uva.x000569348	1921	A BOOK OF OLD ENGLISH DESIGNS General Agent Builders Exch General gents NEW PORK ART & ACHITECTURE LIBRARY New York City An old English ceiling from Four Feathers Inn. A very charming interior showing one Plate III 102—40 per running foot, $8.00 per foot, 1.00 per foot, 1.00 per foot, 1.00 per foot, 1.00 per foot, 1.00 per foot, 1.00 per foot, 1.00 per foot, 1.00 per foot, 1.00 Plate XV Plate XV Plate XV Plate XV JACOBSON & CO. JACOBSON & CO. JACOBSON & CO. JACOBSON & CO. JACOBSON & CO. JACOBSON & CO. JACOBSON & CO. JACOBSON & CO. JACOBSON & CO. JACOBSON & CO. JACOBSON & CO.
iau.31858013674209	1900	عينيات ا | ) من) اما 2 و ا خ s0 كالط50 شامل .(DRN AMMENTA CAR\/UNOS الا ان الاPROEESSOR PR O) FORENCE . -EO H POLEY & CO PE SHERS . pos-now AND NEW YORK الإإإإإإإإإإإإإإإإإإإإإإلا Illnl, fNK 9705 .F7 " / • e.1 DATE DUE COLLECTION OF ENTAIL (CARVIN(GS اDRNA W N ATU RE أF R (O) M PROFESSOR FRULLINI OF FLORENCE CGEO). PUBLISHERS BOSTON AND NEW YORK T1 he لفا i « ا v فرف ، ، س . ،، ، أنت vv مه 3: تيفي48AR ثB إلا ,Co., PuBLus HERs غقّ GEORGE H. BosToN AND N =w YoRx. تند (GAME IN BAS-RELIEF. THE PHOTOGRAPHER ANI) POT CONS OIE T ABI E. .eRsيرaLusسG EoRGE H. Pou L= x & Co., P PoLLEY % Co., PuBLus BosToN AND NEw YoRx. FRIEZE WITH ( ,ERs برausسG EoRGE H. PoLLEY & Co., P PoLLEY & Co., P PoLLEY & Co., P
hvd.32044034582379	1882	Este museu, que é um dos mais ricos da Europa, especialmente em productos industriaes, possue muitos exemplares das industrias hespanhola e contemporanea, fazem com bom fundamento attribuir estas e outras obras congeneres a ourives portuguezes do seculo Xvi, aquelles ourivezes que o Todavia offerecem-nos ainda interesse, como representantes d''este mesmo estylo, outras obras de menores dimensões e de menos complexa ornamentação, expostas por sua magestade na sala F. Os seis pratos d''este ultimo genero representam assumptos religiosos, ainda com as minucias das antigas pinturas flamengas, e são de todos os da collecção aquelles que menos differem dos outros esmaltes do seculo XVI, expostos nas salas F e M. exame não resulta mais que esta idea de uma differença fundamental entre o seu estylo e o das obras O numero dos thuribulos do seculo xvi não corresponde ao das navetas, de certo por se arruinarem mais depressa com o fogo.
mdp.39015009262125	1900	That circles which cut each-other form of themselves an effective pattern—is shown by the engine-turned ornament, which is produced by machinery and applied to the decoration of Watch-cases, Modern art follows the example of the Antique and the Renascence; and thus it comes that in the present day the Lion enjoys the Finally, among the artificial objects which are used in decoration, especially of pilasters, we may mention those forms like candelabra and vases, from which ornaments, like growing plants, usually In addition to the simple examples of the Antique, the Renascence uses richer forms, the single members being again ornamented, In the artistic wrought-iron work of the Middle Ages, the Renascence, and Modern times, we find charming Finials in the shape A metal vessel requires form and decoration different from one of glass or porcelain; the profile of & clay vase cannot
mdp.49015001226985	1916	columns, friezes, gargoyles, finals, cornices, and balustrades are examples of architectural ornament; vasedecorations, furniture-carving, silverware, jewelry, Ornament" (New York, 1914) and by myself in a series of papers on the "Development of Decorative Motives" in the "American Architect," 1898-1901. Whether the frequent use of branching and opposed double volutes (Fig. 71), so common in Assyrian decoration, was derived from the volutes of the Egyptian trilobe lotus and lotus-palmette, In an important group of early archaic vases the decoration consists of successive bands alternately of ornament and pictures (e.g., the Dodwell vase, a in Fig. 128). and Assyrian ornament (see Fig. 69, /); but was developed by the Greeks into a richer band-pattern by molding ornaments (Figure 142, page 113); (6) ceiling-panels (Fig. 143); (c) In iron-work, tiles and wood-carving the French monastic artists executed works of considerable merit, employing generally forms akin to the architectural ornament or else inspired from Byzantine models; but they
mdp.49015002180777	1916	artistic quality, moreover, in beauty of line and movement, in charm of light-and-shade and relief, in refinement of form and execution, the ornament of no other kind of decorative work in terra-cotta which he originated and which his nephew and grand-nephews developed, employed in its ornamental details a combination of forms derived from the classic with others drawn Italy somewhat later—the Renaissance style in architecture and minor works was carried by Tuscan artists: the Italian Renaissance, both early and late, it was applied to the greatest possible variety of uses in architectural carving, in painted ornament, in woodwork, metalThe design of fountains became, indeed, almost a distinct branch of decorative art, developing types which have served ever since as classic models their time, and filling their palaces with furniture designed by artists of distinction which exercised a powerful influence on all the decorative arts.
mdp.39015014434495	1906	architecture, sculpture, and decorative arts that enrich our national relief, with enamels of turquoise blue, yellow, white, and black, of fine vault, the mural paintings, and the decorative use of bronze and terracotta of the Etruscans, with the sculpture, ornament, mosaics and centuries, with the treasures of gold and silver, bronzes of rare workmanship, mural paintings on a most magnificent scale, and floors of arches, enriched with vigorous sculpture and ornament (plate 12). The aisle arcading, as a rule, is very beautiful, having geometric tracery and finely proportioned mouldings, the aisle windows At Venice there are many magnificent examples of Gothic architecture, remarkable for the beautiful central grouping of the windows, examples of Norman surface ornament are still extant; at Christchurch, Hants, a beautiful intersecting arcading of semi-circular arches Palaces, churches, and public buildings were completed (see Renascence Architecture, pages 64-67), and embellished with beautiful enamel enrichments, and the Tara brooch (plate 40) are fine examples.
