which cover the
in size; the largest of the groups,
Though
inches in breadth.
branches of trees, birds, fountains, bundles of arms, satyrs,
foliage,
much
military ensigns, and tools belonging to various arts, are arranged with
the
monogram
of Francis
I.
—
is
draperies.
was finished and placed in the choir of the Carmelite Church of an
the masterpiece
is
peculiarly
are
details
of great
artist
was begun in the year 1515, under Roulant appears to have assisted in
—Michel
was in 1530 and 1531 that Francis
we may,
therefore,
regard
fairly
Italian
an expression
artists.
tbeir advent, and the foundation of the school at
With
No
Penni, Cellini, Trebatti, and
distinguished artists were speedily followed by Nicolo del' Abbate, Luca,
Girolamo della Robbia.
it
as
and Primaticcio into France, and those
invited Rosso
I.
January, 1507.
The ornamental
Roux, master-mason of the Cathedral.
le
of the vigour with which the Renaissance virus had indoctrinated the native It
1st of
Colombe.
Cardinal d'Arnboise, in the Cathedral at Eouen,
to
execution, and
its
of her father and mother
Nantes on the
at
and naivete
ability
The monument
elegant.
memory
to be erected to the
The tomb which Anne of Brittany caused
It
The F crowned
taste.
conspicuous in these arabesques, and the dates of the years 1525, 1527,
upon the
and 1529, are traced
being only eight or nine
pilasters,
and variety of devices in these orna-
spirit of the carving,
so minute, the
Masses of
ments, are marvellous.
,
new
Fontainebleau,
elements were introduced into the French Renaissance, to which we shall subsequently advert. It
would exceed the limits of our present sketch to enter
nected with the art of wood-carving. available
stone,
for
may
It
or bronze, was
marble,
rapidly transferred
bear
upon the enrichment
sumptuous
of
ever,
as
he
over them,
goes
original foliated
unable
be
will
Our
furniture.
remarks on
furnish brilliant evidence of the justice of our
the
out that also
every
ornamental feature
LXXXI. and LXXXIL,
The
by a fulness of projection and
slight
capricci," derived
tendency to
student, how-
attentive
ornament which formed the stock-in-trade of the early Renaissance
next notice a heaping up of various objects and "
no
at
more gracefully brought
Nos.
this head.
con-
details
wood -work, and that
to
Plates,
historical
perceiving a gradual withdrawing from the
avoid
to
into
of the sculptor been
period of the history of Industrial Art has the talent to
point
to
suffice
fully
heaviness
will
from the antique, accompanied
and then,
;
He
artists.
he will recognise
finally,
the general adoption of a particular set of forms differing from the Italian, and altogether national,
such as the conventional volute incised with small square or oblong indentations (Plate
and 20), and the medallion heads (Plate LXXXI., Figs.
The dawning glass
of
the
much
by the prevailing
thinner
character,
in
— especially
the blue
windows were executed during
— than
almost every large church in France.
St.
Gervais at Paris, and Notre
Many improvements were masters were employed to losing the richness,
than
;
canopies,
and good examples of the
Auch
century.
be found more or fine figures
glass of the
introduced cartoons
less
perfect
of in
upon a white quarry
century will be found in
into ;
the
art
at the
epoch of the Renaissance.
The
first
enamel was used to give depth to the colours without
Many
of the windows are very little
designed by Jean Cousin for the Sainte Chapelle at Vincennes
also contains
effect, is
An immense number
at Chalons-sur-Marne.
representing the angel sounding the fourth trumpet of
generally
are
inscriptions,
although producing a pleasing
thirteenth
and much more white was employed.
grisailles, as those
The Cathedral
glass,
of the
and
and crisply made out, and the figures are
freely
The
foliage,
Ouen, at Rouen, has some
St.
Dame
make
that
17).
epoch, and specimens are to
this
ground in the clerestory windows
although
of drawing.
style
Figs. 17
Art in France can scarcely be traced in the painted
revival of
The ornaments,
century.
flamboyant and angular influenced
coming
rays of the
fifteenth
and
1
LXXXI.,
is
some exceedingly
admirable, both in fine
;
more
one of those
composition and drawing.
examples of the work of Arneaud Demole
Beauvais also possesses a great deal of the glass of this period, especially a very
fine Jesse
119
;
window,
RENAISSANCE ORNAMENT. the work of Enguerand
Prince
le
the heads are grand, and the poses of the figures call to mind
;
the works of Albert Diirer.
The
which ornamented the windows
grisailles,
bourgeoisie, although small, were executed with an
houses of the
the
in
nobility,
and even of the
admirable delicacy, and in drawing and grouping
leave little to be desired.
Toward the end
century the
sixteenth
of the
art
began to decline, the numerous glass-painters
found themselves without employment, and the celebrated Bernard de Palissy, who had been brought
up
the trade,
to
secured
him
left
to
it
engage in another presenting greater
To him, however, we
the highest reputation.
difficulties,
but which eventually
are indebted for the
representing the story of Cupid and Psyche, from the designs of Raffaelle, which
charming
grisailles
formerly decorated
the Chateau of Ecouen, the residence of his great patron the Constable Montmorency.
Renaissance ornament hearts
the people but
of
From an
acceptation.
penetrated slowly,
into
Germany
early period there
much
in Italy,
life
their countrymen.
The
and died in 1464,
latter,
who
in
Among
â&#x20AC;&#x201D;Hemskerk,
many
now
conditions of Italian design, leaning
period,
early
and
to
them,
men
like
and Albert
Germany
is
impure
â&#x20AC;&#x201D; her
art
into
animated than
graceful,
took
;
general
Germany and
more
especially influenced
the Gothic manner of his master Wohlgemuth, and
fashion
The spread
in
Germany.
now
of the engravings of the latter, however,
Even
at
men its
who, like Peter Vischer, best
the Renaissance
of
hand, rather than of the
head,
and strap-work, jewelled forms, and complicated monsters,
rather
industrious affection
soon led her into crinkum-crankums
leaving
its
Roger of Bruges, who spent
Diirer,
in Germany, unquestionably conduced to the formation of the taste of
brought Italian plastic
artists
quickened
of his engravings showed a perfect apprehension of the
to the Raffaellesque simplicity of Marc' Antonio.
first
but was absorbed into the
engravings
had been a steady current of
Flanders to study in the great Italian ateliers. of his
an
spread of books
the
until
at
the place
of
for
the
difficulties
refined
of the
elegance
of the
early
Italian
and French
arabesques.
Arabesque by Theodor de Bry, one of the " Petits Maitres
" of Germany (159S) in imitation of Italian work, but introducing strap-work, caricature, and jewelled forms.
It
may be
well
now
to turn
,
from the Fine to the Industrial Arts, and to trace the manifestation
of the revival in the designs of contemporary manufactures.
From
the unchanging and unchangeable
nature of vitreous and ceramic products, no historical evidence of style can be more complete and
120
"
RENAISSANCE ORNAMENT. which they
satisfactory than that
LXXIX., and LXXX.)
and hence we have devoted three entire Plates (Nos. LXXVIII.,
afford,
The majority of the specimens thereon represented have
to their illustration.
been selected from the "majolica" of Italy, on which interesting ware and
its
ornamentation we proceed
to offer a few remarks.
The
art of glazing pottery appears to
the Moors, by
whom
had long been known and used in the form of coloured
it
The earthenware
of their buildings.
have been introduced into Spain and the Balearic
"majolica"
called
of Majorca, whence the manufacture of glazed pottery Italy
and
;
geometrical
LXXX., and
and
patterns
and
Figs. 31
trefoil
-shaped
was
It
13).
first
1450 and
fact of the
"foliations"
Bologna,
Castel Durante, Gubbio, Urbino, and Ravenna, and also at is
admitted to be the
and
are of a dingy grey colour,
the
in
century
fifteenth
and
;
majolica almost entirely superseded
A mode in
1399.
was
that
said
is
applied
a
as
The
modelled by him. it
at the death
lost
it
was not
is
till
many
Ferrara,
was at
It
now and then
believed
first
The
to
figures well relieved
is
of the last
member
the
remained
well adapted
;
early
time,
it
of
who was born
della Robbia,
beautiful
tin,
terra-cotta
Wreaths of
flowers
and
whom
at
Florence to revive
difficulties
but though the art of combining
fruits in
the
their
it
.
doubt that
to burn large masses truly
tints
costumes were coloured,
Passeri claims the discovery of this coloured
it
with colour
Some
confusion appears to
may have been known di
Raniere
;
and
it is
at that
of Cagli and
for the
purpose
not improbable that
have arisen with respect to the precise
by Della Robbia, and looked upon by himself and little
natural
by the works of Della Robbia, who had been employed by Sigismond
Pandolfo Malatesta at Rimini.
feel
attending
where the manufacture of earthenware was carried on in the
of carrying on the manufacture of earthenware already existing there
We
bas-reliefs
about 1550, when
Ventura di Maestro Simone dei Piccolomini of Siena established themselves at Pesaro,
secret.
and
till
which the pure glistening
chiefly religious, to
had not attained much celebrity until 1462, when Matteo
process invented
at Florence
and other mineral
statues
Attempts have been made
it.
Robbia are
by the deep blue ground.
their attention was attracted
is
the eyes are blackened to heighten the expression, and the white
earlier date for Pesaro,
fourteenth century;
texture
manufacture of " fine
the
in the inventor's family
whilst the flesh parts were allowed to remain unglazed. still
The
size.
by Passeri and others to have been
were introduced by the followers of Delia Robbia, by some of
glaze at a
of large
though they are more
seen,
after that time that
by Lucca
the surface of
secret of this varnish
subjects of the bas-reliefs of Della
white of the figures
but Pesaro
called " mezzo,"
many
plates,
the manufacture of the Robbian ware, but with small success, owing to the great it.
Fermignano,
Pesaro,
places in the Abruzzi;
he used for this purpose a mixture of antimony, varnish
Faenza (whence
it.
of glazing pottery was also discovered
It
substances,
lustre is
This "half" majolica
frequently of a pearly hue.
among brickwork,
have a dull yellow varnish at the back.
coarse and gritty, but the golden and prismatic
made
LXXIX. and
(Plates tiles
Castillo, Forli,
Rimini,
form of thick clumsy
in the
often
into Central
of this ware was extensively carried on
attained any celebrity.
it
and was usually made
or "half" majolica,
They
town in which
first
character
Arezzo, Citta de
Deruta,
Perugia,
Spello,
Saracenic
of
way
its
the Island
ware being ornamented with
earliest Italian
The manufacture
1700, in the towns of Nocera,
comes fayence), Florence,
name from
supposed to have found
is
by
the decoration
tiles for
believed to derive its
used by introducing coloured concave
form of encaustic flooring.
later in the
between
by the
this belief is strengthened
is
Isles
it
his family as the really valuable
consisted rather in the tempering
and thoroughly than
and
firing of the clay to enable
in the protecting glaze,
about which there appears
to have been very little novelty or necessity for concealment.
Prismatic lustre and a brilliant and transparent white glaze were the qualities chiefly sought for in the " fine "
majolica
and
Grubbian ware
;
the metallic lustre was given by
II
preparations of lead,
121
RENAISSANCE ORNAMENT. and gold, and
silver, copper,
Gubbian ware surpassed
this the
in
was obtained by a varnish made from
tin, into
designs were painted before this was dry, and, as
wondered
A
we
at that
a mark.
C.
rare, as
immediately absorbed the colours,
subjects generally chosen were
Museum
Hague
at the
and
saints
bears a cipher, the letters of which
from Scripture
events
historical
The
use.
in
still
but the former
;
subject was
attached to each, was of rather later date
tame manner, with
little
generally
The
a reference to the text in blue letters at the back of the plate.
of ornamenting the ware with the portraits of historical, classical,
flat,
not to be
is
the sixteenth century, when they were displaced by scenes
till
though designs from Scripture were
Virgil,
briefly described with
in a
it
the
;
the artists of these plates seldom signed their works.
were preferred, and continued in favour
from Ovid and
The dazzling white glaze
Another, mentioned by Pungileoni, has " G. A. T." interlaced, forming
H. 0. N."
These instances are
The
it
others.
all
half-baked, the pottery was plunged
so frequently find inaccuracies in the drawings.
plate of the early Pesaro ware in the
appear to be "
when
which,
fashion
and living persons, with the names
than the sacred themes.
All these
are painted
subjects
attempt at shading, and are surrounded by a kind of rude Saracenic
ornament, differing completely from the Jlaffaellesque arabesques, which, in the latter years of Guidobaldo's
much
were so
reign,
The
in fashion.
plates full of coloured fruits in relief were probably taken
from
the Eobbian ware.
The in the
by the Duke's impaired income and the want of
decline of this manufacture caused
manufacture
felt
by
was hastened by the introduction
successor,
his
more wealthy
use of plate in the higher and
the increased
classes;
still,
were laid aside, the majolica was ornamented with well-executed designs
of
Oriental
interest
china and
though historical subjects of
birds, trophies, flowers,
musical instruments, sea monsters, &c, but these became gradually more and more feeble in colouring
and execution
From it
all
till,
at last,
their
was taken by engravings from Sadeler and other Flemings.
place
these causes the manufacture
rapidly to decay, in spite of the endeavours
fell
made
to revive
by Cardinal Legate Stoppani.
The "fine" majolica who held
of Pesaro attained
its
greatest perfection during the reign of Guidobaldo II.,
and greatly patronised
his court in that city,
Pesaro so closely resembled that of Urbino, that
it
From
its potteries.
that time, the majolica of
not possible to distinguish the manufacture of
is
the two places from each other, the texture of the ware being alike, and the same artists being often
employed in both
was granted
Italian ware, that a protection
under penalty of
fine
that
vases
all
foreign
and
early as 1486 the Pesaro ware
As
potteries.
be
out
sent
confirmed, in 1532, by Francesco Maria it,
of
the
of gold to them.
of
Pesaro of that date, not only forbidding,
state
within
eight days.
This protection was
In 1569, a patent for twenty-five years, with a penalty
I.
was granted by Guidobaldo
the construction of vases wrought in
inventions in application
by the lord
so superior to all other
importation of any kind of foreign pottery, but ordering
confiscation, the
should
of 500 scudi for infringing
to it
was considered
In addition to
II. to
relief,
this, his
Giacomo Lanfranco
of great
father
size
of Pesaro, for his
and antique forms, and his
and himself were freed from
all
taxes
and imposts.
From
its
variety
and novelty, majolica was generally chosen by the
presents to foreign princes. in a letter
from Lorenzo the Magnificent
similar kind.
A
by Guidobaldo
to Philip
service painted
II.,
or subject of
122
to
Duchy
Sixtus IV, certain " vasa
for their ;
fictilia
"
and
Kobert Malatesta, he returns thanks for a present of a
by Orazio Fontana from designs by Taddeo Zuccaro, was presented
II. of Spain.
set of jars presented to the
Guidobaldo
In 1478, Costanza Sforza sent to
lords of the
A
double service was also given by him to Charles V.
Treasury of Loreto by Francesco Maria
for the use of [his
own
laboratory;
some other description, and
all
are
II.
were made by the order of
some of them are ornamented with
labelled with the
name
The
a
portrait,
of a drug or mixture.
The
RENAISSANCE ORNAMENT. them
colours of these jars are blue, green, and yellow; about 380 of
Loreto.
remain in the Treasury of
Passeri gives an interesting classification of ornamental pottery, with the terms
whom
the sums paid to the artists by
made use of
used in ornamenting the plates, and
to distinguish the various kinds of paintings
by the workmen also
still
He
they were painted.
gives a curious
extract
from a
manuscript in the handwriting of Piccolpasso, a "majolicaro" of the middle of the sixteenth century, who wrote upon his art; to understand which it is necessary to remember that the bolognino was equivalent to the ninth
part,
and the gros to
the third part, of a paul (5g pence)
was a third, and the ecu
two thirds
crown (now value four shillings and
Eoman
of a
the livre
two thirds of a petit
petit ecu, or ecu ducal,
and the
;
florin
;
threepence one farthing). Trophies.