njp.32101067622942	1884	be, that as nature is beautiful, ornamental details derived the thing to be ornamented, as illustrated in the accompanying examples; in which the natural objects are so In no popular style of ornament have natural details In Egyptian, Greek, and Roman ornament, it is extremely rare to find any natural treatment of the details : independent works of Fine Art. The ordinary details or accessory decorations may be of the principles of ornament are perhaps more clearly developed in this style than in any other, because the details terra-cotta vases; and on these we find all the characteristic ornaments of the distinctively Greek style of The distinctive ornament of the three Greek architectural orders, as they are termed, is the capital. The general characteristics of the Gothic, as an architectural style, are these :-It is essentially pointed or In ornamental art generally, then, as in architecture, it
wu.89057178626	1896	shapes, built up on the lines of the equilateral triangle. 9. diaper —Designed on the lines of hexagon or triangle. of patterns constructed upon cross lines. [a design is constructed on geometric lines, or series of lines gives us new varieties of radiated pattern: witness once more the elaborate certain Arab patterns, where this ultra-elaboration of lines is employed, it appears almost In this way the straight-lined series might be the analysis of pattern design to see how practical purposes of design, only a block square plan of the printed curtain design on We have, ordinarily, to reconsider the possible lines of pattern construction in their relation to the rectangular figure,—that being the The pattern repeats on the lines of a long upright parallelogram; but obviously it was designed on the cross lines shown. to do with the design of pattern-work. designing within the lines of the square, you
hvd.32044044940484	1877	colour but differing in shade, as in dark and light blue. On the contrary, the ornaments with which man embellishes his works would not have the appearance of disorder were they not circumscribed by a frame which material and adapt its form and colour to living beauty, these terms are united in light, which makes us comprehend form and see colour, by giving relief to the one on the contrary, soft colours should be employed, especially pale blue, because that is the shade which approaches nearest to white without having its rawness. another colour which suits all shades of red hair-green THE STYLE OF DRESSING THE HAIR OF WOMEN VARIES AND OUGHT TO head-dress of woman, according to ber style, appearance, FASHION IS CLOSELY CONNECTED WITH HEAD-DRESSING IN WOMEN, THAT FASHION IS CLOSELY CONNECTED WITH HEAD-DRESSING IN WOMEN, THAT that ornamental facings, collars of a different colour to
nnc1.cu56608381	1916	
uiug.30112073747419	1909	.\11 Capitals and Brackets listed under the heading Exterior can also be furnished for Interior plaster finish at saine price. All Capitals and Brackets listed under the heading Exterior can also be furnished for Interior plaster finish at Same price. All Capitals and Brackets listed under the heading Exterior can also be furnished for Interior plaster finish at Same price. All Capitals and Brackets listed under the heading Exterior can also be furnished for Interior plaster finish at Same price. All Capitals and Brackets listed under the heading Exterior can also be furnished for Interior plaster finish at Same price. All Capitals and Brackets listed under the heading Exterior can also be furnished for Interior plaster finish at Same price. All Capitals and Brackets listed under the heading Exterior can also be furnished for Interior plaster finish at Same price. All Capitals and Brackets listed under the heading Exterior can also be furnished for Interior plaster finish at Same price.
msu.31293103568477	1913	
umn.31951d00453407o	1887	Kapitäls aber zeigt sich die Prachtliebe, welche sich von der reichen Handelsstadt Korinth aus über ganz Fig. 4 zeigt eine jener herrlichen Jungfrauengestalten, wie sie an Stelle von Säulen an der Karyatidenhalle des Erechtheions verwendet wurden. dastehende technische Vollendung — das Ergebnis einer durch Jahrhunderte sich hinziehenden und innerhalb der einzelnen Familien von Generation auf Generation vererbten Arbeitstradition. Die Unterlage, die je nach dem Zweck aus Holz, einer Anzahl Papierlagen, Papiermache oder Bastgeflecht besteht, das durch Verstreichen mit Harz eine glatte Oberfläche erhalten hat, Es gilt das nicht allein von bemalten, sondern insbesondere von KolossalPlatten und Vasen, die mit Zellenschmelz auf ihrer ganzen Oberfläche bedeckt durch ihr tiefes gesättigtes Wesentlich ist bei der Dekoration die durchaus flache Behandlung des Ornaments und das Ueberwiegen der naturalistisch gehaltenen Flora. dort nicht nur der byzantinische Stil bis zum Ende des ersten Jahrtausends und darüber hinaus eine beherrschende Stellung einnahm, sondern sogar Kunstgegenstände aus dem oströmischen Reiche massenweise
nnc1.cu56787375	1884	"甘''ⅢⅠ拙児。。""''E 74０H29ヂ旺肝針鷲鴛ぬ㍼ 申ミ@丈，キヒのエ ①コヴ㏄の仁コが仁ピ，且全㎝0でノ仁①巨①巳Ⅱ0 汚名99レお ト～んリ千 彗き蚕巳き・東 むり巳㎡㎝㏄戸仁㏄しC功二ヒ 、ヌ一・ぎ:丘ま，ム 江。めⅠ斗。むd舛寸八母づレめ ゲ仁C・「ゲトC仁比@@ 紳研ぬ"紡鰍励紘 は「olentwO「佗n) ゑ「@iⅡざ 汚尚斥
nyp.33433082115530	1862	Drinking-cups, vases, ewers and ornamentsVirgil Solis Drinking-Cups Vaſes Ewers and Ornaments deſigned for the Uſe of Gold VIRGIL SOLIS. VIRGIL SOLIS. AGA R VIRGIL SOLIS, a German engraver, born at 1/0 uſage of the time, he engraved both on wood MEHVOR and on copper, chiefly from his own deſigns. The copper-plates he engraved in the early part of his life reſemble the works of Hans Sebald Beham ; but when he afterwards engraved after the Italian Maſters, His works prove him to have been a man of conſiderable ability, and, though his deſign is among the little maſters. His works are very numerous, amounting to upwards of eight hundred prints. There has been conſiderable diſcuſſion reſpecting Virgilius Solis, particularly whether he ever. engraved in wood. remarks of Bartſch to the catalogue of his prints in tom. Solis is ſupplied by an inſcription at the bottom of his portrait
wu.89057179715	1890	attempt to illustrate ornament by using the same elements as in Fig. I, and adding to them the principles of decorated with frets and straight-lined ornament; panels Ornament on a flat surface, with the addition of colour, The expression of ornament in fret-work, "elementary forms " used in ornament. straight-lined ornament, and form the basis of many Fig. 27 is a simple border ornament made of circles and scale-like ornament belongs to the circle (see Fig. 22). ornamental forms are derived. forms, such as frets, bands, bead ornaments, all moulding will be seen that uniformity by itself cannot be considered a good quality in ornament; it is only a part of band ornament out of Greek work there is very little Third division: perpendicular bands are not so common in decoration as the former class of ornament; they In Persian ornament we find flower and plant forms
uc1.c034844671	1847	adaptation of natural objects to decorative art, is in the adornment of the of every style of ornamental decoration is to be found in the general aspect, and Every style of Ornamental Art has its peculiar features, and perhaps it may also and confirms the belief that that great artist, in his decorative designs for the Vatican, followed the general character of the ornamental designs found in the Baths of have been derived, we proceed to offer a few remarks on the various styles of ornament which have recently been employed in decorative works; and, in doing so, we very general use in all countries where the decorative arts are cultivated. The ornamental decorations connected with the Gothic style of architecture are and adorn, and suggesting, at the same time, how much ornamental detail enhances the attractions of the most symmetrical works of art.
hvd.hn3488	1904	اييهلاوه» وحاح»حها وهيا» وه») ققلآ ععقاوهلمتم لها مك ا وثهث«علماا ثههحلم» لما يه» بك١لم حل يه» وهلا» وثهقسله » تموه وحسني ٠ بلا هلق ك ك لعء هلا لك ج ا لله اة غلا ل « لقجقققلها لللهقللهقل للا اإ تغلها الا تما ا ا للللههههتا كة امل هه هلة ك ية ق سس هلا ههق ته لاهل ه حققها للا لكل قنئقئئه هحقق ام ا للقلق لللللللها ا ( للقلق للللللنقلا لئلا ( ا هلا ا هلا بملئها لللمتلئلللللللئأ قللا للقلق هاقسقتت،تقققلهقققلقلقللئئقع يعم يققه،لقهه سلسهللهقلةلههيليةزفيمتهإ ٨ الم ه ث ل ا للا لاه لإ مهة لها قل حقلا « لم للا ح ءآ لها يمليه . سسس .تس سسعسع .عآتق امة . ي-ج-س ع اسس-سام هم ا ا لا أاا اا ج هلا ال قلها فا للا تئثنهه اا اكا ءك اا لجأ علق يإ ألم بهر قاا سهلا يةآ يرس-يكني-رعلي بس . الا ه ايا لم ع ن
umn.31951002189040l	1916	م لا‏‎ ~ ع‏‎ ~ بلهءقتمتنح وهممااحنك يقال »اس اعمل هة»س.ل٨ ٠هق عرس وحععكاعمبه »علبي« ٠ةق .حكإان.هبيهيل وب«» لملاتطح»أقلمتآاا ءلا وحلقت«{« للحاق قليهلبيحها١ ا ٠(.ند٨ة« ٠يبينتم اتق .»ييلهر تموه ٠٠للل، ااأ حلمحةبه تنسلحا» اقنع«. كلس«( وكاعأل»٣ةل١لآ مك ل٣طهل و«يرح«يسعبي ٠»لمليهأ» لماح نوه( هيس« اعأ ساحق« .(عأس، وكاحأسة٨ تمد ل٣حة راسم« ٠»اكقها ثمنه حاطآ ءيبس« ااأ عسحأتر ،لستمتنك وع»حالوهح سلا تموه ح«ةهح و٠قهسبي ابيةس٧١ ٠ملااا ومراح ولماحلمايةحاق٨ ٠هق ه.وهس٣ل ارمين(( . ٠«هحا«٨ حثمعحقاا٨ ٠هق و-انك لاهمةاا هو«« هحتنسءبك يهاسهح ٠مالاساا»قنق وحقنا-ح ٠هق قليل «لسسما ٠حهير»٠ يهكماق »يقال لإه) كاااا٠ رااح سااعادأحلمتهلاوستر ن(قثمل) حوايقحاا٨ ٠هق و«٣ه«ةيناتك قوهمل-ق ٠ه«هر .حقءجعت« ع«وهق ه٠اا» «م«حا٨ حهايق«ل٨ ٠هق وحلأ٣ة»ق«ق . يا««« هلع ٠إهلرو) إاأها ءمستر هط؛هنعااهه» ٠هق و٠عسدكهإ ييتبيهبهتننقق تموه ع«ياقل ن(ي«) لحءكطثتبه ء؛ههحيهااعع، تنيوه٣ثم حهيه«عمع مكأسحل٨ا هككأستلبي مك لءحتق ه«ساكلاة؛هذل ليكأ» تموه حاييم( وححتءلل اين سلاحي« إن لهءوكتنق) و٠البه و،ةلهلأ ٠هق سيبهسءقأ ةمت٣هيبي،قح ر«نك قالعح«علم ٠هق ه«٣ععت٣تر علا للي« ءهستر ولا؛هعأ٣ح«هةح ٠هق هق»هق ٠هلأ٣ينهمق »ثه ا
uc1.b3258508	1900	That circles which cut each-other form of themselves an effective pattern—is shown by the engine-turned ornament, which is produced by machinery and applied to the decoration of Watch-cases, Modern art follows the example of the Antique and the Renascence; and thus it comes that in the present day the Lion enjoys the Finally, among the artificial objects which are used in decoration, especially of pilasters, we may mention those forms like candelabra and vases, from which ornaments, like growing plants, usually In addition to the simple examples of the Antique, the Renascence uses richer forms, the single members being again ornamented, In the artistic wrought-iron work of the Middle Ages, the Renascence, and Modern times, we find charming Finials in the shape The Gothic period prefers geometrical to organic form; and secures good effects by a variety of profiles placed high up on composite clustered columns, (plate 124.