â&#x20AC;&#x201D;
This style of ornament consisted
modern arms, musical and ma-
of ancient and
instruments,
thematical
and open books
are generally painted in yellow
;
they
cameo on a blue
These plates were chiefly sold in the
ground.
province (Castel Durante) in which they were
manufactured, one ducal crown a hundred being
sum paid
the
the painters of them.
to
This
was much affected by the Cinque-centisti
style
in marble and stone
:
witness the
monument
to
Gian Galeazzo Visconti, in the Certosa, Pavia,
and portions
of the
Genoese doorway we
en-
grave.
Arabesques were ornaments consisting of a sort of cipher, loosely tied,
and interlacing knots
and bouquets.
Work
to Venice and
Genoa, and obtained one ducal
florin the
thus ornamented was sent
hundred.
Cerquate was a name given to the interlacing of oak-branches, painted in a deep yellow
a blue ground
upon
was called the " Urbino painting," from the oak being one of the bearings of the
it
;
Pedestal forming part of a Doorway of the Palace, presented by the Genoese to Andrea Doria.
This kind of decoration received fifteen gros
ducal arms.
bottom of the plate was ornamented, by having some
little
the
hundred; and when, in addition, the
story painted
upon
it,
the artist received
one petit ecu. Grotesques were the interlacing of winged male and female monsters, with their bodies terminated
by
or
foliations
blue ground
;
branches.
These fanciful decorations were generally painted in white cameo upon a
the payment for them being two ecus the hundred, unless they were painted on commission
from Venice, when the price was eight ducal Leaves.
â&#x20AC;&#x201D;This
the ground.
ornament consisted of a few branches of
Their price was three
Flowers and Fruits. for
them
five
livres
â&#x20AC;&#x201D;These
the
hundred.
leaves, small in
size,
and sprinkled over
livres.
very pleasing groups
Another variety
four large leaves, painted in one colour florin
livres.
upon a
were sent of the
to
same
different-coloured
Venice, and the artists style
received
merely consisted in three or
ground.
Their price
was half a
the hundred.
123
RENAISSANCE ORNAMENT. name
Porcelain was the
of a
of work which consisted of the most delicate
style
with small leaves and buds painted upon a white ground. livres the
hundred.
It was, in all
blue
flowers,
This kind of work obtained two or more
probability, an imitation of Portuguese importations.
Tratti were wide bands, knotted in different ways, with small branches issuing from them. price
was
two
also
livres
Soprabianco was a painting the margin of the plate. QiLartieri.
— In
upon a white-lead ground, with green
in white
or blue borders round
These obtained a demi-ecu the hundred. pattern
this
Their
the hundred.
the
artist
divided the
diverging from the centre to the circumference
were painted bouquets of different
The
tints.
;
bottom of the plate into
each space was of a particular
or eight
six
rays,
upon which
colour,
painters received for this kind of ornament two
livres
the hundred.
Gruppi. the "
—These
tratti,"
This pattern was larger than
were broad bands interwoven with small flowers.
and was sometimes embellished by a
the price of a demi-ecu, but without
it
little
picture in the centre of the plate
in that case
:
only two jules.
fl
Portions of the Pilaster of a Doorway in the Palace at Genoa, presented by the Genoese to Andrea Doria.
Candelabri.
—This
ornament was an upright bouquet extending from one
the other, the space on each side being
candelabri was two
florins
the
filled
hundred.
up with
in detail
scattered leaves and flowers.
of
the
The
plate to
price of the
The adjoining woodcut shows how common, how
and how favourite a subject this was with the best
To dwell
side
artists
early,
of the Cinque-cento.
upon the merits and particular works
Maestro Giorgio Andreoli,
of artists, such as
Orazio Fontana, and Francesco Xanto of Rovigo, would be beyond the scope of this notice, and less necessary
out some subject.
as
Mr. Robinson,
new and
Catalogue of the
in his
highly interesting speculations upon
Neither will
it
Soulages
Collection,
has
so
is
the
recently thrown
various difficult questions connected with the
be desirable here to do more than point out the interesting modifications
of ceramic design and practice carried out in France through the indomitable perseverance of Bernard
de Palissy, master-potter to Francis
I.
In Plate
LXXIX.
Figs
1
and
3,
we have engraved
several
specimens of the decorations of his elegant ware, which occupy as to design, in reference to other
monuments
of the French Renaissance,
much
does to the monuments of the Italian revival.
124
the same position that the design of the early majolica
Although that
style
began to make
its
appearance in
—
RENAISSANCE ORNAMENT. the works of the French jewellers in the reign of Louis XII., when the extensive patronage of the
powerful Cardinal d'Amboise gave considerable impetus to the
Court the great master of the Renaissance
to his
the jeweller's art reached appreciate,
its
highest
is
it
invited
To
rightly
and nature of the
school
the fifteenth century, and
in
who
necessary to pass in rapid review the
leading characteristics of the admirable
whose productions
I.,
—Cellini —that
perfection.
however, the precise condition
precious metal-work,
was under Francis
art, it
enamellers,
of
much more
in
the sixteenth, served to disseminate far and wide some of the
most elegant ornaments which have ever been applied to metalwork.
About the end of the fourteenth century, the moges
artists of Li-
found not only that the old champleve enamels,
— of which,
in Plate
LXXVIL,
we have
given, for the sake of contrast, numerous examples,
Figs.
1,
3, 4, 8, 29, 40, 41, 50, 53, 57, 61,
had entirely gone out of fashion, but that almost every goldsmith either imported the translucid enamels from Italy, or executed them himself with
more or
less
according to his
skill,
In this state of things, instead of attempting competi-
talents.
they invented a new manufacture, the processes of which
tion,
belonged solely to the enameller, and enabled him to dispense entirely with the
The
burin of the goldsmith.
first
attempts
were exceedingly rude, and very few of them now remain; but that the
progressed
art.
slowly
evident from
is
the
fact,
that
not until the middle of the fifteenth century that specimens
it is
are to be found in any quantity, or possessing
The
merit.
any degree of
was this:— The design was traced
process
with
a sharp point upon an unpolished plate of copper, which
then covered with after
artist,
a
thin
coat
of transparent
enamel.
going over his tracing with a thick black
was
The line,
in the intervals with the various colours, which were, for
filled
the most part, transparent, the black lines performing the of the gold strips of the cloisonne
sented the greatest difficulty, and were,
office
The carnations pre-
work. first
of
all,
covered over
with the black colour, and the high lights and half-tints were
then modelled upon that with opaque white, which occasionally received a few touches of light transparent red. tion was to
apply the gilding, and to
preious stones,
—almost
affix
The
last
opera-
the imitations
of
the last trace of the Byzantine school,
which had formerly exercised so .much influence in Aquitaine.
The appearance enamel, latter
in
resemblance not unlikely to have
construction
of scroll- work of a
small Pilaster, by the Lombardi, in the Church of Sta. Maria dei Miracoli, Venice.
of the finished works was very similar to that of a large
were never made of any considerable
the
and
—a
Lower portion showing the springing
and coarse translucid
been intentional, more especially as specimens of the
size,
and were therefore
fit
to supply
the place
of ivory
of those small triptychs which were so necessary an appendage to the chambers
oratories of the rich in the
middle ages.
Accordingly,
we
find nearly all the early painted enamels
are either in the form of triptychs or diptychs, or have originally formed parts of
kk
them
;
and a great
125
RENAISSANCE ORNAMENT. preserve their original brass frames, and are supposed
number in
the atelier of Monvearni, as the
As to the
workmen
other
of the
they
artists,
name
followed,
by antiquaries
have been produced
to
or initials of that master are generally
unfortunately,
common
but too
the
found upon them. of most of the
practice
middle ages, and, with the exceptions of Monvearni and P. E. Nicholat,
more
inscriptions have been
correctly read, Penicaud,
names
their
the
as
or,
are buried in oblivion.
At the commencement of the sixteenth century the Renaissance had made great progress; and other changes, a great taste for paintings in " camaieu,"' or " grisaille," had sprung up. The
among
of
ateliers
Limoges
may be
once adopted the new fashion, and what
at
The process was very nearly the same
painted enamels was the result.
and consisted
to the carnations of the earlier specimens,
called
the second series of
employed with regard
as that
covering the whole plate of copper
in, firstly,
over with a black enamel, and then modelling the lights and half-tints with opaque white requiring to be coloured, such as the faces and the foliage, receiving glazes of their
— touches
of gold are almost always used to complete the picture; and occasionally,
ordinary brilliancy was wanted, a thin gold
or
silver
leaf,
the black ground, and the glaze afterwards superposed.
two
pictures of Francis
and Henry
I.
owed no small debt
famous Leonardo da Vinci. copies of the early
German and
•ever yet
many
Museum
others
who not only
been employed
to distinguish
Italian masters, or the original
— executed,
Duke
of
Guise, the
we must remember,
for the purposes
in
The works
of art.
and contemporaneously with him flourished a large school of quite
they
equalled, if
not surpass, his
did
applied
upon
be seen in the
to
established a manufactory in
most
of the
more
more celebrated of
Montmorency, Catherine de difficult
material which has
Leonardo extend from 1532 to 1574,
many
artist-enamellers,
Among them we may
own.
still
whether we regard his
artist,
Constable
of
du Roi," giving him,
him from the other and
portraits
the
Limoges, indeed,
of the Louvre.
And, indeed, the Limousin was no mean
contemporaries, such as those of the
Medicis, and
are
director, Leonard, "peintre, emailleur, valet-de-chambre
its
same time, the appellation of "le Limousin,"
at the
his
to the
of gratitude to the former monarch,
the town, but made
processes
these
tints
when more than
was
"pallion,"
a
those parts
executed by Leonard Limousin, for the decoration of the
II.,
now been removed
Sainte Chapelle, but which have
All
called
;
appropriate
of whose
works
mention Pierre Raymond
and the families of the Penicauds, and the Courteys, Jean and Susanna Court, and M. D. Pape. eldest
of the
family
The
of the Courteys, Pierre, was not only a good artist, but has the reputation
of
having made the largest-sized enamels which have ever been executed (nine of these are preserved in the
Museum
Hotel de
of the
Cluny— the
other
three,
M. Labarte informs
Francis
I.
and Henry
II.
We
are
us,
decorating the facade of the Chateau de Madrid, upon which building large
in
England)
for
sums were lavished by
should observe that this last phase of Limoges enamelling was not
confined, like its predecessor, to sacred subjects; but, on the contrary, the most
distinguished artists
did not disdain to design vases, caskets, basins, ewers, cups, salvers, and a variety of other articles
of every-day
which were afterwards entirely covered with the black enamel, and then decorated
life,
with medallions, &c. in
the
opaque white.
At the commencement
subjects of most of the enamels were furnished from the prints of the
Schoen, Israel van Mecken, &c.
and other
Italians,
works of Virgilius
The production whole of the finally
expired.
of
the
new manufacture, the
German
artists,
such as Martin
These were afterwards supplanted by those of Marc' Antonio Raimondi
which, in their turn, gave way about the middle of the sixteenth century to the Solis,
Theodore de Bry, Etienne de l'Aulne, and others of the petits-maitres.
of the painted enamels was carried on with great activity at Limoges, during the
fifteenth,
The
sixteenth,
last artists
and seventeenth
centuries,
and
far
into
the
eighteenth,
when
it
were the families of the Nouaillers and Laudins, whose best works
are remarkable for the absence of the paillons, and a somewhat undecided style of drawing.
In conclusion,
126
it
remains for us only to invite the student to cultivate the beauties, as sedulously
:
RENAISSANCE ORNAMENT. as
in Art
no
extravagancies, of the
eschew the
he should
than in Polity, great responsibility
less
Renaissance is
Ornament
him have
let
in
would nakedness.
over-finery as he
and conventional elements
upon the
intellect:
he
objects,
really
composition
no story to
and most harmonious
closest
another, or even to issue from
its
set
afforded
a rein upon his fancy.
him be modest and
let
decorous, avoiding
him be content with
tell, let
floriated
forms
relations,
call
by the comparatively direct
observation
arrest
the more sure of attaining his purpose.
and indeed demands, the association of the
of,
is
which please the eye without making any serious
wishes to
may be
he
bound to
especially
Keep them
never lose sight of the unities and specialties of each.
the artist
on the
its
If he has
Renaissance, allows
which, like the
but in
;
his enrichments,
in
then, where
of material
representation
abundance
is
liberty
In those styles in which the imagination
incurred.
of the designer can be checked only from within, he
Where great
style.
In a style Arts, let
Sister
as a well-ordered family,
but never permit one to assume the prerogatives of
own, to invade
its
So ordered and maintained,
Sister's province.
those styles are noblest, richest, and best adapted to the complicated requirements of a highly artificial
system,
social
which, as in that of the
in
Painting, Sculpture, and the
Renaissance, Architecture,
highest technical excellence in Industry, must unite before
and indispensable conditions
essential
its
of effect can be efficiently realised.
M.
DIGBY WYATT.
BOOKS REFERRED TO FOR ILLUSTRATIONS. LITERARY AND PICTORIAL.
Emblemata D. A.
Alciati (A.)
tiila; ac,<]u<e
Alciati,
denuo ab ipso Autore recog-
desiderabantur, imaginibus locupletata.
Accesserunt
(J.
XVI
au
Small 8vo.
Paris, 1823.
Lyons, 1551. Collezione del migliori Ornamenti
anlichi, sparsi
Hella citta di Venezia,colV agg'uinta di alanii nrchitelliira e di varie invenzioni di tin
Oblong
R. Accademia.
1.
Paris
Bai.tard. des
Descriptions
4to.
Monumens,
ses
ct
fnimmenli diGotica Giovane Alunno di questa
Venezia, 1831.
le
Citoyen
Beckek and
avec
Amanry Duval
Louvre, St. Cloud, Fonlainblean, Chateau d'Ecouen,
Large Folio.
<tc.
2 vols.
Paris, 1803-5. J.
des Mittelalters
San
Wood-Carvings from the Choir of the Mon-
Pietro at Perugia, 1535.
{Cinque-cento.)
(A.)
Dessine's et
Pittoresque.
Monumens
et
Fragmens
a" Architecture,
Meubles, Armes, Armures, et Objets de Curiosity au XVIP Steele. Destine d'apres Nature par Chapuy, &c. Avec an Texte archiologique, descriptif, et historique, par M.
X
e
Morel.
5 vols, small Folio.
Clerget et George.
sance, recueillis et choisis
Paris, 1861.
With an Alias of Plates.
dinal d'Amboise.
Tombeaux de la Cathedrale de Rouen gravies. 8vo. Rouen, 1837.
&
(G.
La
F.)
illustrating the
1030.
3 vols.
plates.
Folio.
;
4to.
Paris, 1850.
avec douze planclies,
Certosa di Pavia, descritta ed illustraia
con tavole, incise dai fratelli Gaetano
e
Francesco Durelli.
.
62
Milan, 1853.
(L.)
Essai sur I'Hisloire de la Peinturc sur Email.
8vo.
Paris, 1839. J.)
L' Architecture du
qui en dependent,
le
Vc
au
XVI"
Siecle et les Arts
Sculpture, la Peinture Murale, la Peinturc
sur Verre, la Mosdique, la Ferronnerie, <tc, publics d'apres
Travaux 4to.
inedits des
principaux Architectes Francais
t-l
les
Strangers.
Paris, 1851, et 3eq.
Ghiberti (Lorenzo).
d'Omements de la Renais-
di Firenze.
4(i
par Ch. Ernest Clerget. Gravis sur par C. E. Clerget el Mme. E. George.
description
in
cnivrc d'apres les origin avx
*vo.
Paris, 1838-40.
Collection portative
to
publies d'apres les Regislres Manuscrits des Tre'soriers du Car-
Gailhabaud
Paris, n. d.
4to.
Le Moyen -Age
Dukes of Urbino,
the
(A.) Unedited Documents on the History of France. Camples de De'penses de la Construction du Chdleau de Gaillon,
Dussieux
Recueil d'Orncments de la Renaissance.
graves a I'eau-forte.
Chatty.
Memoirs of
)
6 vols. Folio.
Said to
be from designs by Kaffaelle.
Bernard
(J.
Arms, Arts, and IAterature of Italy from 1440 8vo. London, 1851.
Durelli
1852.
astery of
Ouvrage enrichi de 525 planchts.
.
Monumens,
Siecle, jusqu'a son Renouvellement
^^â&#x20AC;&#x201D;
von Hefner. Kuntswerke und Gerdthschaften und der Renaissance. 2 vols. 4to. Frankfurt,
Bergamo (Stefano Da).
IVe
Deville
measure's, dessine's, ei grave's,
Historiques, par
Dennistoun
e
Histoire de I'Art par ses
B. L. G. S.)
depuis sa Decadence au
unna aliquot ab Autore Emblemata suisquoque eiconibus insignita.
Antonelli (G.)
C.
DAgincourt
Ijc Ire
Porte del Battisterio di San Giovanni
engraved in outline by Lasinio, with French and Italian. Folio, half morocco. plates,
Firenze, 1821.
Hopeer.
Collection of
Ornaments
in the
Grotesque Style, by Bovfir.
127
RENAISSANCE ORNAMENT. Imbard. Tombeaux de Louis XII, et de Francois I., dessine's et graves au trait, par E. F, Imbard, d'apres des Marbres du Muse'e des Small Folio. Paris, 1823. Petit* Augustins. Rechcrches sur I'Usage
â&#x20AC;˘Fubinai, (A.)
I'Origine des Tapisseries a
et
l',rsunnages, dites Historie'es, depuis I'Antiquite jusqii'au
De Lauorde classes
(Le Comte Alexandre).
chronologiquemcnt,
hi.-ioriqtics et
XVI
e
8vo. ph. Paris, 1640,
Siecle inclusivement.
Les
Monumens
2 vols.
de
la
France,
Rapport des Faits Folio. Paris, 1816-30.
Emaux exposes dans les Gaieties du Musee Premiere partie, Histoire et Descriptions. 8vo.
De Laborde.
Notice des
du Louvre. Paris, 1852.
Labarte
(J.)
Description des Objets d'Art qui composent la Collecprece'de'c
d'une Introduction
des Sciences,
Commerce
des Arts, des Litte'ratures, et des
Direction Littiraire dc
Artistiqut de
M. Ferdinand
A.Rivavd.
5 vols. 4to. Atlas des
(Ai.ex.)
Sere.
Monumens
de la France, depuis
Francois
Folio.
et
de I'Industrie,
les
Direction
M.
des Arts liberunx, mecaniques, les
Gaulois jusqu'au reane de
Paris, 1828.
des
Histoire des Pciiitures snr Majoliques faites a Pesari par Giambattista Passeri
licux circonvoisins, de'erite
Traduite de I'ltalien
Henri Delange.
Queriere (E. de
Essai sur
la). el
Piguons.
La
4to.
Fleur de
les Girouettes,
Epis, Cretes, dc, des
Paris, 1846.
la Science dc Pourlraictiire et
Facou Arabicque
Brodcrie.
Appendice par
Numerous plates of Ancient Vanes
and Terminations of Roofs. .Renaissance.
et suivie d'un
Paris, 1853.
8vo.
et
Ylalique.
Cum
Patrons de
Privilegio Regis.
Paris.
Ornemens des Anciens Mailres des XV., XVI., Siecles. 30 plates, comprising copies of some of the most ancient and rare Prints of Ornaments, Alphabets,
Reynard
(0.) et
XVIII.
Silverwork.
Paris, 1844.
Folio.
Histoire Les Arts Somptuaires de VÂŤ au XVIIe Siecle. du Costume et de I'Ameublement en Europe, et des Arts que en dependent. Small 4to. Paris, 1853. (F.)
Beaux Arts en
Lacroix.
Dessins fac-similes par
Monnmens Francois ; on, chronologique des Statues en Marbre et Musee
et
M. Paul
et
Paris, 1848-51.
et industriels
I.
Renaissance, Histoire
et la
Description des Ma?urs et Usages, du
Europe.
B.)
{de Pe'saro).
Sere
Le Moyen Age
Lacuoix et Sere.
Lenoir
Historique.
Paris, 1817.
8vo.
(J.
dans
XVII.
Debruge-D umenil,
tion
et
Anciens Combles
et considered sous le
de I'Etitde des Arts.
Passeri
Sommerai'.d (A. Du).
Hotel de Cluny.)
Les Arts an Moyen Age. (Collection of the Text, 5 vols. 8vo.; Plates, 6 vols. Folio.
Paris, 1838-40.
Verdier et Cattois. Architecture Civile et Domestique, au Moyen Age et a la Renaissance. 4to. Paris, 1852. Examples of Architectural Art in Italy and Folio. London, Spain, chiefly of the 13th and Kith Centuries. 1850.
Waring and MacQuoid. Description historique en Bronze, Bas-reliefs
Tombeaux, des Homines et des Feinmes celebres, qwur servir a I'Histoire de France et a cclle de I'Art. Orne'e de gravures et augmentee d'une Dissertation sur les Costumes de chaque siecle. et
vols. 8vo.
Marry at
Paris, 1800-6.
Collections towards a Historg of Pottery
and Porcelain and Eighteenth Centuries, with a Description of the Manufacture ; a Glossary, and a List of Monograms. Illustrated with Coloured Plates and Woodcuts. London, 1850. 8vo. (J.)
Wili.emin (N. X.) toire
The Life of Bernard Palissy of and Discoveries in Art and Science, with an Outline of his Philosophical Doctrines, and a Translation of Illustrative Selections from his Works. 2 vols. 8vo. London, 1852. (H.)
Palissy the Potter.
Salutes, his Labours
128
le
Fruiifuis inedits,
VIe
pour servir a I'Hiscommencement du
Siecle jusqu'au
XVII'.
Choix de Costumes civiles et militaires, d'Armes, Armures, Instruments de Musique, Meubles dc touts espece, et de Decorations interieures et exterieures des Maisons, dessines, graves,
in the Fifteenth, Sixteenth, Seventeenth,
MoBUl
Monuments
des Arts, depuis
el
colories d'apres les originaux.
accompagnes cCun
Classes chronologiquemcnt, et
te cte historique et descriptif,
6 vols, small Folio.
Wyatt, M. Digby, and
J.
par Andre Pottier.
Paris, 1800-3!).
B. Waring.
Hand-book to the Renaissance London, 1854.
Court in the Crystal Palace, Sydenham.
Wyatt, M. Digbv. 1851.
Metal Work and
its
Artistic Design.
London,
CAJ
6<yv
Chapter
XVIII.— Plates
83, 84, 85.
ELIZABETHAN ORNAMENT, »fr« r
PLATE LXXXIII. The centre portion
1.
of the
neypiece, formerly in the
now
in the
Robing
Ornament in a Stone ChimRoyal Palace, Westminster,
Room
8.
Wood
of the Judges' Court of
9.
Wood
Queen's Bench.
Stone Carving from an old House, Bristol.
3.
Frieze,
4.
Ornaments
James
I.
10, 15.
6, 7.
Wood
0.
Wood
a Church Pew, Wiltshire.
Carving
James
from
Burton
Agnes
James
Palace,
I.
Tomb
Carving in Stone from the
13.
Wood
at Westminster
I.
Carving, from Montacute, in Somersetshire.
Elizabeth.
Yorkshire.
I.
Carving over a Doorway to a House near Nor-
14.
Stone Carving, from Crewe Hall.
16.
Wood
Elizabeth.
wich.
James
11, 12.
Elizabeth. in
I.
Carving, from a Chimneypiece, Old
Abbey.
from Goodrich Court, Herefordshire. Time of Henry VHL or Elizabeth. Flemish Workmanship. in
James
Bromley, near Bow.
2.
Pew, Pavenhani Church,
Carving, from a
Bedfordshire.
James
I.
Carving, from the Hall of Trinity College,
Cambridge.
PLATE LXXXIV. 1.
Stone Ornament, Burton Agnes, Yorkshire.
2.
Painted Ornament, Staircase, Holland House, Kensington.
James
3.
Wood
4.
Ditto, ditto.
5.
Wood
James
13, 14.
I.
Charles 15, 24, 26.
I.
17.
James
Late
18. 20.
I.
7.
Stone Ornament from one of the
an Old Chair.
19. 21.
Elizabeth,
Ornaments from Burton Agnes, Yorkshire.
11.
12,10.
Wood
last of late date
pub.
Crewe
Hall,
Cheshire.
I.
Ornament on a Bethesdan Marble Chimneypiece,
Wood
Ornaments, in Peter Paul Pindar's House,
Diaper, Old Palace, Enfield. Diaper, Aston Hall.
James
James
I.
a Cabinet.
23.
a Tomb, Westminster Abbey.
25.
From From
27.
Wood
28.
Plaster Enrichment to a Panel Ceiling at
I.
H
I.
From
I.
Pavenham
James
Ornament, from Burton Agnes, Yorkshire.
22.
Elizabeth.
Ornaments, from the Pewing, Church. Bedfordshire. James I.
Wood
James
Tombs at Westminster.
Elizabeth.
Wood Wood
The
from
Diapers,
Bishopsgate.
From
10.
Agnes.
II.
Little Charlton House, Kent.
Aston Hall, Warwickshire.
6.
8, 9.
Stone
James
Carving, Holland House.
Carving,
From Burton
a
James I.
French Workmanship.
Tomb, Aston Church.
Janu-.s
James
I.
I.
Carving, from the Staircase, Aslou Hall, Warwickshire. Late James I.
Hall, Highgate.
Charles
II.
129
Cromwell
;
ELIZABETHAN OKNAMENT.
PLATE LXXXV. Diapers from Burton Agnes, Yorkshire.
1, 15, 18.
Wood
2.
Late James
Elizabeth.
4.
Wood Diaper, from an old House at Enfield. James I.
5.
Plaster Diaper, from an old
Church.
green
;
From
11.
Applique' Needlework.
a Damask Cover James I.
House
collection of
in
a
Tomb
to a Chair at
James
Mr. Mackinlay.
the ornament in yellow
near Tottenham
Westminster.
at
Knowle,
or Charles
I.
The ground
silk
;
outline,
in Kent.
In thP
I.
in dark red
yellow
silk
cord.
Elizabeth.
the subject in light yellow, blue, or green
the outline, yellow
beth or James
Eliza-
I.
Applique' Needlework.
13.
;
silk cord.
Patterns from Dresses, Old Portraits.
12. 14, 10, 17.
Needlework Tapestry. Elizabeth, (j size.) From the collection of Mr. Mackinlay. The ground, light
7.
10. I.
From Drapery in a Tomb at Westminster.
3.
Drapery
Elizabeth.
Cambridge. Ditto, ditto.
C, 8.
from
Pattern
9.
Diaper, from the Hall of Trinity College,
James
I.
or Charles
By
I.
an
Italian Artist.
|
ELIZABETHAN ORNAMENT. Prior
be well to trace
the
briefly
triumph over the
of
Henry
monument
of the Countess of
shortly afterwards,
of Henry, by
went
whom
names preserved
Richmond
still
exists in
In the same
style,
to us at this
:
to design a is
almost a
and of about the same date,
is
Torrigiano designed this also, and, very
behind him several Italians attached
to
the
service
Amongst the
time are Girolamo da Trevigi, employed as an architect and engineer,
to these
Nunziata), painters, and the well-known Florentine sculptor,
(del'
may be
added, though at a later period, John of Padua,
more extensively employed than any of the
designed old Somerset House in 1549.
development of the new
to its final
introduction of the Eevival
first
Westminster Abbey, and which
at Westminster;
to Spain, leaving, however,
Benedetto da Rovezzano
or
England
a taste for the same style could not be otherwise than propagated.
Bartolomeo Penni, and Antony Toto
to have been
The
in
style, it will
when Torrigiano was employed by Henry VIII.
VII., which
pure example of the Italian school at that period. the
commonly termed the Elizabethan
Gothic style in the sixteenth century.
late
memory
in
is
and progress of the revival of the Antique
rise
into England dates from the year 1518,
monument
what
to describing the characteristics of
But
style in this country
it ;
others, and,
who appears
amongst other important works,
was not a purely Italian influence which aided in the
and already we find the names of Gerard Hornebande,
Horebout, of Ghent, Lucas Cornells, John Brown, and Andrew Wright, Serjeant -painters to the
In the year 1524 the celebrated Holbein came to England, and to him and John of Padua
king.
mainly due the naturalization of the new
German
style in this country, modified
is
by the individual genius and
education of the one, and the local models and reminiscences of the other, by
whom many
features of the earlier Venetian school of the Eevival were reproduced, with great modifications, however,
in this country.
Holbein died in 1554, but John of Padua survived him
the noble mansion of Longleat about the year 1570. A.D. 1553,
(before
we
find in
On
many
the rule for the procession (Archceol. vol.
being English.
Somewhat
later,
and designed
the occasion of the funeral of xii.
Edward VI.
1796) the names of Antony Toto
mentioned), Nicholas Lyzarde, painters, and Nicholas Modena, carver;
of master-masons, &c.
years,
all
the other names
during the reign of Elizabeth, we find only
two Italian names, Federigo Zucchero (whose house at Florence, said to have been designed by himself,
would rather serve to show that the English
style of architecture
had influenced him, than vice versa),
and Pietro Ubaldini, painter of illuminated books. It
is
from Holland that, at this period, when the Elizabethan 130
style
may be
justly said to
have
—
ELIZABETHAN ORNAMENT. been formed, we must look
Marc Garrard of Bruges, H.
of Gouda,
Ketel
number
the greater
for
Hollander,
who executed
of Cleves,
who was
Vroom
C.
monument
Sussex
the
of artists
of Haarlem, painters;
Boreham church,
in
Besides these
the architects,
Shute (the
we approach now a goodly array
— Robert
latter,
monument
new
the
first scientific
work on Architecture
more extended by
still
and
I.,
to
them
in
1619 style,
reign
I.'s
an example which could hardly
Pallavicini, in
Stone and sepulchral
century
sixteenth
of the
style
his house
had
i. e.
Most of the above-named
architects
much
monuments,
it
Bernard
of Architecture."*
vogue during the reign of James
in
been, moreover,
(now destroyed)
at
— the
name
I.
of Inigo
JoDes brings us
was displaced speedily
even
introduced
before
Shelford, Cambridgeshire
Little
The Palladian
;
by
this
Sir
Horatio
and although Nicholas
to have continued the old style, especially
the more pure, but
for
very
on the occasion of the rebuilding of Whitehall
producing a complete revolution in Art.
of
fail
son, architects and sculptors, appear
his
in English, A.D. 1563), Hilliard the
Henry Wotton's " Elements
Sir
nearly to the complete downfall of the Elizabethan ;
of Dr. Caius about the year
due the facade of Northumberland House, Strand.
is
Before the close of James
Palace
Caius
during the early part of the seventeenth century, at which time the knowledge of
also
Jansen and Gerard Chrismas, both natives of Holland, were
and Charles
and Theodore Haveus
and Bernard Adams, the Smithsons, Bradshaw, Harrison, Holte, Thorpe, and
author of the
was
style
Stevens, a
of English names, the most remarkable being
goldsmith and jeweller, and Isaac Oliver, the portrait-painter.
were employed
Suffolk:
Richard
architect of the four gates, Humilitatis, Vertutis, Honoris, et Sapiential, at
College, Cambridge, and, moreover, designed and executed the
1573.
Lucas de Heere of Ghent, Cornelius
:
less
in
picturesque fashion of
the best Italian schools.
Thus, taking the date of Torrigiano's work at Westminster, 1519, and that of the commencement
we may include most
of Whitehall by Inigo Jones in 1619,
of the works of art during that century
as within the so-called Elizabethan period.
In the foregoing names.
In the
first
list
of artists
—
for
a
fluctuating
Henry
period, or during the reign of
and amongst them we are &c.
we perceive
justified in placing
mixture of Italian, Dutch, and English
VIII., the Italian
names are
dominant,
clearly
Holbein himself, since his ornamental works in metal,
example, the goblet designed by him for Jane Seymour, and a dagger and sword, probably
executed for the king arabesques painted by
—exhibit him
a
purity and gracefulness
the large
in
though more grotesque and heavy, are
still
picture of
Henry VIII. and
close imitations
of the Royal Chapel at St. James's Palace, designed by
him
The
worthy of Cellini himself.
of style
his family at
of cinque-cento in 1540,
models
Hampton
;
many
quite in the style of
is
Court,
and the ceiling rich
examples at Venice and Mantua.