uiug.30112045351548	1905	way to affect the art, in order that we may better understand why certain characteristics exist in the ornament of copy the example of Egyptian ornament shown in Fig. 28 (a). In Fig. 58 is a portion of a repeating border consisting of a number of brush strokes in the form of a palmcflz'' or This design, like the two previous ones discussed, is dependent entirely on the limitaflons of brush work for the character of its form, while the contrast of color in the different it really requires more brain work to produce a simple looking design like Fig. 57, than the complicated arrangement In Fig. 70, the background a, on which the ornament is placed, was of a deep-red color, while the leaf forms 6 In Fig. 4 is shown an''other column from the same building, ornamented on an entirely different system, although
uc1.c003266186	1909	In any notice of the historical development of ornamental art, the concurrent styles of architecture should, in Fig. 52.Silver Brooch, Plated with Gold, in the form of a Double Sun-sriake or A circular form of it is seen on the gold Scandinavian ornament (Fig. 52). Fig. 102.--General Appearance of an Egyptian Temple. the great feature of Egyptian architecture, which is typically expressed by the illustration Fig. 102, an ideal temples they decorate, with a head-dress ornament consisting of the attributes of Osiris (Fig. 117). A great part of Egyptian ornament and decoration is Fig. 126.-Flattened Form of Lotus-leaf Ornament; Front View and The small statuettes of the Phænician gods and goddesses (Fig. 217) were the originals from which the Greeks The most distinctly Persian feature in all the architecture of Persia is undoubtedly the column with its doublebull-headed capital (Fig. 254). (Fig. 319), and in their large capitals, the ornament was
uc1.31210000985273	1871	§§ § # gestive series of examples in architectural and ornamental design, admire the bold and powerful ornamental sculpture of the Romanesque period; ROMANESQUE SCULPTURED ORNAMENT, Museum, Toulouse, PLANTS SUITABLE FOR SCULPTURED ORNAMENT: Thorn Apple, &c., . PLANTS SUITABLE FOR SCULPTURED ORNAMENT: Arum, Canna, ROMANESQUE ORNAMENT, PART OF BRONZE DOOR, PISA CATHEDRAL; AND OF ROMANESQUE SCULPTURED ORNAMENT AND INLAID WORK on the façade of Auxerre Cathedral, which is probably early 14th century work. splendid series of figures and ornamental work, very finely carved in stone (15th subjects on this Plate are good examples of late French Gothic carving in good example of late Gothic art, both as regards ornament and light and shade. is a good example of an iron handle probably executed early in the 16th century. PLANTS SUITABLE FOR SCULPTURED ORNAMENT. PLANTS SUITABLE FOR SCULPTURED ORNAMENT.
uiug.30112024369768	1887	UNIVERSITY OF ILLINOIS LIBRARY AT URBANA-CHAMPAIGN The examples of houses at Amritza Lahore and Multan are as interesting in their style as those of Ahmedabad, though inferior of the Lahore streets, while one is struck by the great beauty of the red sandstone doorways in Multan. CIRCULAR BAY WINDOW OF A HOUSE. CEILING, DOORWAY OF PALACE, AMBER. WINDOW OF A HOUSE, AMRITZA. BAY WINDOW OF A HOUSE AHMEDABAD BAY WINDOW OF A HOUSE, BAY WINDOW OF A HOUSE, BAY WINDOW OF A HOUSE, BAY WINDOW OF A HOUSE, OLD DOOR IN THE PALACE, AMBER, H. POLLEY & Co., PUBLISHERS, BOSTON. H. POLLEY & Co., PUBLISHERS, BOSTON. H. POLLEY & Co., PUBLISHERS, BOSTON. H. POLLEY & Co., PUBLISHERS, BOSTON. H. POLLEY & Co., PUBLISHERS, BOSTON. H. POLLEY & Co., PUBLISHERS, BOSTON. H. POLLEY & Co., PUBLISHERS, BOSTON. H. POLLEY & Co., PUBLISHERS, BOSTON. H. POLLEY & Co., PUBLISHERS, BOSTON.
uc1.c056071789	1879	MICHAEL REESE AND ALL ORNAMENTAL MANUFACTURERS. REESE LIBSARY REESE I ARAY UNITE CITY PEESE CAL SOEN. REESE Liar REESE REESE REESE REESE CAL REESE LIDSARY REESE LIERAY REESE LIBRAS PEESE ITA, REESE LASARE A truht Dil REESE LIRA REESE LERATED I Page Del. REESE LIBRARY REESE IART SITY MWh Dil J. Paur Du. REESE LIBRARY UNITO,SITY . mum Dil Ornaments Ornaments 1. Wright Del 1. Wright Del REESE LIBRARY REESE LIBRARY REESE LIBRARY REESE LIBRARY REESE LIBRARY REESE LIBRARY REESE LIBRARY REESE LIBRARY REESE LIBRARY REESE LIBRARY REESE LIBRARY REESE LIBRARY REESE LIBRARY REESE LIBRARY REESE LIBRARY REESE LIBRARY REESE LIBRARY REESE LIBRARY REESE LIBRARY REESE LIBRARY REESE LIBRARY REESE LIBRARY REESE LIBRARY REESE LIBRARY REESE LIBRARY REESE LIBRARY REESE LIBRARY REESE LIBRARY REESE LIBRARY REESE LIBRARY REESE LIBRARY REESE LIBRARY REESE LIBRARY REESE LIBRARY REESE LIBRARY REESE LIBRARY REESE LIBRARY REESE LIBRARY REESE LIBRARY REESE LIBRARY J. Page Del
mdp.39015012107036	1902	Flat lettering grounded out, the words separated by intermediate ornament. ORNAMENTAL LETTERING, painted on a picture frame by The word Allah, in letters designed to form an ornamental The word PROPHET, in cursive ornamental letters. The word PROPHET, in strap-like letters elaborately interlaced. VARIETIES OF THE LETTER A, from early printed books. printed books (12) lettering at once decorative page, printed or written, as a comparatively compact mass of lettering, the main business of which who in his book on proportion (1525) gave twentytwo pages to them, and yet the types of letter he lettering in decoration is, to set out the inscription it-to design, in fact, the frame for the lettering, very pronounced use of bands of lettering to separate little figure subjects is made in the doors of the useful as cross bands of lettering are in counteracting the upright lines in figure composition, the artistic effect, that the design of lettering (as of all
pst.000009207851	1894	Bud-like ornamental forms-Gothic wood-carving .. adaptation of natural forms to ornamental to render natural forms applicable to ornament and the various purposes to which it This modification of natural form to ornamental purpose we are accustomed to call The Japanese roses on Plate 2 are somewhat directly inspired by nature, but then taken much account of the essentially ornamental way in which plants like the nasturtium used in Renaissance ornament, in the anthemion for example below, and on Plates 45 Gothic forms by far the more ornamental : Natural and ornamental foliage-Early French. Natural and ornamental foliage-Early French. natural form it had less claim on us as ornament, he overstated his case quite as much as less a rendering of nature than an ornamental natural design on Plate 85. Natural form is resolved into ornament, that natural form to absolute ornament. In ornament, the modification of all natural form
hvd.32044041925496	1886	FORM AND ORNAMENT IN CERAMIC ART ORIGIN OF CERAMIC FORMS. By such means the use of clay was discovered and t he ceramic art came in some simple art, may have suggested the making of a cup, the simplest form of vessel. The use of clay as a cement in repairing utensils, in protecting combustible vessels from injury by fire, or in building up the walls of shallow vessels, may also have led to the formation of disks or cups, afterwards independently constructed. by that people, tend to assume shapes suggested by stone vessels. Forms of vessels so derived may be said to Clay has no inherent qualities of a nature to impose a given form In the early stages of art, forms are rarely invented outright and I lead to the multiplication of forms through modification. of these features, and hence arise many modifications of original forms. As arts multiply, clay is applied to new uses.