During the reign of Elizabeth we meet with a great preponderance of Dutch names,
for
this
country was bound both by political and religious sympathy with Holland; and although the greater
number
are described as painters only, yet
in those days, painters being frequently
carved, and even for architecture;
scope for ornamental design,
—
as,
and for
we must remember how
employed in the
to
design
accessories
closely all the Arts were connected
models for ornament, both painted and
of their
own
pictures
was found frequent
example, may be seen in the portrait of Queen Mary, painted
by Lucas de Heere, having panelled compartments of geometrical interlaced forms, jewelled foliage.
During the early part of Queen Elizabeth's reign we
that a very important influence
Protestant States of the *
The works
of
Low
filled
are, then, justified in
up with
concluding
must have been exercised on English Art through the medium of the
Countries, and of
Lomazzo and De Lorme
Germany
also.f
It
was during this period,
also,
that
are said to liave been translated into English during the reign of Elizabeth, but I have
never met with eopies of them. f The remarkable monument of Sir Francis Vere (lime, James of Nassau, in the cathedral of Breda (sixteenth centurv).
I.)
at Westminster, is almost identical in design with that of Englebert
131
ELIZABETHAN ORNAMENT. Heidelberg Castle was principally built (1556-1559)
and
;
would [not appear unlikely % that
it
may
it
have had an effect on English Art when we remember that the Princess Elizabeth, daughter of James
I.,
held court here as Queen of Bohemia, at the beginning of the seventeenth century.
At the
James
of Elizabeth's reign, and during that of
latter part
and appear, with the exception of Jansen and Chrismas, to have the it
at this period
is
we expect
that
we meet with the names
that
to find a
I.,
English
field
more decidedly native
are numerous,
artists
to themselves
And, in
school.
consequently
;
now
fact, it is
of English designers connected with such buildings (and with their con-
comitant decoration) as Audley End, Holland House, Wollaton, Knowle, and Burleigh.
Thus we may expect and
VIII.'s reign;
to
meet with the purest Italian ornament in the works of the
LXXXIIL,
but in the examples given in Plate
by the decorative style continued
of
by English
Even
in
many
works in
of the style of ornament practised
In the reign of James
There
latter part of his reign.
ornament of
this period,
and
may be
at the close of the fifteenth century
decorative
During Elizabeth's reign we perceive
3.
little,
is
many
parts
all
may be remarked
it
scroll,
and
more noticeable
still
beautifully
Komano, present
band, nail-head, and festoon-work: the same
is
in
it
the
frontispieces
As regards another main
complicated and fanciful interlaced bands,
excellent designs of the class of engravers
known
we must seek
as the
of Serlio's
feature
work on
in Elizabethan ornament,
origin
its
great
the
in
numerous
and
" petits-maitres " of Germany and the Nether-
and more particularly those of Aldegrever, Virgilius
lands,
The
Giulio
of
of foreign
open scroll-work
of the stained-glass windows of the Laurentian Library, Florence, by Giovanni da
Architecture, published in Paris in 1515.
the
same
LXXXIV.,
simply a modification
is
seen the germs of the
such as stained glass and illuminated books.
Italy,
the character of Elizabethan
Udine (1487-1561);
viz.
find the
then, that can be justly termed
executed ornamental borders, &c. of Giulio Clovio (1498-1578), pupil in
we
I.
but generally in a larger manner, as at Nos. 5 and 11, Plate
artists,
in the character of the
models.
and
1
Germany and the Netherlands.
from Aston Hall, built at the original
Nos.
of Italian models, and a complete adoption
artists
Henry
be found to be the case, not only on the subjects we have already mentioned,
this will
but a slight imitation
artists of
of
Solis
Nuremberg, Daniel
Hopfer
of
Augsburg, and Theodore de Bry, who sent forth to the world a great number of engraved ornamental
Nor should we
designs during the sixteenth century.
very
the
fanciful
which Vertue
Dieterlin,
House.
and
thoroughly
Elizabethan
and
ornamental,
These were the principal sources from which the so-called Elizabethan
may
here remark, that whilst
indeed in some cases must, vary in
on which
it
is
applied,
its
it
to
its
the period
such
just limits,
of which
we
it
subjects, treat
W.
character, according to
â&#x20AC;&#x201D;
as
so,
carried
illuminated
style
style
the different
ornament
this
subjects
assthetical
fact,
and materials did in most
sculptured and architectural works,
into
books, engravings, Damascene
on the other hand, the
of
evident that decoration ought, and
is
and whilst the Italian masters, recognising
instances carefully abstain from carrying the pictorial
other purely ornamental
of
were used by Chrismas in his designs for the facade of Northumberland
asserts
was mainly founded; and we
confining
forget to mention, at the close of this century,
compositions, architectural
artists
metal-work,
and
employed in England during
the pictorial style of ornament into every branch of Art, and
reproduced even on their buildings the unfettered fancies of the decorative
artists
as
they received
them through the medium of the engraver. As regards the of a
grotesque
characteristics of Elizabethan ornament, they
may be
described as consisting chiefly
and complicated variety of pierced scroll-work, with curled edges
;
interlaced
bands,
sometimes on a geometrical pattern, but generally flowing and capricious, as seen, for example, on No. 12, Plate
LXXXIIL, and
and broken outlines
;
Nos. 26 and 27, Plate
festoons, fruit,
beings; grotesque monsters and
132
LXXXIV.;
strap
and nail-head bands; curved
and drapery, interspersed with roughly-executed
animals,
with
figures
of
human
here and there large and flowing designs of natural
ELIZABETHAN ORNAMENT. branch and leaf ornament, as shown in No.
Plate LXXXIII., a noble example of which
7,
on the great gallery ceiling at Burton Agnes, in Yorkshire
also
panelled compartments often are freely used
;
with foliage or coats-of-arms
filled
and the carving, whether Unlike the
though roughly executed.
in
stone or wood,
is
rustications of ball
;
;
architectural mass
marked by great boldness and
but
;
the
groundwork or
windows): consisting of a
rough application of the orders of architecture one over another, external walls with balustrade,
and internal walls bounded with
the gable ends, with their
effect,
examples of the Revival on the Continent, especially
earliest
essentially Italian in its nature (except in the case of
is
and diamond work,
grotesque arch- stones and brackets
France and Spain, these ornaments are not applied to Gothic forms
in
exists
still
and
frieze
cornice, with
convex and concave outlines, so
common
flat
the
in
style,
and
cornice
covered ceilings
or
even
;
were founded on
models of the early Renaissance school at Venice.
The coloured patterns on
tapestries,
—show
work
of diaper
—on
wood, on the dresses of the monumental statues, and
most cases more justness and purity of design than the carved work
in
A
and strongly marked.
colours, moreover, being rich
the
:
great quantity of this kind of work, especially
the arras, with which walls and furniture were constantly decorated, no doubt of Flanders, and in some cases from Italy, since the
first
came from the looms
native factory of the kind was established
at Mortlake in the year 1619.
LXXXV.,
Nos. 9, 10, 11, and 13, Plate
are
the most Italian in their character
given; No. 13 being stated, indeed, to be the design of an Italian of a good Italian
marked by much
1515, the ground
of which
still
is
Nos.
artists.
originality; whilst Nos.
examples of coloured ornament are date
examples
Nos. 12, 14, and
6
1, 4, 5, 15,
and
18,
are
I.,
though in the Italian
and 8 are in the ordinary Elizabethan
also
lb',
taken from portraits of the time of Elizabeth and James
character, being
probably the work of Dutch or Italian are
artist.
of the
taste,
Fine
style.
preserved in the pall belonging to the Ironmongers' Company,
gold, with
respect to the painted antependiums of several
a rich and flowing purple at
altars
pattern; similar in every
Santo Spirito, Florence (fifteenth century),
and probably of Italian manufacture.
At and
St.
at
Mary's Church, Oxford,
is
Hardwicke Hall, Derbyshire,
and gold thread pattern.
preserved a rich pulpit hanging of gold ground with a blue pattern is
a fine piece
But, perhaps, the
most beautiful specimen of
this
kind of work
the possession of the Saddlers' Company, a gold pattern on a crimson velvet pall,* part of the sixteenth century. Plate
LXXXV., two
of colour
is
freely
derived from as
Although in those we have referred
in
the
to,
made
in
is
in the early
and in the examples given
in
colours only are principally relied on for effect, yet in other subjects every variety
used
;
gilding, however, being generally
Spain, where
the discovery of gold in
the
predominant over colour— a taste probably
New World
a means of decoration in the reigns of Charles V. and Philip
seen
•
of tapestry of a yellow silk ground, with a crimson
II.
led to an extravagant use of
An example
of this style
it
may be
magnificent chimneypiece, with elaborate gilt carving combined with black marble,
now
preserved in the Governor's room at the Charterhouse.
By
the middle of the seventeenth century the more marked characteristics of the style had com-
pletely died out,
ness
;
and we
lose
sight,
not without some regret, of that richness, variety, and picturesque-
which, although deficient in good guiding principles, and liable to
could not
fail to
fall
into straggling confusion,
imgress the beholder with a certain impression of nobility and grandeur. J. B.
WARING.
October 1856. *
For these, see Shaw's very beautiful work on the " Arts of the Middle Ages."
MM
133
ELIZABETHAN ORNAMENT.
BOOKS REFERRED H. Shaw.
C. J.
TO.
Dresset and Decorations of the Middle Ages.
S. C.
„
The Decorative Arts of the Middle Ages.
Joseph Gwxlt.
„
Details of Elizabethan Architecture.
Horace Waltole.
Kioharbson.
Studies of Ornamental Design. Architectural
„
and James
Archaologia, vol.
Encyclopedia of Architecture.
xii.
Anecdotes of Painting in England. (17D6).
The Builder (several Articles by C.
I.
Dallawav.
The Mansions of England
134
The Baronial Balls of England.
Remains of the Reigns of Elizabeth
Studies from Old English Mansions.
„
Josbph Nash.
Hall.
in the
Olden Time.
J.
Richardson),
1H4I1.
Anecdotes of the Arts in England.
Clayton.
The Ancient Timber Edifices of England.
Britton.
Architectural Antiquities of Oreat Britain.
Chapter
XIX.â&#x20AC;&#x201D; Plates
86, 86*, 87, 88, 89, 90.
ITALIAN ORNAMENT.
PLATES LXXXVI, LXXXVI*. A series
of Arabesques, painted in Fresco
by Giovanni da (Jdine, Perino del Vaga, Giulio Romano, Polidoro da Carravaggio, San Gimignauo, Pellegrino da Modena, Bartolomeo da Bagnacavallo, and possibly other artists, from designs by Raffaelle, selected from the decorations of the Loggie, or central open Arcade of the Vatican, Rome. Francesco Penni, Vincenzio
da
PLATE LXXXVII. A series of Arabesques, painted in Fresco
on a white ground, in the Palazzo Ducale at Mantua.
PLATE LXXXVIII. A
series of
Arabesques, painted in Fresco on partially-coloured grounds, for the most part in the Palazzo Ducale at Mantua.
PLATE LXXXIX. A
series of Arabesques, painted in Fresco
on fully-coloured grounds, in the Palazzo del Te, at Mantua, from Designs
by Giulio Romano.
PLATE A
series of
XC.
Specimens of Typographic Embellishments of the Sixteenth Century in Italy and France; selected from works published by the Aldines, the Giuntas, the Stephans, and other celebrated Printers.
Shortly
after
the
of the antique whicli
commencement
of the sixteenth century, that
we have recognised
in Italy as fragmentary
movement towards
the restoration
and imperfect during the
fifteenth,
became systematised, and consequently invigorated, mainly through the means of popularisation afforded by the arts of printing and engraving. illustrated
in
the
Through them
translations of Vitruvius and Alberti, copiously
and ably commented upon, were speedily in the possession of every designer of eminence
country, and
without
its
limits
also
;
while, before the close of the
century, the treatises of
135
ITALIAN ORNAMENT. Vignola, and
Palladio,
Serlio,
monuments
of antiquity
Eusconi,
permanent
presented
had been studied.
But inasmuch
records
of
the
which
with
zeal
as the requirements of the
the
Social
Italian
system of the sixteenth century differed from those of the Imperial ages of Rome, so of a necessity the nature of the
monuments
created to supply those wants materially differed.
In the Renaissance
styles
of the fifteenth century the artist's
attention had been mainly directed to the imitation of ancient
ornament
in the sixteenth, however,
;
restoration of ancient
;
lected in
proportions, both of the five orders and
symmetry generally, that engaged the
of architectural
attention
was principally the
it
designer's
pure ornament having been to a great extent negits details,
and considered only Those
ative adjunct to architecture. fifteenth century
had been
arts
which during the
so frequently united in the persons of
whom
the maestri, under
mass as a decor-
in its
great
into execution, in the sixteenth
monuments had been
carried
became individualised.
The
genius of such intellectual giants as Raffaelle and Michael Angelo could alone maintain the triple attributes of painters, architects,
and
after
times,
men
due
in
sculptors,
relative subordination
such as Bernini
and
As the
da
Pietro
attempted similar combinations, the result was general confusion and failure.
when, in
;
Cortona
little else
rules of Art
than
became
more complex, academies arose in which the division-of-labour
The consequences, with
system was introduced.
and notable exceptions, were obvious %jA3>
certain
architects
:
thought of
else but plans, sections, and elevations, in which the
little
setting out of columns, arches, pilasters, entablatures, all in all
;
buildings,
((
rare
general cision,
painters worked their
more
in their studios, and less in the
works were to adorn
decorative effect,
&c, was
;
forgetting
and looking only
altogether
to anatomical pre-
powerful chiar'oscuro, masterly composition, and breadth
of tone and handling.
Sculptors of a high class deserted orna-
mental carving and gave their attention, almost exclusively, to isolated statues
5 J
X
effects of
and groups, or monuments in which general
beauty were made subservient to the development of
the plastic features alone.
Ornament was
to accident or caprice in its design,
in its execution.
a great degree
to second-rate artists
Favourable specimens of such ornaments
The painted arabesques
be seen in our woodcuts. style,
and
left in
may
of the Italian
and the stucchi with which they were occasionally accom-
panied, form so remarkable an exception to the above, that will
be well to reserve
them
for special notice.
architecture which Raffaelle has Soffite Panel,
is
excellent
consists,
;
from one of the Genoese Palaces.
it
and we 136
is
left
to us in the Pandolfini
Palace at Florence, and the Caffarelli, late Stoppani, at Rome,
in his connexion with the subject of arabesque that his celebrity as shall
it
Although the
not therefore further allude to
him
here.
Neither shall
we
an ornamentist dwell
upon the
ITALIAN ORNAMENT. works of Baldassare Peruzzi, interesting though they be, approached
so
to the antique as to
closely
since, so
away from
germ
department of
and
is
to
be
whose
we must look
tradition, that
of self-willed originality that infected all his contemporaries in every art,
and engendered a license which,
vain to deny, ultimately,
is
it
from
feebler hands than his, resulted in a departure
in
too,
It is to the great Florentine,
regarded rather as a Kenaissance artist than in any other light.
for that
Bramante,
no striking individuality.
offer
fervid genius, impatient of restraint, broke
ornament was concerned, they
far as
and refinement in
taste
every branch of art.
Michael Angelo was
in
descendants of the
Buonarrotti, Grhirlandaio
1474
Counts of Canossa
founded for
the celebrated " Cupid," which was
executed
Rome, and
to
him,
the
is
"Bacchus."
his
also
formance
at
twenty-nine
San Pietro
but
it
greatest, it
other
invited
works
next
by
in
St.
per-
great
for this
;
" building the " Moses
and the " Slaves " in the Louvre, were originally destined,
in Vincoli,
Sistine
his
little
he returned to Rome, summoned by
was completed on a smaller scale than was at
of the
many
Florence, was
at
years of age
Julius II. for the purpose of erecting his mausoleum at
some
of age, he
"Pieta" sculptured by order of Cardinal d'Amboise, and now
and
;
after
;
cause of his being
the
Rome, amongst
At
The gigantic statue of " David,"
Peter's.
Dominic
St.
Angelo
1494, Michael
he was twenty-three years
time he returned to Florence, and, before
had
sculpture, he
his talent for
culture by Lorenzo de Medici.
its
Bologna, where he worked at the tomb of
to
first
Chapel was the next work undertaken
The painting
intended.
him, and
by
one
of
exercised
on contemporary
remainder of his long
art,
as well
on that of after-times.
as
life
was chiefly devoted to the construction of
which work he was employed at the time of his death, in 1564, and
In
his
whether we regard the sublimity of the performance, or the influence which
In 154]
completed his vast fresco of the " Last Judgment," painted for Pope Paul III.
refused
all
lie
The
St. Peter's,
for
remuneration.
everything executed during the long
daring innovations in ornament are no
scrolls,
His large broken pediments his
on
which he
life
of Michael Angelo the desire for
novelty seems to have divided his attention from the study of excellence alone.
design.
N
he was a pupil of Domenico
:
the banishment of the Medici family from Florence in
retired
the
of
\(
study in the school
to
family
Florentine
noble
the
of
and having early distinguished himself by
;
was invited
On
born
direct
less
striking than
and mouldings,
in
his
other
^t^MK^jl^
departments of
sweeping
imitation (saving an alloy of exaggeration)
His
and
consoles
of Nature in
Vertical
Ornament from Genoa.
some
of his enrichments, and the amount of plain face he uniformly preserved in his architectural compositions,
brought new elements into the
power than he himself possessed. through Michael Angelo
Maderno, and,
last
;
The
which were greedily snapped up by
style of the
and Giacomo
della
Porta,
Roman
school of design
men
of
many
Bandinelli and
Benvenuto
the contagion
other part of Italy.
inventive
was altogether changed
Domenico Fontana, Bartolomeo Ammanati, Carlo
of his defects, the greatest being exaggeration of manner.
in
Cellini
were
among
a great degree,
This immunity
â&#x20AC;&#x201D;
or,
his
ardent
At Florence, Baccio
admirers and imitators.
at least, resisted its
Happily Venice
influence longer than
almost any
was due, in a great degree, to the counteracting influence of
a genius less hardy than that of Michael Angelo, but far more refined, and scarcely
We
less
not least, Vignola himself, so far as ornament was concerned, adopted, with a few
of his beauties,
escaped
field,
allude, of course, to the greatest of the
two Sansovinos
NN
less
â&#x20AC;&#x201D; G-iacopo. 137
universal.
ITALIAN ORNAMENT. This noble artist was born at Florence, of an ancient family, in the year
at
an
age displayed a remarkable predisposition for Art, he was placed by his mother with Andrea
early
whom we
Contucci of Monte Sansovino (of
have briefly spoken in Chapter XVII.), then working at
Florence, who, says Vasari,
"soon perceived that the young man promised
Their attachment
assumed such a character
speedily
and ever
called now,
sidered a
Having distinguished himself by
will be.
young man of great genius and
San Gallo, architect
to
Pope Julius
among whom was Alonzo Berruguete, be the
and a
best,
Cardinal
de
cast
Eome, and Bramante,
obliged to leave
famous
for his
marble
Signorelli,
Commentaries on Vitruvius
He was
(Julius).
native
in a fair
figure.
lie
;
Bramantino
and was
successfully
di
finally
this
he
and being con-
Rome by
Giuliano da
and made
of Bramante,
Sansovino's was adjudged to
coming into the possession of the San Gallo
falling
was
ill
the same house with
and who was
in the Torre Borgia,
Milano, Pinturicchio, Cesare
serious illness caused
him
time, and
among
"Bacchus," now in the Gallery degli
He
Cesariano,
presented to and employed by the
Pope
to return to his
competed with Bandinelli and others
was in continual employment at
for Giovanni Bartolini the beautifid
finally
Pope Julius
way of advancement, when a
Here he recovered, and
city.
ceiling for
so is
he caused him to prepare many models in wax for his use.
so pleased with Jacopo's ability that
became acquainted with Luca
notice
therefore, found a dwelling for Jacopo in
who was then painting a
Pietro Perugino,
was taken to
France in the year 1534.
into
named
direction), in competition with other artists,
which
in bronze,
it
was taken by him
Lorraine,
as he was then
the celebrated Spanish architect.
was taken of
become very eminent."
his abilities at Florence,
attracted the
wax of the " Laocoon " (under Brauiante's
a large copy in
and
excellent character, he
At Eome he
II.
to
being regarded almost as father and son,
that,
" di Sansovino;"
Jacopo was no longer called "de'Tatti," but
also
Having
1477.
other works
a large
for
he executed
Uffizii at Florence.
In the year 1514, great preparations being made at Florence for the entry of Leo X., Jacopo was
employed so
much
whom for
in
making various designs
pleased,
he was received very kindly.
to
His Holiness immediately gave him an order
who was
compete with him
to
for the control of its construction,
have outwitted Sansovino, and effectually prevented his success
was determined to
make a design
to
Lorenzo at Florence, which would seem to have given so much satisfaction,
the facade of San
that Michael Angelo,
triumphal arches and statues, with which the Pontiff was
for
Jacopo Salviati took his friend Sansovino to kiss the feet of the Pope, by
that
keep
all
himself."
for
;
for,
would appear
says Vasari, " Michael
Not disheartened, however, he continued
in
Angelo
Rome, and
was employed both in sculpture and architecture, and gained the great honour of being the successful competitor for the
Church of
and Balthazar Peruzzi. so
severely hurt
that
pontificate of Clement, in
St.
Whilst
he
left
John
of the
Florentines,
against
Raffaelle,
Antonio da
superintending the commencement of the works he
the
city.
Sangallo,
and was
Various causes led to the suspension of the works until the
when Jacopo returned and recommenced
every work of importance at Rome,
fell,
until,
From
it.
on the 6th of May,
that period he was engaged
1527, that city
was taken and
sacked by the French.
Jacopo sought refuge in Venice, intending to
ment.
The Doge, Andrea
Gritti,
of the cupolas of St. Mark's.
visit
France, where the King had offered
him employ-
however, persuaded him to remain, and to undertake the restoration
This work he performed so satisfactorily, that he was appointed Proto-
Maestro to the Republic, assigned a house, and provided with a stipend.
The
duties of this office he
performed with such sagacity and diligence, that by various improvements and alterations of the city he
Among
materially added to the income of the State. finest
examples of Italian Art anywhere
â&#x20AC;&#x201D;are
to
his finest
works here
â&#x20AC;&#x201D;and, indeed, among
the
be noted, the Libreria Vecchia, the Zecca or Mint, the
Palaces Cornaro and Moro, the Loggia round the Campanile of St. Mark, the Church of San Georgio -
dei Greci, the Statues of the Giant's Staircase, the
138
monument
of Francesco Veniero,
and the bronze
ITALIAN ORNAMENT. His character as depicted by Vasari
gates of the Sacristy.
agreeable, sagacious, amiable, courageous, and
whom may
and had a large school of pupils, amongst
He
active.
Bohn,
(edit.
vol.
v.
p.
426)
is
eminently
appears to have been generally honoured,
be mentioned Tribolo and Solosmeo Danese, Cat-
taneo Girolamo of Ferrara, Jacopo Colonna of Venice, Luco Lancia of Naples, Bartolomeo Ammanati,
He
Jacopo de Medici of Brescia, and Alessandro Vittoria of Trent.
aged ninety-three
" and
;
end in the pure course of nature, yet
to France,
all
Venice lamented his
indebted for
is
its
celebrity in ornamental bronze-work.
progress, interrupted by the intro-
who formed what
(circa A.D. 1530) of those Italian artists
I.
drawing was founded upon the Michael-Angelesque
style of
system of proportion, somewhat attenuated in limb, and moulded into a somewhat more
masters exerted a singular influence upon the native
department of
The
but in ornament generally.
art,
not as they would obviously
fall if left
and that not only
artists,
and
artificial
to the Fontainebleau
The manner of arranging and defining drapery peculiar
serpentine line of grace.
is
The leading and most popular member of that
familiarly known as the "School of Fontainebleau."
was Primaticcio, a master whose
an
to
mainly to the happy influence
It is
loss."
we resume the thread of national
duction into the service of Francis
fraternity
had come
(as Vasari tells us) notwithstanding that the years of his life
exerted by Sansovino that the School of Venice
Turning from Italy
died on the 2d of November, 1570,
the corresponding
in
peculiar crinkled folds of the garments, disposed
to themselves, but as they would best
fill
up voids
in composition,
induced a general levity in the treatment of similar elements, and led to that peculiarly fluttering style
which may be recognised in the works of
mode
Among
of the day.
all
those artists
and reproduced the prevalent
reflected
the most remarkable of these, and, moreover, a
of intellect, stands conspicuous the renowned Jean Goujon,
century.
who
His principal works are
(for, happily,
who was born
in
man
France early in the sixteenth
they have for the most part survived to our days) the
"Fontaine des Innocents," at Paris (1550): the gallery of the "Salle des Caryatides," supported by four colossal female figures, which are considered
celebrated
of singular originality
Cent Suisses," now "des
among
The
his best works.
Diana of Poitiers, called " Diane Chasseresse," a small and very beautiful bas-relief of the
same, subject, his
wooden doors
to the
Church of
Louvre, and his " Christ at the Tomb," in the
Maclou at Kouen,
St.
Museum
of the Louvre.
Court of the
his carvings of the
Goujon partook warmly of the
enthusiasm the recovery of the writings of Vitruvius excited universally, and contributed an essay in
them
respect to
in Martin's translation.
He was
unfortunately shot during the massacre of St. Bar-
An
tholomew, whilst working on a scaffold at the Louvre, in 1572. of the Italian spirit fate.
artist
who had imbibed even more
of the School of Fontainebleau than did Jean Goujon, narrowly escaped sharing his
Barthelemy Prieur was only saved from immolation by the protection of the Constable Mont-
morency, whose monumental
effigy
he was ultimately destined to place upon
its
Contemporary
pedestal.
He
with Goujon and Prieur was Jean Cousin, the most ardent disciple of the Michael-Angelesque form. is
principally
known
stated (Chapter
XVIL), by
of the period was
Soulesmes are
as the scnlptor of the noble statue of his designs for stained glass.
Germain Pilon, who was born
among
his earliest works.
at
Admiral Chabot, and,
as
we have already
Prominent, however, among the
Loue, near Mans.
About the year 1550
The
artistic
statues at the Convent of
his father sent,
him
to Paris, and in
About the
1557 his monument to Guillaume Langei du Bellay was placed in the Cathedral of Mans.
same time he executed the monument of Henry
II.
and Catherine de Medici,
Denis, near Paris, from a design by Philibert de Lorme.
One
band
in the
of his best works was the
Church of
monument
St.
to
the Chancellor de Birague.
The beautiful and well-known group of the " Three Graces," cut out of one was intended
now
in the
to support
Louvre.
the base of this
an urn containing the hearts of Henry
II.
In order to give an idea of the ornamental
monument.
See Plate
LXXVL,
Fig. 9.
The
marble,
and Catherine de Medici;
style
statues
solid block of
and
of Pilon,
it
is
we have engraved
bas-reliefs on the
139
monument
ITALIAN ORNAMENT. of Francis gives
are
I.
by Pilon and Pierre Bontemps.
After 1590 no works of his are known, and Kuglor
as the date of his death.
it
The length
of limb and artificial grace peculiar to the school of Fontainebleau was pushed
farthest point of
extravagance by Francavilla, or Pierre Francheville, of Cambray (born
to the
who
1548),
introduced into France the even greater wiriness of the style of John of Bologna, whose pupil he had
been during first
many
The general
years.
characteristics of the style of
and which served
half of the seventeenth century,
XIV. work, cannot be better studied than
as Louis
as
ornament prevalent during the
an induction into what
in the
generally
is
known
apartments of Marie de Medici, executed
for her in the Palace of the Luxembourg, Paris, about 1620.
This manner was succeeded by that of
woodcut gives an idea of
Le Pautre, an
artist
of great cleverness
and
Our
fertility.
his style.
Panel for a Ceiling, from a Design by Le Pautre.
Leaving
for awhile
the subject of sculptured
advert to that of painted for the
;
preservation of old
Italian
it
may
be well to
the more especially as for a short time, during which a great degree of zeal
Eoman
vestiges of polychromatic decoration was exercised, a very high
remarkable degree of perfection and beauty was attained. very wide difference existed between the painted and
during the period of the Early Renaissance imitated with great success, as Pintelli for the
and French Ornament,
may
It is ever
to
carved arabesques of the ancients.
were almost entirely
neglected, whilst the
and
mind that a
be borne in
The
latter
former were
be seen from the interesting pilaster panels, designed by Baccio
Church of Sant' Agostino
at
Rome, and which form the
subject of our woodcuts
on
the next page.
The study
of ancient
decorations in marble
excavation
brought 140
Roman and Greek
sculptures was naturally followed by that
and stone, which throughout Italy abounded to
light,
â&#x20AC;&#x201D; such,
for
instance,
as
perfect
so profusely,
remains
or
of the antique
and which every day's
shattered
fragments
of
ITALIAN ORNAMENT. ornamented or
altars,
vases,
busts
figures,
single
architectural
friezes,
Leads, in medallions or on
or
backgrounds
foliage,
flowers,
fruit,
;
&c, groups
pilasters,
and
animals, intermixed with tablets of various forms, bear-
An
ing allegorical inscriptions.
gems of beauty
infinite variety of such
offered themselves to the notice of the
who
artists of that period
visited
Rome
purpose of making drawings of such remains
and
;
modern
transferring the subject so sketched to the
besques,
express
for the
was scarcely possible that the early
it
in
ara-
artists
should avoid also transferring to their paintings some-
what of the formal character inseparable from the sculptured and material character of the objects from which
had been made.
their original drawings
Such circumstances may go
we cannot
ence
far to explain the differ-
to recognise
fail
between the imitation
and the object imitated, in many of the
first
to reproduce the painted decorations of the
Among
Imperial times.
such
diligent
attempts
Romans
of
students, none
was more conspicuous than was Pietro Perugino, during
Rome
his residence in
How
century.
fully
at the latter part of the fifteenth
and
what good purpose he ac-
to
cumulated studies of ancient ornament was shown by the immediate commission he received from his fellow-
townsmen
to decorate the vaults of their
Exchange, or
" Sala di Cambio," with frescoes, in which the ancient style
and certain
antique
subjects
This beautiful work
reproduced.
proved to be, was executed Perugia from
Rome
;
should be
vividly
of art, for such
soon after his return to
and manifests how deeply he must
have drunk at the classic fountain of antique Art. without
doubt, the
it
It
is,
complete reproduction of the
first
" grotesques " of the ancients, and
is
singularly inter-
esting, not only as
establishing the claim of Pietro to
be regarded as the
first
great and accurate reviver of
this graceful style of decoration,
" trial-piece " on which so
whose
exercised,
efforts
many
but as having been the " 'prentice hands " were
subsequently carried
it
to
the
highest perfection.
The there
is
principal little
scholars
of Perugino,
whose labours
doubt materially aided in the elaboration
of these graceful fancies, were Raffaelle, then aged six-
teen or seventeen
Bacchiacca Arabesque designed by Baccio Pintelli for the Church of Sant' Agostino, Rome.
trace
;
;
Francesco Ubertini, better known as
and Pinturicchio.
And
it
is
the influence of the success of this
curious to their
attempt upon the after career of each of the three.
o o
first
It
Arabesque designed by Baccio Piutelli for thu Church of Saut' A^ostino, Rome.
141
;
ITALIAN ORNAMENT. led immediately to the
employment
of Raffaelle and
and subsequently,
of the celebrated Library at Sienna,
the former as induced his composition &c. &c.
and on that
;
of the inimitable
decoration
on the part of
arabesques of the Loggie of the Vatican,
style, that his
whole
life
&c,
Rome.
at
was devoted
Maria
del
Bacchiacca became so completely en" grotesque "
&c,
to painting animals, flowers,
and he ultimately became famous throughout
;
conjunction, in the decoration
in
of the latter artist to the execution of the ceilings of the choir of Sta.
Popolo, and those of the Apartamenti Borgia,
amoured of the
Pinturiccliio,
to the cultivation of such studies
a perfect master
Italy as
in
of that
variety
of design.
In freedom and cleverness of drawing, in harmony of colour, in brilliancy of touch, in nice balance of the " pieni " and " vuoti,"
men
and
in close imitation of the paintings of the ancient
one of the most successful that has
is
refined study, it can
ever been executed, although, in
Romans,
delicacy
this speci-
of finish
scarcely be expected to equal the subsequent productions of Giovanni da
and
Udine
and Morto da Feltro.