hvd.32044033846163	1904	GLAZING in white glass, the leads forming the pattern of the PATTERN stamped with bookbinders'' tools in white earthenware, and filled in with coloured clay. material, tools, and methods of work employed upon itnot by any means necessarily the treatment heretofore upon the designer of ornament by the natural conditions of work, is to have mastered the first principle of ornamental design. with the more important pattern work, is proof of considerable mastery in applied design. on page 40 with the delicate and dainty lace-like patterning of the more conventional ornament without realising The " Venetian point" on page 51 shows in its square design, like all so-called "Greek lace," the lingering influence of of workmanship; and the character which comes of workmanlike use of material and tools is really what artists, as The designer evolves out of his way of working forms design, ornament grows out of conditions of work, and the
uc1.c034876268	1699	PeAlcove fatti da Fr: "Ertinger ELIBRARY OF THE UNIVER LIBRARY OF THE UNIVERSITY OF LIBRARY OF THE UNIVERSITY AF CALIFORNIA LIBRARY OF THE UNIVERSITY AF CALIFORNIA LIBRARY OF THE UNIVERSITY AF CALIFORNIA LIBRARY OF THE UNIVERSITY AF CALIFORNIA LIBRARY OF THE UNIVERSITY AF CALIFORNIA LIBRARY OF THE UNIVERSITY AF CALIFORNIA LIBRARY OF THE UNIVERSITY AF CALIFORNIA LIBRARY OF THE UNIVERSITY AF CALIFORNIA LIBRARY OF THE UNIVERSITY AF CALIFORNIA LIBRARY OF THE UNIVERSITY AF CALIFORNIA LIBRARY OF THE UNIVERSITY AF CALIFORNIA LIBRARY OF THE UNIVERSITY AF CALIFORNIA LIBRARY OF THE UNIVERSITY AF CALIFORNIA LIBRARY OF THE UNIVERSITY AF CALIFORNIA LIBRARY OF THE UNIVERSITY AF CALIFORNIA LIBRARY OF THE UNIVERSITY AF CALIFORNIA LIBRARY OF THE UNIVERSITY AF CALIFORNIA LIBRARY OF THE UNIVERSITY AF CALIFORNIA LIBRARY OF THE UNIVERSITY AF CALIFORNIA LIBRARY OF THE UNIVERSITY AF CALIFORNIA LIBRARY OF THE UNIVERSITY AF CALIFORNIA LIBRARY OF THE UNIVERSITY AF CALIFORNIA Franc Erfinger facit
umn.31951000442341p	1890	WALL-PAPER PATTERN-Showing ogee lines on which ornamental scroll, whilst the grotesque creatures introduced follow the lines of the square block. FOLIATED SCROLL-A design made on square lines, yet The popular idea of the process of ornamental design is, that the artist has only to of patterns constructed upon cross lines. a design is constructed on geometric lines, or series of lines gives us new varieties of radiated pattern: witness once more the elaborate certain Arab patterns, where this ultra-elaboration of lines is employed, it appears almost design a drop on the lines of the square, on designing within the lines of the square, you repeats of a six-inch tile he can get, for example, a design in the nature of a circle Scroll pattern, Designed on the lines of the proceed to decorate a panel by merely crossing it with bands of ornament (see Plate 22),
uc1.b001142197	1900	som med sina piniekottar, tulpaner och andra från det heliga trädet (fig. Det korintiska kapitalet visar kring en korgformig stomme två bladkransar; ur den öfre af dessa uppspira rankor, som å hörnen mötas och rulla sig samman samt uppbära Inhemska djuroch växtformer upptogos; bland de senare märkas murgrönan, kallabladet, vattenliljans blad och framför allt akantusbladet, hvars stilisering är karaktäristisk för den grekiska konsten (fig. Civilisationen är urgammal och jemförelsevis hög; men den konservativa anda, som sedan nära ett årtusende herskat på det kupolerna, som bestämma intrycket af det hela och utförandet stegras stundom till den mest slösande prakt. brutna färgerna, som användas, och då dessa vanligen på ett lyckligt sätt stämma öfverens med hvarandra Strängt stiliseradt bladverk omvexlar med geometriska figurer, eller inläggas arabeskornamenten som fyllning i de olika fälten, hvilka markeras genom band och linier. motiv, hvilket är af fornkristet ursprung och ofta förekommer i handskrifter från den merovingiska tiden
hvd.32044055061766	1899	Piece of Italian gold-coloured Silk Weaving of the Brocatelle class figured silk woven with this type of pattern (see Fig. 3). Fig. 8.-A piece of silk (sarcenet) woven in colours on a crimson ground, with repeated and reversed figures of men THE illustrations in the last chapter give some idea of the considerable variety of ornamental devices and patterns in silk fabrics Fig. 29.-Piece of brocade woven with gold thread and green silk on linen the 11th or 12th cenwarps. Fig. 61.-Diagram of serpentine stem or branch pattern, with leaves and fruit, from an Italian velvet of the 15th century Fig. 62.-Diagram of another type of the serpentine branch pattern, taken from an Italian velvet of the 15th century. Fig. 63.-Velvet of dark blue and green conventional leaf shapes and serpentine stems on a ground of crimson silk.
mdp.39015011240689	1874	In almost all periods of art, Nature has been largely drawn upon, the only marked exceptions being in Celtic ornament, where, though vegetable forms are met with in MSS., the size of "the lower leaves, all throughout the plant being of very similar form; the Bush Vetch In some plants a valuable ornamental feature is seen in the forms of the opening bud. long trailing stems, glossy leaves, and large lilac flowers render it a rather conspicuous plant It on that plate, pointed out the great variety of form that in some plants is seen in their normal the variety of leaf form to be sometimes found on one plant, as the lower leaves alone are of in it rich store of material, the flowers being large and good in form, the leaves having great Examples of designs based on leaf forms alone will be seen in figs.