During the stay of Raffaelle in Rome, under the pontificate of Leo X., he was commissioned by that pontiff to decorate an arcade, which had been constructed during the reign of his predecessor, Julius It
II.,
by Bramante, whose daughter Raffaelle married.
was determined, that while the theme of the necessary decorations should be sacred, their
and manner of execution should at
Rome up
rival the finest
remains of ancient painting which had been discovered
The general designs appear
to that period.
have been made by Raffaelle himself, and
to
the details to have been carried out by a chosen band of assistants,
wonderful zeal into the realisation of the great work.
all
artists,
were created.
principal ornamental motives comprised in
These arabesques cannot greatest masters of the age,
and importance, whilst the
now
in existence
them
We
and are applied
to the decoration of
ornament buildings of a
an
The comparison might be
period of Art, and those
important to Imperial magnificence
fairer
if
we could but
all
parts
their
order to favour the apparent extent of the locality they decorate
;
kept upon a
in addition to
generally manifest a predominating general proportion between their several parts. striking differences
in
scale
between the principal subjects as we find
component parts of which are sometimes
Raffaelle, the
unreasonably small.
The greater
is
often
recall the
faded
" of Nero.
Golden House " The ancient arabesques have, in almost every instance,
such
showing the
edifice of the highest magnificence
less distinguished
class relatively far less
glories of the Palace of the Caesars, or the "
scale, in
selection,
LXXXVI.
in Plate
were the productions of a
than the Vatican was to Papal.
which have ever since their execution been
have given a careful
be compared with the ancient, as the former were executed by the
fairly
latter
who unquestionably entered with
was by their hands, controlled by the exquisite
It
taste of the great Urbinese, that those celebrated "loggie,"
a theme of admiration for
style
as unreasonably large
placed beside
and above the
They never in
the
reduced
which they present-
arabesques of
as they sometimes are
lessj
thereby emphaticising
the dissonances, and being the more offensive by a deficiency in symmetry, as well as in the very choice of the motives for decoration.
Thus, close to the richest arabesques, presenting, on a very
small scale, elegant and minute combinations of flowers, fruit, animals, temples, landscapes,
â&#x20AC;&#x201D;
all
&c, we
find calices of flowers
human
figures,
and views of
putting forth twisted stalks, leaves, and blossoms
which, with reference to the adjoining and first-described arabesques, are of colossal proportion
thereby not
only
injuring
whole architectural design.
the
accompanying decorations, but
also
destroying the
grandeur of the
Lastly, on examining the choice of subjects with respect to the association
of ideas indicated thereby, and the decorations
in
the symbols
and
allegories
employed
to
convey
them, we find that the works of the ancients, who reverted to no other source than their mythology, appear to great advantage, in point of unity of idea, when compared with the prevailing intermixture 142
ITALIAN ORNAMENT. Loggie of that imaginary world with the symbols of Christianity."
in the
M.
conclusions to which that profound student of ancient polychromy,
impossible not to concur in their propriety
must
its is
wrought out in
"Proceeding from the Vatican
to the
Villa
that divisions create a less confusing general
halls,
Hittorff, has arrived,
while condemning, however, such faults
;
not lose sight of the exquisite graces of detail
his scholars.
Such are among the general
symmetry
a better regulated proportion, and greater
more
;
In
effect.
roofs,
upon
the principal subjects represent scenes from the mythology of the ancients,
look
upon
this
Loggie, and
beautiful
work
executed entirely
as
spirit of the
calming influence
If
ancients.
to
fail
Romano and Giovanni da Udine, we
the most part, worked out to have been
The
more
villa itself
when
artists.''
â&#x20AC;&#x201D;a
this delicious
who had burnt
how the
favourite
which he and his it
was received by
suburban retreat Giulio
are, for
Romano appears
either Raffaelle or Giovanni da Udine.
designs having been given by
for
Raffaelle.
fourteen of his castles in the
Campagna
of
Rome.
Detail of a Portion of a Stucco Ceiling in the Palazzo Mattei di Giove,
to decay
;
but the grandeur of the three arches
was worthy of Raffaelle
Duke
Villa
;
and that
of Urbino, written
the letter, are
The
find a
Pope Clement
VII.,
The work was
when Cardinal
still
incomplete
was partially destroyed by Cardinal Pompeo Colonna, to revenge himself upon Clement VI L,
it
Maria,
taste,
habit to which
was built by Romano and his fellow-labourer first
we
us.
Unlike the arabesques of the Vatican, which
upon white ground, those of
upon variously coloured grounds
partial than
Giulio de Medici, the
see
have recognised in Ids former work, favourably as
part,
exerted
a second undertaking conceived by Raffaelle in the spirit of the
by Giulio
the popular voice, not only of courtiers, but of are executed, for the most
is
we adopt the general opinion and
pupils of the incomparable master succeeded in avoiding faults against good
contemporaries cannot
and
notwithstanding
Here, where
pervading unity conceived more in the
we
the principal decorations there
all
of their ornaments,
all
is
immediately on entering
find,
and in the magnificent
gratifying and
by
Raffaelle
the multiplicity
a
it
of ensemble,
their execution
Madama, we
and
still
in
by
it
was
his
still is
Castiglione, as
remaining
The
villa
is
now
rapidly going
Rome, by Caklo Maderno.
is
sufficient to
'
show that the design
proved beyond a doubt, by a letter to Francesco well
as
by some drawings, which, together with
existence.
Madama was
purchased after the confiscation of the Medicis
property,
in
143
1537,
by
ITALIAN ORNAMENT. Margaret, daughter of Charles
Madama
the
takes
villa
and widow
V.,
The building was
name.
its
Duke Alexander de
of
partially
it,
title
of
though never completed,
restored,
The crown
and Margaret resided there on her marriage with Ottavio Farnese.
became possessed of
Medici, and from her
of Naples afterwards
with the rest of the Farnese property, through a marriage with that family.
So large a number of arabesque decorations were executed by the pupils and followers of Eaffaelle,
and
so great
we owe
was the
skill
acquired by them in this
the beautiful arabesques which
neighbourhood of Eome.
still
decorate
the premature
After
that
art,
many
death
it is
now
and country-houses
of the palaces
the bond that had
of Eaffaelle,
in
the
united
the
brotherhood which had gathered around his person was snapped, and those who had so ably with
him spread themselves
in various directions throughout. Italy, carrying with
however, as the of
Eome,
artists,
their styles
by
whom
worked
them the experience
and knowledge they had acquired in the conduct of the great undertakings placed under
Thus sown broadcast over the land were the elements
whom
difficult to ascertain to
of painted arabesque decoration.
his
charge.
In proportion,
subsequent works were undertaken, removed from the classic influences
became more
pictorial,
and
less
purely decorative
;
and in the seventeenth century
the arabesque manner became almost entirely merged in such florid decorations as suited the extravagant
In the days of Bernini, and at a later
ideas of architectural magnificence nourished by the Jesuits.
period in those of Borromini, the Stuccatore triumphed in every species of flourish, while in the scanty
openings
left
between the fluttering wings and draperies of angels and saints suspended in vaults and
cupolas in mid-air, the decorative painter was allowed to place
than the perspective tricks
little else
of the Padre Pozzo and his school.
Before leaving the subject of arabesque altogether, varied local aspects.
its
As may reasonably be
may be
it
well to trace a few anomalies in
the presence of ancient remains has almost
inferred,
Thus
invariably affected the local style of ornament in those spots where they have most abounded. at
Eome
the school of arabesque ornament most nearly approached the antique, while in
as Mantua, Pavia, and Genoa, other and distinct types and influences
system of ornamentation, for instance,
may
be
distinctly
may be
favourite
Paganism of Eome.
;
executed for the
we
fading into
LXXXVII.
same
is
followed, in
wayward fancy prompts an ever-recurring, yet leading
points
of which
are
generally
Leaves, flowers, and tendrils,
LXXXVII.
rarely
and in such cases Nature
;
3,
4, 5,
and
which the hand of the
artist
sweeps out as
In other instances, as in Figs.
simple style of convention
of the
fast
most part upon a white ground.
appears as the directly inspiring deity.
reflex
have presented numerous specimens in Plates
frequently wind round a central reed, as at Figs. 7 and 9, Plate
plate, a
Eomano, and a
In the deserted chambers of the Palazzo Ducale are
nothingness the graceful frescoes, of which
and LXXXVIII.
the school of nature and
subdivided into
that of conventional vigour approaching caricature, imported by Giulio
such
cities
The Mantuan
traced.
monotonous,
2,
1,
of scrolls
series
6,
of the
and curves
;
the
accentuated by calices, and the dominant lines of which are
adorned, and from time to time interrupted, by foliage of parasitic growth.
A marked
difference
specimens (Figs.
1,
2,
of style in the 4,
decoration
of
the
same
building
and 5) we have collected in Plate LXXXVIII.
is
inaugurated
In them the
withdrawn himself farther from nature, retaining at the same time an even more representation
than in the earlier and purer examples.
the highest and most architectonic character in conception; but certain
and
flat
style of treatment,
it
is,
is
as regards
Far be
it
mode
has of
from us to assert that beauty of
obtained in ornament entirely conventional
light,
shade, and colour.
composed have been taken with more
ordinary aspect of nature, so should the
mode be
Thus, in the more refined arabesques of Plate
144
not be
artist
the
that to be agreeable such ornament should be expressed in a simple
both
elements of which an ornament
may
pictorial
in
In
direct
proportion as
or less divergence
the
from the
varied in which that ornament should be portrayed.
LXXXVII.,
in
which the forms of growing
plants
)
.
ITALIAN ORNAMENT. have been freely sketched from the garden and of accidental effect
admissible,
is
LXXXVIII.,
elements of the specimens given in Plate
Already in the bustle of
line,
much
1
(Plate
So long, as at the
exuberance was controlled by association with
which
to
vanity
reproach him
conventional
and
officious
feeble.
LXXX.), may be
Villa artists
traced that tendency to caricature
off with
Madama, and
masterly power, but unfortunately
in
Roman
other of his
of purer taste than
himself, there
works, his
with
little
is
;
but when he subsequently emerged into the " Gran Signore " at Mantua, his
intoxicated
fairly
absolutely
somewhat
strikes us as
Romano threw
that the genius of
with too great fecundity.
more
the fluttering ribbons, and vague jewelled forms of No. 5, and in the
monotonous masques and foolscaps of No. which disfigured so
an amount of delicate modelling and indication
field,
which in the representation of the
much
him, and with
was beautiful
that
he blended not a
little
was
that
ridiculous.
The specimens of
his
we have
arabesques, which
once his ability and his weakness as an ornamentist. the
and
antique,
at
the
motives he borrowed from classic
flowers from her
it
of taste that he
Unable
bosom only
to crush
them
in his rude
are
with to
who
was one of
its
entirely
spoilt
yet,
chief arbiters most frequently
Mantua.
Thus, in No.
by the ludicrous object from which
antique are alike maltreated.
it
No. 6 in the
in 2,
some received type of form
scroll,
which
is
peculiar influence of local association
illustrations
of the
may be
early printers.
the celebrated " Etymologion
it
main
on the score
is
This
fails.
fallibility
taken
are
Again, in No. ;
and in No.
the
3,
lines
;
and
free,
ridiculous
nature and the
4,
where
Servile,
where deference to
which
it
is
composed,
(Stephaus' Greek Testament.
adapted from one of the commonest patterns of antiquity, betrays at
once Giulio's feebleness of imagination, and his want of
in the case of arabesques,
him an honourable
a scroll ornament freely dashed out
ceases to be servile, in the accessory elements of
Typographic Ornament from one of the productions of the early Parisian Press.
running
however, a daring in
for
LXXXIX., which
Plate
springs.
its
he gathered
since
same plate "points a" severe "moral."
an ornament should be most free in the disposition of
The
maltreated,
There are
grasp.
stamped upon several of the ornaments we have engraved
upon
taste.
styles of
ornament, which we have already noticed
traced with equal facility in the best typographic and xylographic
Thus, in the ornaments, Figs. 4-7, 9-16, Plate
Magnum,"
XC,
taken from
printed at Venice in the year 1499, the forms of the ornament,
and the almost even distribution of the " pieni " and " vuoti," have been evidently based on the of those Oriental or Byzantine fragments in which Venice was so pre-eminently rich.
Aldine
initial
letters
at
reproduction, the
careful
its
Like " Van who wanted grace, yet never wanted wit,"
in his time
illustrate
be recognised in the remains of
equally
masques seem sneering at the graceful forms which surround them
his
LXXXVIII.,
to divest himself of his recollections of
be content
assume an aspect of unquiet rarely
principally from the Palazzo del Te, at is
to
Plate
in
and a rare sweep and certainty in his handling, which must secure
niche in the Temple of Art.
is
egotistic
The motives he derived from Nature
antiquity.
his fancy,
same time too
collected
in the last-named
plate
Many
style
of the
appear as though they might have been engraved
P P
145
by
ITALIAN ORNAMENT. the very same hands that ploughed out the damascene patterns in the metal-work of the period.
The
Tuscan Rihle of 1538 presents us with endless conventional renderings of the ordinary Cinque-cento sculpture, which less
Nor
abounded in the churches of Florence.
are the specimens of the Parisian press
worthy of the veneration of the virtuoso. In the productions of the Stephans (Fig. 29, from the celebrated Greek Testament), of Colinaeus,
his
pupil (Fig.
Jacques de
found
of
3),
Liesveldt
many
Mace Bonhomme
of Antwerp,
of Lyons,
1558, Theodore Rihel of Frankfort, in 1574,
in
1554, Jean Palier and Regnault Chauldiere of Paris,
in
agreeable and interesting illustrations
of
local
differences
ornamental
in
may be
detail
of
a
semi-antique character.
Returning to
Italy,
and to
purer
its
style,
of the general decline of revived Classical Art, it
The
would be unfair to altogether pass over.
Glass
â&#x20AC;&#x201D;a
commodity which helped
before briefly proceeding to trace the "first causes"
we propose glancing first
at one or two branches of industry
and most interesting of them
spread the fame of Venice far and wide
to
is
that of Venetian
over the habitable
globe.
The taking of Constantinople by the Turks, to Italy
in
1453, drove the
skilled
Greek workmen thence
and at that period the glass-manufacturers of Venice learned from the exiled Greeks their
;
modes of enriching
Ornaments designed
sixteenth
tor
century,
and opaque white
their productions
Marquetry by Fay, in the
gilding,
and enamelling.
In the early part of the
Panels designed by Kay, in the stylo of Louis Seize.
style of Louis Seize.
the Venetians appear to have invented the art of introducing threads of coloured into the substance of the articles they manufactured, forming
(latticinio) glass
and enduring enrichment,
beautiful
by colouring,
from the lightness of
suitable,
of the objects to which it was applied.
The
secret of this art
its
character, to the delicate forms
was most jealously guarded by the State;
and the severest penalties were enacted against any workmen who should divulge craft in
any other country.
privileges,
On
the other hand, the masters of the glass-houses at
and even the workmen were not classed with ordinary
struck at Murano, with
146
the avowed
object
of handing
down
a
to
artisans.
posterity
it,
or exercise their
Murano
received great
In 1602 a gold coin was the names of those
who
:;
ITALIAN ORNAMENT. on the island
established the first glass-houses
and from
;
Muro, Leguso, Motta, Bigaglia, Miotti, Briati Gazzabin,
it
Vistosi,
we learn that they were the following and Ballarin.
For about two centuries
the Venetians contrived to retain their valuable secret, and monopolised the glass trade of Europe at the
commencement
;
but
of the eighteenth century, the taste for heavy cut glass began to prevail, and the
trade was dispersed to Bohemia, France, and England.
Many
in France to
times
;
precious metals were executed at
the
A
period.
this
very large
of these is supposed to have been melted down, in Italy, about the date of the sack of
amount and
very splendid works in
pay the ransom of Francis
Duke
but the Cabinet of the Grand
at Paris,
still
I.
;
and much more was, no doubt, re-fashioned
of Tuscany at Florence, and the
Museum
Rome
in after-
of the Louvre
contain fine collections of jewelled and enamelled cups and other objects, which sufficiently
attest the skill
and
taste of the goldsmiths
One
and jewellers of the sixteenth century.
of the richest
jewels which the fashion of the period introduced, and which continued to be used for a considerable
time, was the " enseigne," a species of medal generally worn in
The custom
head-dress of the ladies.
employment
to
most troubled and
ductions; for
periods.
The
restoration of peace in Italy,
Henry
IV., caused
by the conventions of Chateau Cambresis,
an increased demand
for
the goldsmiths' pro-
and subsequently the magnificence of the Cardinals Richelieu and Mazarin paved the way
the age
of
" Louis
le
Grand " in France,
by the Parisian goldsmith, Claude and
of giving presents on all important occasions furnished constant
the jewellers of both countries, and in the vicinity of the courts, even during the
France at the accession of
in
the hats of the nobles and in the
others,
Ballin,
fine
works of art were executed
who, together with Labarre, Vincent Petit, Julian Desfontaines,
One
worked in the Louvre.
whom numerous
for
of the objects which greatly employed the ingenuity of the
jeweller at this period was the " aigrette," which was generally
worn by the
nobility.
the style of the French jewellery rapidly declined, perfection of workmanship in
been transferred to bronze and brass, in which the days of Louis XVI., were above
specimens of the Parisian burin.
by
its
all praise.
The
wiriness
last alloy
this
time
metal-work having
the chasings of the celebrated Gouthier, in
Of designs and
From
for
such work we engrave two pleasing
frivolity of this class
of ornament were redeemed
faultless execution.
Amousque by Tlwudorfl du Dry, one
The
details of the art,
and
its
of the " PetUs-M.^'ics.'
popularity, were not without their influence
upon general design 147
;
ITALIAN ORNAMENT. for since the
in
draughtsmen and engravers of the day were much employed by the goldsmiths
delicate
working out their designs and patterns,
followed, as
it
no unnatural consequence, that many of
the forms peculiar to jewellers' work were introduced into decorations designed for altogether different
This was especially the case in Germany, and more particularly in Saxony, where a great
purposes. deal of a
mixed
and bastard
style of Renaissance
complications of architectural members, was executed
intricate
present of a decoration composed by Theodore de
and ribbon-work, cartouches, and
Italian, with strap
Bry
affords
for the
The engraving we
Electors.
no bad illustration of the way in which
motives expressly adapted for enamelling in the style of Cellini were thrown together, to ordinary grotesque of the day. solecisms are to be found
for in the
;
make up the
by no means in the works of Theodore de Bry alone that such
It is
French etchings of Etienne de Laulne,
and others,
Grilles l'Egare,
the same features are presented.
Engravers and designers of this
class
were also much employed, both in Germany and France, in
providing models for the damascene work, which was long popular in both these countries, as well as in Italy. It
and
remarkable, that although
is
sometimes
brought
the
we
century,
fifteenth
when we
adopted in that country. such
cities,
find It
Venice, Pisa,
as
permanent decoration
for
it
to the East, viz. the great
art, it
or possibly the
in the
instance,
first
under the
title
artists of
emporium
for the best
all' ;
Both
at Paris.
this
the famous Cellini; indicates rather an
and the shield
in
is
the armour of Francis
Her
it
is
now
to the
very
At the beginning of
azzimina."'
and
I.,
a more
arms and armour.
employed upon weapons, that
of " lavoro
as
Milan, which city was then to
by no means improbable
whom
artists
vanity, of the kings of those countries attached to their courts.
specimen of damascening
of the
introduced by the, great trading
first
was taught to the workmen of France and Spain by those travelling
finest existing
" Vase de
of the
use in Italy for decorating the plate-armour, which was then
the sixteenth century the art began to be exercised out of Italy
taste,
case
to imitate the manufacture until the middle
armour than parcel-gilding by the
the Italian writers designate
it
the
and Genoa, from the East, and was afterwards taken up
So exclusively, indeed, was the
that
Oriental arms at Damascus,
Europe, as in
to
most probable that the art was
is
Europe what Damascus had been
last
in
articles
made
Vincennes," no attempts should have been
the Crusaders bought
that
find
more elaborate
the good
Probably the
in the Cabinet de Medailles,
Majesty's possession at Windsor have been attributed to
but on comparing them with any of his known works, the drawing of the figures
Augsburg
artist
than the broad style which Cellini had
acquired
from his study
of the works of Michael Angelo.
From
that
time down to the middle of the seventeenth century a great number of -arms were
decorated with damascening, of which the Louvre, the Cabinet de Medailles, and the
numerous
contain Cursinet,
fine
specimens
may be mentioned
;
and the
as excelling in
Musee
names of Michael Angelo, Negroli, the
d'Artillerie,
Piccinini,
and
damascene work, as well as in the art of the armourer
generally.
In our own country the process does not appear to have been engraving, blacking, and russeting, being well received as substitutes
;
much
exercised;
parcel -gilding,
and the few specimens we
possess
were probably imported, or captured in our foreign wars, as in the case of the splendid suits of armour brought to England by the Earl of Pembroke after the battle of St. Quentin.
As
it
has been our pleasant task to record
of Italian models in the deleterious an influence
how French Ornamental Art was
sixteenth century, so
it
now becomes our
agreeable
was exercised in the seventeenth from the same procedure.
doubt that two highly-gifted, but overrated, Italian
made them the "observed 148
less
regenerated by imitation
artists, set
of all observers," effected an
during their
lives
duty to note how
There can be no
upon pinnacles which
immense amount of mischief
to
French Art.
ORNAMENT.
ITALIAN"
These
artists
sculptor,
The former was
were Lorenzo Bernini and Francesco Borromini.
and was
bom
in
He
1589.
evinced
unusually
an
precocious
the son of a Florentine
talent
He
whilst yet a youth was fully employed, not only as a sculptor, but as an architect.
Rome, where he designed the fountain
entirely at
celebrated Triton in the Piazza Barberini, and
de Propaganda Fide
campanile to celebrated
Piazza of St.
numerous other works.
much
so,
be refused anything, and letters to the
there,
Barcaccia
the Piazza
Spagna, the
di
the large fountains of the Piazza Navona
(afterwards taken down); Peter's
and the great
;
the Ludovico Palace, staircase
Busts by Bernini were eagerly that
when he was
much
to
less
from
St.
;
the College
little,
he
to
the
Vatican,
sixty-eight years of age, Louis XIV.,
a
the
besides
sought after by the sovereigns and
nobles
who was unused
to
be forced to beg, was actually obliged to write supplicatory
said to have received five golden Louis a-day,
is
;
on the Monte Citorio:
Peter's
Pope, and to Bernini, requesting the sculptor's presence at Paris.
though he did but
and
resided almost
the great hall and facade of the Barberini Palace, facing the Strada Felice
;
St. Peter's
of Europe; so
of the
in
sculpture;
for
During
his residence
and at
his departure
Ornamental Composition, from a design by Ll Pactrk.
fifty
thousand crowns, with an annual pension of two thousand crowns, and one of
his sons,
who accompanied him.
Louis, which to
is
now
On
at Versailles.
his return to
Francesco
;
and,
He
Case Barberini and Chigi.
Borromini was born
Carlo Maderno, he
speedily
hundred
for
equestrian statue in honour of
Besides his works in architecture, sculpture, and bronze, he appears
have had a decided mechanical turn
pictures in the
Rome he made an
five
near
Como,
became both a
moreover, to have painted as
many
as
five
hundred
died in the year 1680. in
the
brilliant
year
carver
1599.
and
Apprenticed at an early age to
architect.
On Maderno's 149
death
he
ITALIAN ORNAMENT. succeeded to the charge of the works at
From
fervid imagination
his
employment
and
:
in
and
capricious
his
vagaries,
possessed Borromini contrived to caricature.
occupied in subverting
known
all
under Bernini, with
St. Peter's
rare facility as a
whom
he very shortly quarrelled.
draughtsman and designer, he soon obtained ample tendency
every
extravagance
to
principles of order
The anomalies ho introduced
the disproportionate mouldings, broken, contrasted, and re-entering curves,
and
became the mode
surfaces,
picturesque forms
but
were published to
to
all
Europe was speed ilv busy
the year 1725
in
1740— had
the world in
into design,
and crooked
interrupted
in devising similar
place of the quaint but
style, in
Du Cerceau, 1576— substituted the more elaborate, 1727— and Mariette, 1726-7. Borromini's works, which
be seen in the engravings of
agreeable ones to be found in Marot,
less
and
France the fever raged speedily, and the popular
In
enormities.
of the day,
—and
much
Bibiena's, which were not
purer, and which
were given
a large circulation, and tended to confirm the public taste in facility and
elaboration versus simplicity and beauty.
of the time, both of Louis
many
Despite this debasing influence,
XIV. and XV.,
of the French arti>ts
in the midst of their extravagance,
made many
beautiful
ornamental designs, showing in them a sense of capricious beauty of line rarely surpassed. of
Le
Pautre's designs (reign of Louis XIV.), this quality
may be
sufficiently
is,
graceful fooling
the Grand
would be
(nit
tlie
in the 900 plates comprised in his great
mass
Monarque and the
of place here.
There
of
clever
ornamental
him we are indebted
designers,
brilliant court of his successor is
for the best
Menus
of
XV.
body of Ornament. draughtsmen, and
does
To dwell
engravers,
to
gave good pay and plenty of work,
one, however, Jean Berain,
that he held the special appointment of "Dessinateur des
that to
many
however, the master of the ceremonies in this latter court of revels, and
upon individuals among
whom
In some
recognised, as well as in
the interior decorations given in Blondel's works published during the reign of Louis
De Neufforge
style
and symmetry, not only to his own enrichment,
but to the admiration of the leaders of fashion of the day.
lines
Bernini's
that
near his death, in 1667, he continued sedulously
Until
who cannot be passed
Plaisirs
designs whieh will render the
seeing
over,
du Roi" (Louis XIV.), and
name
of
Buhl famous
so long
Frieze Ornament, Louis Seize, by Fay.
as a taste for beautiful
d'Apollon
furniture exists.
He
work published
in
the
year
1710.
Another large collection of
engraved by Daigremont, Scotin, and others. the manner of designing greatest architect
contributed materially to the decoration
of the Louvre, and of the State apartments in the Tuileries, as
part
in
his
With
In
works, the twisted
spite
and
(ialerie
elegantly testified
is
in
a.
admirably sportive designs was
the advent of Louis
XV.
far more "rococo" and " barocque " than
of his predecessor's reign.
Soufflot
150
grew
his
of the
it
to the throne, in 1715,
had been during the
of the fine talents and good example set by the foliated
scrolls
and
shells of the
former grew into
â&#x20AC;&#x201D;
ITALIAN ORNAMENT. the "rocaille"
and grotto-work of
" Chinoiaerie."
From
though liney
elegant
style,
the
latter;
degenerating
at
exercised a beneficial influence over industrial design
the cabinet-maker,
and out of
reigned,
Monarchy
celebrated for his
at a period shortly
exquisite
it
came order
"mode"
I.,
in the
<le
native
ability
supervened.
sought
for,
restored,
eclectic character,
France execution
is,
of
it
into
country
this
very
by
men
able
preceding the Revolution
Marie
During the Revolution Chaos
The
best artists were
and the talent of Percier, Fontaine, Normand, Fragonard, Prudhon,
Frieze style. Louis Seize, by Fay.
highest perfection the graceful and learned, but
of the country,
stiff
and
cold,
of fashion, and confusion again
however, aided by judicious and liberally conducted
institutions, soon revived the public interest,
nature
of
As the Republic, however, ripened into
With the Restoration the antique went out
l'Empire."
The
its'
eccentricities
shape of an utter abjuration of the " colifichets " of the
Panel suitable for Reisner Marquetry, designed by Fay.
in
the
of three
from stern Republican grew magnificent Imperialist.
employed by Napoleon
and Cavelier, developed
all
marquetry; Goutliier, brass-chaser to
favour of the Republican severity of a David.
in
the Empire, the liberally
The genius
and Demontreuil, carver in wood to the royal family.
Antoinette;
into
corresponding in some degree to that introduced
Robert Adams, principally in his buildings in the Adelphi.
Reisner,
last
approaching inanition, ornament revived under Louis XVI. to an
style of
this
The monuments and imitated on
and an enthusiasm middle ages
of the all
somewhat
for rivals of a
" style ensued.
educational
archaeological
and of the Renaissance were
cared
for,
hands; and out of the manifold studies so made, styles of
but approaching originality, are rapidly forming themselves throughout the country.
must be
confessed, at the present time, master of the field in the distribution
ornament of almost every
place in this country, that
may, happily, be enabled
it is
class
;
but so rapid and hopeful
is
the progress
and
now taking
by no means impossible that an historian writing some few years hence
to place the Allies, as they should be,
upon a footing
M.
of equality.
DIGBY WYATT.
151
;
ITALIAN ORNAMENT.
BOOKS REFERRED TO FOR ILLUSTRATIONS. LITERARY AND PICTORIAL.
Adams
The Polychromatic Ornomcnt of Italy.
(E.)
Albeeti
De Re
(L. B.)
4to.
Milano, in
Ornamenti diversi inventati, Ac, da.
Albebtolli.
London, n.
d.
Florent. 1485, in folio.
JEdificatoria Opus.
folio.
Palladio.
Architettura di.
Passavant
(J.
Venet. 1570, in
folio.
Rafael von Urbino und sein Vater Giovanni
D.)
In zwei Theilen mit vierzehn Abbildungen.
Santi.
3 vols. 8vo.
1 vol. folio, Leipzig, 1839.
D'Androuet du Cerceau.
Paris, 1559, in
d' Architecture.
Livre
folio.
Percier et Fontaine.
Recueil
interieures, par.
Decorations
de
Paris, 1812, in folio.
D'Avilee. Bibiena.
d'Architecture,
'ours
Borbomini (F.)
Paris, 1756, in 4to.
par.
Augusta?, 1740, in
Architettura di.
par.
Bomae, 1735, in
Opus Architectonicum.
Peerault. Ordonnance des cinq Especes de Colonnes,
folio. folio.
Philibert de Lorme.
Monuments et Tombeaux mesures et destines en talie, 40 Plans and Views of the most remarkable Monuments
Clochae (P.) par.
Paris, 1815.
in Italy.
ou, Recueil a" Arabesques, Peintures, et
Ornements qui
DlEDO E ZanotTO.
Ponce (N.)
Sepulchral
Monuments of
I Monu-
Venice.
e
Recueil
da
d' Arabesques,
contenanl
grand nombre
d'aulres
Style antique, d'apres
Mathematicians and Artists of Nuremberg, Ac. Mathematicis und
Historisclie Nachricht von den Nunibcrgischen
Kunstlern, Ac.
las
Cheminees, Ac, par.
other works.
Description des Bains de Tite.
Folio, Milan, 1830.
Francesco Zanotlo.
G.)
And
folio.
40 plates,
folio.
Svo. Paris,
1835.
et
(J.
Paris, 1626, in
de.
Life of Raphael, by Quatremere de Quincy.
Raphael.
menti cospicui di Venezia, illustrati dal Cav. Antonio Diedo
Doppelmayr
d' Architecture
Diffirentes Manieres tl'Âťrner
Piranesi (Fr.)
la dicorent.
Folio, Paris, 1838.
(Euvrts
folio.
Borne, 1768, in
Uhambre de Marie de Medicis au Palais 4" Luxembourg
Dedaux.
selon let Anciens,
Paris, 1683, in folio.
Folio,
Romberg,
plates, imperial folio.
Rusooni (G. Ant.)
les
Loges du Vatican d'apres Raphael,
Compositions du nieme genre dans
Nonnand, Queverdo, Boucher,
le
114
Ac.
Paris, 1802.
Venez. 1593,
Dell' Architettura, lib. X., da.
1730. in folio.
Gozzini
Monumens Sepulcraux
(V.)
Vincent Gozzini,
tt
de
la
Toscane,
dessine's
par Idea
Scamozzi.
graves par Jerome Scotto.
dell'
Venez. 1615.
Architettura da.
2
vols,
in
Nouvelle Edition, folio.
augmentee de vingt-neuf planches, avec leur Descriptions.
4to.
Gruner
Description of the Plates of Fresco Decorations
(L.)
and Sixteenth Centuries.
With an Essay by compared with
the Arabesques of the Ancients his School.
plates, plain
and
New
edition, largely
coloured.
4to.
Fresco Decorations
plates, plain
d' Archil cttura di.
New
and coloured.
edition,
Folio,
aug-
London,
1854.