umn.31951d004390771	1873	from this style that we may expect the highest type of ornament; since, as the author of the " Grammaire des Arts du Dessin" says again, " this style is the impress of the human mind on nature." painting suggested charming decorations to the skilful artists who adorned modern art, especially that noble productions are the work of that hardy race which decided the superiority of Western Art. From the close of the thirteenth century the ancient styles, some traces of which had lingered They do in fact belong to one and the same style, as the art of ornamentation in Japan was formed under The carpet represented in the accompanying plate belongs to the finest period of Persian art, the sixteenth century of our era. These ornaments, which are interesting both from an historical and artistic point of view, are all — with the exception of the flower occupying the centre of the upper part of the plate — taken from a very curious manuscript in the
umn.31951001591173g	1875	Stag in Classic and Christian Art-The Wolf—The Egyptian Apis—The Sacred Bull of BrahmaThe ]ackal—The Cat—The Hippopotamus—The Pig-The As''s—The Lion as a Symbol in a Good Forms of Egypt-—The Acanthus—Conventional Character of Eastem Art——Moorish and Persian ArtThe _Fountain of Lions, Alhambra-—Chinese and ]apanese Art—-Ruskin on Naturalism and Conventionalism-Opinions of Worman, Hudson, Wilkinson, and others—Sir Joshua Reynolds on Imitation colour; Fig. 250, a Greek example, based, as is so commonly the case, on the spiral line. In many cases it forms the entire feature, as in Fig. 2 50, a Greek example; or in the ruder Fig. 134, an illustration of its use, and of the suppression of natural fact to suit artistic requirements, is from a shield painted on a Greek vase; the original is in the British Museum. A good example of the value of rectilineal forms for inscriptions may be seen in Fig. 203,
hvd.fl14y4	1915	THE NEED OF A NEW FORM Architecture and ornament constitute such a language. the conventionalization of natural forms, or lastly it might be developed from geometry. develop a new form language, it is impossible to The development of new architectural forms appropriate and beautiful ornament is one of the Those arts of space Three possible sources of supply suggest themselves for this needed element in a new form language. hold of a new ornamental mode? Japanese ornament was derived from geometry, yet and configurations which shall yield that new ornamental mode of which we are in search. transfer of attention should give birth to a new aesthetic, expressive of the changing psychological mood. Space, and the decorative motifs of the new aesthetic may appropriately be sought in four-dimensional geometry. Ornament develops not from the or cross-sections of corresponding figures in fourdimensional space. SPACE AND TIME: THE FIELD AND THE FRAME
mdp.39015084661845	1893	STONE AND MARBLE SIDE ELEVATION AND SECTION ANDREW & CAAMAM CO, UTHOGRAPHEAS, WASHINGTON, DC DETAILS OF OAK DOOR TO SKETCH OF WINDOW WROUGHT IRON AND BRONZE HALF-ELEVATION WITH DETAILS IN UNIVERSITY CHAPEL SIDEREA TO-ALTAR.MAYOR (IRON GILT) PATIO DEL PALACIO ROOMS ON PRINCIPAL FLOOR PLANS OF CEILINGS SECTION .A.B. See Plan SCALE OF FEET SCALE OF FEET CARVED WOOD CEILING TO CARVED WOOD CEILING TO CUENCA CATHEDRAL CUENCA CATHEDRAL IRON SCREEN · OR GATE WROUGHT IRON REJA-OR SCREEN SCALE FOR DETAILS SCALE FOR DETAILS SCALE FOR DETAILS IRON.ESCUTCHEONS AND DOOR DETAILS OF IRON DETAILS OF BRASS SCREENS.IN-CATHEDRAL IRON SCREEN SCALE-OF-INCHES Plan of Patio SECTION THRO PATIO AND STAIRCASE DETAILS-& SECTIONS AND ARCADE OF PATIO Vol. I, PLATE 39. Vol. I, PLATE 39. Vol. I, PLATE 39. Floor: line ENLARGEMENT OF-CARVED PANEL GRAHAM CO., LITHOGRAPHERS, WASHINGTON, DC. GRAHAM CO., LITHOGRAPHERS, WASHINGTON, DC. PALMA:MAJORCA FIRST FLOOR WINDOW HALF ELEVATION OF.GROUND-FLOOR SKETCH.OF.CARVING OVER GROUND FLOOR WINDOW.
njp.32101073856302	1869	
msu.31293103543348	1890	" Art is man''s nature." The association of art with every common object of daily use seems to be in the natural order to make ornament, in which are embodied the unwritten laws of decorative design. There are some to whom the necessary adaptation of natural forms to ornamental conditions 48 '' Every-day Art. violation nor in the disregard of natural forms, but design that in every work of decorative art the decorative, the mere fact that nature has suggested a certain form, need not trammel us in the the nature of things cannot have, the colours true other from nature to brush-work) at forms of ornament which may be said to overlap one another. boldly in the form of ornamental art!" But how best Greek art; and, certainly so far as ornament form and colour were strictly subordinate to symbolism, in the ornaments which decorate the ancient WORKS ON DECORATIVE ART.
mdp.39015068173015	1906	All-over continuous pattern, Figs. Border patterns, Figs. basis of nearly all scroll borders, whether repeating or merely flowing. and 6, which give examples of highly conventional foliated and floral work in repeating borders. Fig. 25 consists of fantastic foliage designed in a scroll-like manner, but is not, a repeat of the curves in Figs. This pattern is one which repeats in all This pattern is one which repeats in all "all-over continuous" repeating pattern. floral or foliated pattern interlaced with Arabesque usually denotes a flowing ornament of more or less capricious design, containing vase shapes, grotesques, trophies, 3. Scroll, Repeating Border Pattern, Conventional. 3. Scroll, Repeating Border Pattern, Conventional. 6. Scroll, Border, Repeating, Conventional. Scroll, Conventional, Foliated, Grotesque. 43Stripe Pattern, Repeating, Continuous, Sprig, Floral and Stripe Pattern, Repeating, Continuous, Conventional, Foliated Stripe Pattern, Repeating, Continuous, Conventional. All-Over Continuous Pattern, Conventional. Border, Repeating, Continuous, Geometric. Border, Repeating, Continuous, Geometric.
nnc1.ar53707257	1889	3. Die geometrische Form ist der Ursprung des Ornaments und Abhängigkeit von der materiellen Natur, als die Zeit Teppich ist somit nicht nur als das Grundmotiv der Textilkunst zu betrachten, sondern er führte zugleich zur weitern welche die klassische Säule nach unten mit der Überdeckung des Fundaments, dem Stylobat, verbindet und Erst mit dem Rückgang der freien Künste (Architektur und Skulptur) des klassischen Zeitalters wurde das Die gebrauchten Motive sind nicht einmal weit Von der Wirklichkeit entfernt und doch nicht mehr das, was sie in geschieht, nicht aber so und in den Tinten, wie bei der Ornament, der Grundfläche, der Farbe des Grundes gegenüber, sondern sie heben diese durch die Verteilung gewissermassen auf und lassen sie nur als eine Farbe neben Der Boden ist mit dem primitiven Teppich belegt; Teppiche bilden die Wände und das Ornament dem zu schmückenden Gegenstande unterordnen, und überall liess sich die Bestimmung des Gegenstandes aus seiner Form erkennen.