Venet. 1551, in
folio.
&c,
2 vols, in
of the Baths of Titus, en-
1,
atlas folio,
oblong,
Rome,
n. d.
Tosi and Becchio.
and
Venet. 1584, in4to.
series of 61 engravings of the paintings, ceil-
graved by Carloni.
Palaces in Italy during the Fifteenth and Sixteenth Centuries,
mented by numerous
A
ings, arabesque decorations,
of Churches
K.A.
Tito.
J. J. Hiltorff on
London, 1854.
with descriptions by Lewis Gruner,
Terme de
d' Architettura di.
those of Ilaffaelle
augmented by numerous
and Stuccoes
Libri cinque
and
Stuccoes of Churches and Palaces in Italy during the Fifteenth
and
Tuttele Opere
Serijo (Seb.)
Florence, 1821.
Altars, Tabernacles,
and Sepulchral Monuments
Fourteenth and Fifteenth Centuries, existing at Home.
of the
Published under the patronage of the celebrated Academy of Descriptions in Italian, St. Luke, by MM. Tosi and Becchio. Folio, Lagny, English, and French, by Mrs. Spry Bartlett. 1853.
Specimens of Ornamental Art selected from the best Models of the Classical Epochs. Illustrated by 80 plates, with descriptive text, by
Emil Braun.
(By Authority.)
Folio,
Lon-
Viqnola.
Regola dei cinque Ordini
VoLPATO ed Ottavtano. Boma, 1782.
d' Architettura,
Loggie del Raffacle
da.
nel
In
folio.
Valicano, Ac.
don, 1850.
*Zahn(W. Magazzari (G.) de'
ed
piu
The most
da Giovanni Magazzari.
De Neuffoege. (1757).
Ornaments of Bologna.
8
Raccolta
Ornati sparsi per la Citta di Bologna, desegnali
scelti
incisi
select
Recueil
e'lementaire
Oblong
d Architecture,
*
From
152
London, 1797, in this interesting
Ornamenle
aller Klassischen
Kunst-Epoclien nach den
folio, Berlin,
1
Oblong
849.
4to. Bologna, 1837.
par.
Paris
vols, in folio.
Pain's British Palladio.
)
originalen in ihren eigenthiimlichen farben dargestellt.
corrections by the author.
folio.
work the materials
Zobi (Ant.) Notizie Storiche sull' Origine e l'rogressi dei Lavori di Commesso in Pietre Dure cite si esequiscono nell' I. e R. Second Edition, with additions and Stabilimento di Firenze.
for Plates
LXXVIL, LXXVIIL, LXXIX.,
4to. Florence, 1*53.
have been derived.
â&#x20AC;&#x201D;
XX.
Chapter
Plates 91-100.
LEAVES AND FLOWERS FEOM NATURE.
PLATE Horse-chestnut Leaves.
Full
XCI.
size,
PLATE Vine
Ivy Palmata.
2, 3, 4,
and
XCII.
Full size, traced from Natural Leaves.
Leave.-".
PLATE 1.
traced from Natural Leaves.
5.
Common
XCIII.
Ivy.
Full
size,
traced from Natural Leaves.
PLATE XCIV. 1.
Scarlet Oak.
2.
White Oak.
3.
All full
4. Maple. 5. White Bryony. and traced from Natural Leaves.
Fig-tree. size,
6.
Laurel.
7.
Bay-tree.
PLATE XCV. 1.
Vine.
2.
Holly.
3.
Oak.
4.
Turkey Oak.
5.
Laburnum.
All full
size,
and traced from Natural Leaves.
PLATE XCVI. 1.
Wild Rose.
"
2.
Ivy.
.'?.
Blackberry.
All full
size,
and traced from Natural Leaves.
PLATE XCVII. Hawthorn, Yew, Ivy, and Strawberry-tree.
RR
All full
size,
and traced from Nature.
153
LEAVES AND FLOWERS FROM NATURE.
PLATE XCVIIL Plans and Elevations of Flowers. 1. Isis.
2.
White
Lily.
~.
Mouse-ear.
13.
8.
Honeysuckle.
14. Convolvulus.
9.
Mallow.
L>. Primrose.
Glossocomia clematidea.
a
Daffodil.
4.
Narcissus.
10. Ladies'
.5.
Onion.
11. Speedwell.
17. Clarkia.
<j.
Dog-Rose.
12. Harebell.
18. Levcesteria formosa.
Smock.
10. Periwinkle.
PLATE XCIX. 1.
Honeysuckle.
2.
Convolvulus.
PLATE J'assion Flowers.
Full
size.
C. Full
size.
LEAVES AND FLOWERS FEOM NATUEE. We
have endeavoured to show in the preceding chapters, that in the best periods of art
was rather based upon an observation of the nature,' than
limit
We
the arrangement
any
in
art, it
was one of the strongest symptoms of decline
:
and not copying, the forms of nature.
think
natural form
desirable to insist rather strongly on
it
this point, as, in the present uncertain state in
The world has become weary of the
works of ornament.
as
same conventional forms which have been borrowed from fore can excite in us but little sympathy. as
in this
true art consisting in
which we are, there seems a general disposition arising to reproduce, as faithfully as
nature,
ornament
of form
on an attempt to imitate the absolute forms of those works; and that whenever
was exceeded
idealising,
principles which regulate
all
the
ancients
much on what we go the Greeks went, we of the fourteenth
how
may hope;
carpets, floral papers,
fifteenth
and
but
we may
if
centuries,
we go
succeed.
If
of the
to
" Go back
say, a universal cry of
echo that cry, but
we go
it
will
;
to
depend
to nature as the Egyptians
and
there like the Chinese, or even as the Gothic artists
we should gain but
We
little.
and that the more closely nature
have already, in the
floral
is
copied, the farther
we
art
are re-
a work of art.
Although ornament
is
most properly only an accessory to architecture, and should never be allowed
to usurp the place of structural features, or to overload or to disguise
soul of an architectural
154
repetition
carvings of the present day, sufficient evidence to show that no
floral
can be produced by such means
moved from producing
far
we
first
be possible,
which have passed away, and there-
styles
risen,
did;" we should be amongst the
to seek,
and
There has
eternal
may
monument.
them,
it
is
in all cases the
very
LEAVES AND FLOWERS FROM NATURE. By
the ornament
of a building
we can judge more
The general proportions
has brought to bear upon the work.
mouldings may be more or
ornament
instant, that is
attempted, we see
is
from the
copied
accurately
less
truly of the creative power which the artist
how
of the
most
the architect
far
approved models
not easy
is
expression of the intention of the whole work,
Unfortunately,
it
much
has been too
but the very
;
To put ornament
is
still
more
in the
difficult.
the practice in our time to abandon to hands most unfitted
adornment of the structural features of buildings, and more especially
for the task the
It
artist.
ornament at the same time a superadded beauty and an
render that
to
;
good, the
same time the
at the
is
the best measure of the care and refinement bestowed upon the work.
right place
may be
building
their
interior
decoration?.
The
ornament which the revived use of the acanthus leaf has
of manufacturing
facility
fatal
given, has tended very
much
and deadened the creative instinct in
to this result,
could so readily be done by another, they have
and
high position of the architect, the head
How, to
then,
be invented or developed
found, and
We
Some
?
we should be beginning
do not think
that other to do
We
so.
will
at the
probably
wrong end
say,
to
so far
have abdicated their
A new
any new
is
must
of architecture
style
ornament
style of
first
be
commence with ornament. works of ornament
for
and that architecture
;
is
co-existent
adopts ornament,
it.
The Corinthian order of
architecture
growing round an earthen pot
is
said
to
have been suggested by an acanthus leaf found
but the acanthus leaf existed as an ornament long before,
;
was observed in the conventional ornaments.
events, the principle of its growth
application
â&#x20AC;&#x201D;how
have already shown that the desire
with the earliest attempts of civilisation of every people does not create
and
;
chief.
universal desire for progress to be satisfied
this
is
left
What
minds.
artists'
or, at all
was the peculiar
It
of this leaf to the formation of the capital of a column which was the sudden invention
that created the Corinthian order.
The principle of the architecture
of
as they were,
the thirteenth
century,
existed
which predominate in the
leaves,
long before in the
illuminated
MSS.
most probably, from the East, have given an almost Eastern character
The
ornament.
and even the general form of the
foliation,
of ornamentation
of the thirteenth
architects
to early English
century were, therefore, very familiar with this system
and we cannot doubt, that one cause of the adoption
;
and derived
;
during the thirteenth century arose from the great familiarity with
its
so
universally
leading forms
of this style
which already
existed.
The in
floral style, in
direct imitation of nature,
The
works of ornament.
missal, induced an attempt to rival
The
architectural
them
period were
the Elizabethan
furniture, metal-work,
and other
they would be with the
necessarily
articles of
architectural
We
style
is
mostly a reproduction of the works of the.
much more
familiar with
the
so.
The
paintings, hangings,
luxury, which England received from the Continent, than
monuments
;
and
it is
architecture,
this familiarity with the
which
led to
ornamentation
the development of those
which distinguish Elizabethan architecture from the purer architecture of the Revival.
we
therefore think
independently of
means
by the same
nature in the pages of a
In any borrowed style, more especially, this would be
of the period, but imperfect knowledge of the peculiarities
also preceded
in stone in the buildings of the time.
ornament of the Elizabethan period
loom, the painter, and the engraver. artists in
which succeeded, was
facility of painting flowers in direct imitation of
a,
new
of arriving at a
are justified in the belief, that a
style of architecture;
new
style
:
new
style of
and, moreover, that
for instance, if
we could only
it
ornament may be produced
would be one of the readiest
arrive at the invention of a
nation to a means of support, one of the most difficult points would be accomplished.
155
new termi-
LEAVES AND FLOWERS FROM NATURE. The chief
building which form a style are,
of a
features
means of spanning space between the supports; and,
the
the means of support;
first,
secondly,
thirdly, the formation of the roof.
the
It is
decoration of these structural features which gives the characteristics of style, and they all follow so
command
naturally one from the other, that the invention of one will
would appear, at
It
hausted, and that
means of varying these
sight, that the
first
we have nothing
the rest. structural
features
had been ex-
but to use either the one or the other of the systems which have
left
already run their coune.
we
If
reject the use of the
column and horizontal beam of the Greeks and Egyptians, the round
arch of the Romans, the pointed arch and vault of the Middle Ages, and the domes of the
be asked
it will
â&#x20AC;&#x201D;What
left ?
is
already been
exhausted, and that
been said in
all
We it
shall perhaps
be told that
were vain to
look for
systems.
his airy vaults could be surpassed,
we
If
are
now
the
and that
undoubtedly,
advance which
To
(it
man
world has not seen,
most assuredly, the
return to our subject,
â&#x20AC;&#x201D;How
formed
the influence
From
is
to
?
any new
is
In the
first ;
new
style of art or
place,
we have
little
:
by an
we
hope that
the architectural profession
at
is
much
are destined to see
time too
the present
by an
influenced
ill-
but the rising generation in both classes are born under happier auspices,
them we must look
should,
ornament to be formed, or
style of
for
hope in the future.
It is for their use that
together this collection of the works of the past; not that they should artists
architectural
present chaos there will
the
of past education on the one hand, and too
informed public on the other it
of the
in every other direction towards the possession of the tree of knowledge.
more than the commencement of a change
and
last
not be in our time), an architecture which shall be worthy of the high
made
has
by hollow tubes of
passing through an age of copying, and architecture with us exhibits a want
may
even attempted to be
much under
have
this
Could the Mediaeval architect have ever gulfs could be crossed
of vitality, the world has passed through similar periods before. arise,
But could not
Could the Egyptian have ever imagined that any other mode of spanning
time?
Let us not despair;
iron?
Mohammedans,
the means of covering space have
other forms.
space would ever be found than his huge blocks of stone?
dreamed that
all
attentive examination of the principles
we have gathered
be slavishly copied, but that
which pervade
all
the works of the past,
and which have excited universal admiration, be led to the creation of new forms equally beautiful.
We all
believe that if a student in the arts, earnest in his search after knowledge, will only lay aside
temptation to indolence, will examine for himself the works of the past, compare them with the
works of nature, bend his mind to a thorough appreciation of the principles which reign in each, he cannot
to be himself a creator,
fail
We
of the past.
think
it
and
to individualise
new forms,
instead of reproducing the forms
impossible that a student fully impressed with the law of the universal
ness of things in nature, with the wonderful variety of form, yet all arranged around laws,
the proportionate distribution
of areas,
from a parent stem, whatever type he the desire to imitate
it,
but
the tangential
may borrow from
curvatures
Nature,
will only seek to follow still the
of
he
if
path which
lines,
will it
some few
and
the
fit-
fixed
radiation
dismiss from his
mind
so plainly shows him,
we
doubt not that new forms of beauty will more readily arise under his hand, than can ever follow
from a continuation inspiration.
the prevailing fashion of resting only on the
in
It will require
but a few minds to give the
others will follow, readily improving, refining
of Art shall be again are far
We
reached, to
upon each
works of the past
impulse:
other's efforts,
subside into decline and
enough removed from either
first
disorder.
the
till
for
present
way once pointed
out,
another culminating point
For the present, however, we
stage.
have been desirous to aid this movement to the extent of our power; and in the ten plates
of leaves and flowers which accompany this chapter, types which
we thought
156
best calculated to
we have gathered together many
of those natural
awaken a recognition of the natural laws which
prevail in
—
LEAVES AND FLOWERS FROM NATURE. But, indeed, these laws will be found to be so universal, that they are as
the distribution of form.
The
well seen in one leaf as in a thousand.
single
example of the chestnut
the whole of the laws which are to be found in Nature
no art can
:
the perfect proportional distribution of the areas, the radiation from the parent
We
curvatures of the lines, or the even distribution of the surface decoration. a single
But
leaf.
we
if
further study the law of their growth,
of the vine or the ivy, that the
same law which prevails As
assemblage of leaves.
also in the
harmony with the group
the eye
is
maintained,
it
C.
The same laws
we never
:
everywhere apparent in Plates
is
The
has to travel, or the weight
it
Convolvulus,
XCVIIL, XCIX.)
will
why
this,
life-blood,
on the surface of flowers;
— not
a line which could be
Because the beauty
?
— the
XCVIIL we
Plate
its
naturally
stem, takes the
may
has to support, the thicker will be
it
arises
sap, as it leaves the
of reaching the confines of the surface, however varied that surface
the distance
it
and
;
from the law of the growth of each plant.
On
everywhere
is
find a disproportionate leaf interfering
prevail in the distribution of lines
removed, and leave the form more perfect
way
an assemblage of leaves
any combination of leaves each leaf
not a line upon the surfaces but tends more surely to develop the form,
readiest
gather this from
in the formation of the single leaf prevails
This universal law of equilibrium
to destroy the repose of the group.
XCVIIL, XCIX.,
see in
may
as in one leaf the areas are so perfectly distributed that the repose of
:
equally so in the group
is
we may
stem, the tangential
in the chestnut leaf, Plate XCI., the area of each lobe diminishes
in equal proportion as it approaches the stem, so in in
Plate XCI., contains
leaf,
rival the perfect grace of its form,
be
the greater
;
substance.
(See
have shown several varieties of flowers, in plan and elevation, from which
be seen that the basis of
from the centre with equal
all
form
geometry, the impulse which forms the surface, starting
is
necessarily
force,
stops
the result
at equal distances;
is
symmetry and
regularity.
Who,
then,
will
dare say that
flowers of the thirteenth century
that this alone can produce art?
the principles.
our slumbers.
We
feel
nothing
left
for us
but to copy the
five
or seven-lobed
the Honeysuckle of the Greeks or the Acanthus of the Romans, Is
Nature
The Creator has not made
They
is
persuaded that there
admiration; on the contrary, as our study.
;
there
all
all
so tied? is
See
how
various the forms, and
yet a future open to us
things beautiful, that
;
we have but
we should thus
set
how unvarying to arouse
from
a limit to our
His works are offered for our enjoyment, so are they offered
are there to awaken a natural instinct implanted in
us,
—a
desire
to
for
emulate in
the works of our hands the order, the symmetry, the grace, the fitness, which the Creator has sown
broadcast over the earth.
LONDON: Primed by John Stkangeways, Castle
ss
St.,
Leicester Sq.
157
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