mdp.39015018603111	1910	.grange of ornament in all its different styles from pre-historic times till the middle only over the middle and north of Europe and dates from about 1000 to 600 B.C. Iron was however already worked during this period in the countries bordering Ornamental work on the neck of a Greek hydrla (L''art pour Tous). as the Roman style became developed, a new art period made itself manifest Ornament on Doorway of the church at Suger, 12th century (Opderbecke). „ a Capital from the cathedral of Torcello near Venice, 11th century (Raguenet); Capital and base from the church at Lastingham, Yorkshire, 12»> century this church shows very many traces of Romanesque influence, as do all Early Gothic buildings, and is a combination of old architectural habits with new ideas, it is still Capital from the church at Vezelay, middle of 13th century (Opderbecke). Gothic ornamental Iron-work from Nuremberg Museum. Table, Italian-work, from the 16th century, at present in the Arts and Crafts
uc1.e0000007278	1880	Japanese Art closely allied to that of China — Houses and Temples mostly of one story – Formed of Wood with Architecture and Ornament of India an intricate subject — Many Styles — Stone Temples erected about 250 b.c.— of Labour and Elaboration — Architectural Forms simple — Buildings like Sculptured Rocks — Every inch of — Buddhist Emblems — Inlay Work — Modern Carving — Woven Fabrics — Plant form conventionalized. from Owen Jones—The Fret – The Star form – Pavements and Wall Decoration — Ornament confined to surface – Decorative Forms double — Colouring – Rules from Owen Jones – Arms and Armour – Furniture. Nature the original source of Ornamental Foliage, and should be constantly referred to -Art – Natural Forms to be cymatium of the great doorway; and Fig. 63, a patera—a form of ornament which ornaments or sculpture in the centre (Fig. 271), or they were turned into scroll forms
njp.32101067622801	1894	shapes, built up on the lines of the equilateral triangle, ornamental scroll, whilst the grotesque creatures introduced follow the lines of the square block. foliated scroll—A design made on square lines, yet The popular idea of the process of ornamental design is, that the artist has only to plaids, diamond patterns, and other developments of the lattice are exemplified in Plate 3. a design is constructed on geometric lines, or over" pattern on Plate 5, which is planned series of lines gives us new varieties of radiated pattern: witness once more the elaborate certain Arab patterns, where this ultra-elaboration of lines is employed, it appears almost patterns are most readily designed. designing within the lines of the square, you Designing on the diamond such a pattern as set out a diamond pattern 21 inches long have been designed upon diagonal lines. ogee or diamond lines on which the pattern is
njp.32101075436756	1888	TEXT BOOKS OF ORNAMENTAL DESIGN TEXT BOOKS OF ORNAMENTAL DESIGN adaptation to ornamental design is reserved decorative character of the work in hand. And the cut-and-dried character of the examples of design adduced by way of illustration, led to the supposition that the conventional was neither more nor less than the ornamental art), something which is, let us figures into ornamental design, is for the sake forms into mechanically repeated manufacture depends entirely upon the possibility of for us in the artful way in which the designers Natural forms, to be admissible in ornament, But that is not at all the vital point in decorative design: the all-important thing is danger of hardness resulting from mechanical and perfunctory ways of working, even of ornamental design. that forms like those on Plate I9 can ever work (Plate 23). and treatment upon ornamental design, and all forms of ornament may be followed back
uc1.b5463236	1893	an example of fine art, the work of an artist; but if the an old altar piece and fresco that was essentially decorative art in its original home becomes a choice example, In Greek art, for example, this conventionalism of treatment arising from imperfect means is very frankly example already given in Fig. 7, and it is equally characteristic of Egyptian, Assyrian, and other early work. pictures, that during the century the sect was of influence, innumerable works of art were destroyed. THE early ornament of Greece shows strongly the influence of Egyptian and Asiatic art in its architectural Egyptian and Greek art, we feel that though the work is technical skill and of great artistic power, Many beautiful examples may be seen in the coin room in the British ceramic work, Greek pottery in the form of men or of
yale.39002002271014	1828	To construct a square G H I K, on a given line G H, Plate 10, fig. diameters given ; through the points B and D, draw lines parallel to the the third division frora the top, draw a line C i, parallel to E B, intersecting this parts ; draw lines frora thera, through the centre e, cutting the opposite equal parts, and from these points, draw ordinates, or lines, parallel to the these points draw lines tending to S, which will intersect the parallel sides frora these points draw lines tending to S, which will intersect the diagonals draw a line to the point of distance D : its intersection with the Visual B S, by the point of distance D, intersecting it aty Frora f draw a line and r ; intersecting r, by a line drawn frora 1 to the point of distance at w,
uc1.a0009647785	1901	while the unsymmetrical design shown in Fig. 8 is characteristic of woven fabrics such as plaids and other dress squares representing each of the squares divided in our surface design, and colored in proportion to the light and shade introduce it in the design shown at (c), where it forms a perfectly proper termination with the scroll, with which it harmonizes, as well as with the longitudinal character of the At (a), Fig. 171, is shown a design for a border, the elements of which are derived from the peacock feather, while and contrast is best effected by an arrangement of lines that brings about this condition, as shown in Fig. 3, which is an parallel lines, and in Fig. 27 is shown a design where the shown in Fig. 16 of the Drawing Plate, title, Linear Elements, but, in this case, the volute is described by mathematical means, and though the construction lines are the
osu.32435015509524	1842	of which is to give a selection of the purest and best specimens of ornament of all kinds and of all ages, many century to the fifteenth; for florid ornamental architecture in buildings of the same period; for carvings and engraved ornaments, bindings of books, jewellery, embroidery, ornamental plate, and furniture, in the sixteenth century. works of various dates ; stained glass from York, Durham, Canterbury, Salisbury, Cologne, Chartres, &c.; painted tiles of the thirteenth and fifteenth century; and designs for jewellery, plate, and other ornamental articles, by Capital from Lincoln Cathedral, and from the Library and Chapter Room of Southwell Church, A Circular Ornament in the possession of Thomas Willement, F.S.A. date 1570. Ornaments in stone from Southwell Church and Furness Abbey. Designs for Plate, from a very valuable collection of drawings by Van Swol, in the print room of Stained Glass from Southwell Church, Nottinghamshire. Specimens of Ornamental Metal Work.
nyp.33433066298682	1913	The anthemion occurs again and again, a somewhat common form being that shown in Fig. 1, which is a considerably anthemion, used both as a whole and as a half, occurs upon the exceptional square capital from the same temple, shown in Fig. 16. type, such as is indicated in Fig. 45, which illustrates an example that, vertical tendency in the carving, and this is retained even in the wellknown capitals, shown in Fig. 92, of the doorway of the Chapter House, autumnal grape amongst a group of spring leaves, as shown in Fig. 102, which illustrates one of the terminals to a hood moulding in the examples being illustrated in Fig. 48, which showed two capitals in the earlier examples is illustrated in Fig. 149, which shows a capital from crude Roman capital, now in the Museum, which is illustrated in Fig. 231.
uiuc.7455260	1910	geometrical patterns formed by the interlacing of equal lines in the ornament of every savage tribe, and retained in the more advanced art of every from the feather, another type of ornament (11 and 12, Plate V.) : the same instinct is again at work The whole of the ornaments on this Plate are taken from Mr. Layard''s great work, The Monuments of Nineveh. and a species of lotus, Nos. 4 and 5, the ornaments do not appear to be formed on any natural type, forms of interlacing ornament in styles which succeeded the Greek. by paint; in coloured ornament, animals are as freely introduced as in sculpture, vide No. 26, Plate general principles remaining the same in the Persian, the Arabian, and the Turkish styles of ornament, form the terminal ornament of a pattern, of which various examples occur in Plate LXIV., the gaping natural form as works of ornament.
hvd.hw1zrp	1892	of intrinsic composition of forms, and the definition of different particularities of the lines and "Extension of Form; " the figure ending in outlines or lines of delineation. The idea of abstract form, at first purely geometrical, contains particular points of view : To form a correct idea of a straight line, we must straight lines, or the space formed by the fold of a line; the form of extent is then determined by the circle following an arc determines a particular form compound lines which form the plan of disposition, we conceive the declined fluxion of the plane surface, following a head straight line, coming from different forms the general method of the inscription of tangent-circles (Fig. 27), we will consider points are placed in a straight line, determining A number of points distributed in a straight line determine a real or The repetition and line of a form determine
nyp.33433072177839	1883	and Greek work; the rude beginnings of art Geographically, there are four great art-producing lands,-Persia, purely Aryan; India, century B.C., introduced ideas of Greek art, beauty or art; this that our decorators have Greek art was in subduing monstrous conceptions to natural ones: it did this by general abstract art; this is Greek design; the in line is Greek design,-is " classic" art. Christian Greek art of all those mosaics, paintings, and ivory-carvings called Byzantine ? and art, as the early Greeks,-indeed as the 7. The union of Northern decorative principles with Greek design of figures, drapery, Gothic art, then, as all other styles Life, in nature and in art, is the thing work in the best periods of Gothic art, from the ages of natural and national styles. work as the great Greek or Gothic schools Without study of the Decorative Art of do great things like the Greek and Gothic
njp.32101075436764	1887	carved dado—With square panel shapes within the interrupt the borders of the panel itself. panel is to be filled with a diaper, arrangement should be made, as in Plate 5, for the The stiles which frame a panel may be considered as its border; the mouldings again, border as a deliberate scheme of ornament is the panel encroached upon by border after shape or space it occupies, like the diapers the kind of design shown on Plate i0 is, that the centre panel of the door on Plate 27. up, like the dado on Plate 28 ; where the upright panels into which it is divided are panel has its own border of mouldings. panel has its own border of mouldings. Plate 3 shows two panels only of the design border; just as in the case of the regular panel horizontal lines dividing a panel.
pst.000012542475	1872	Ornamentation, and the community of principles existing among the various arts permits their application to be the invention, the purity of the contours or the richness of the ornaments, it is to general laws that every simple type of the mixed ornament: a well imitated egg leaves to form a mixed ornamentation. enlacements which form a mixed ornament. The ornamentation of the Ceramic art is generally composite: some lines of inventional ornament are developed on the edges, necks, collars, and shoulders of a Generally, the architrave formed by the inclined lines As an ornament in architecture, the ovoid, under the ornament also produces a good effect by the interposition of slender lines and acute forms. alone, without ornament, without any addition whatever, forms an elegant vase. object," to which we see nothing analogous in architecture, it corresponds to a primary or mixed form : it The Greeks, in the ornamentation of a moulding, had
chi.25749395	1896	Greek ornamental art we have some carved stonework, moulded metal-work, painting on vases, incised this is found in the best Greek, Roman, and Renaissance ornament, while when a coarse and clumsy Shaded or painted ornament in the flat is an imitation of relief work, and This class includes painted ornament on the flat, whether polychromatic or in "grisaille"; inlaid wood-work, called In Greek temples the carved ornament was coloured, Shaded or Painted Ornament on the Flat in Imitation of Relief-work.—This is probably the largest shape of shaded natural flowers, landscapes, architectural views, and figure subjects; shaded ornament Chinese, and Saracenic ornament it is painfully monotonous, while in good Roman and Renaissance work, The ornaments on mouldings, patterns in checkers, net-work, or diapers may Fig. 73.-Greek cyma reversa or ogee decorated with the water leaf, a fret ornament carved on upper fillet, example of symbolic ornament may be seen at Fig. 164.
uc1.31822004676433	1910	Later Renaissance Ornament in France (Louis XIV Style) 276—286 453 In the ornamentation of Egyptian buildings, more especially in temples and tombs, painting was the predominant characteristic. Ornamental work on the neck of a Greek hydria (L''art pour Tous). After the fall of the Roman Empire, Byzantine influence predominated, and as the Roman style became developed, a new art period ornament of all the Romanesque Styles of Europe, whilst even in Constantinople when taken by the Turks, in 1453, the Church of Sancta Gothic, and some time afterwards, towards the middle of the 13th century, Germany, following the example of France and using the French Ornament on Doorway of the church at Suger, 12th century (Opderbecke). Painted capital from the church of St.Georges de Bocherville, 13 th century. later work, the Ornament in the Gothic style Table, Italian-WOrk, from the 16 * century, at present in the Arts and Crafts
nyp.33433082115506	1900	early uses of the arches in this church; yonder columns reminds us of the culture of the Greeks, of their Athens; here ornament, and the very character of Roman art starts another train of thought regarding ancient Rome and her people. And now, what school of ornament shall we study to illustrate this kind of design? surface designs herein shown contain units repeated in simple geometric forms such as the square, circle, triangle or If time permits, it is well to precede this manner of repeating a unit by making a drawing of the same border or surface pattern, doing the entire work free-hand. The early Doric capitals, constructed long before the Parthenon, have the top-heavy, flattened-out appearance illustrated in Fig. 55, where the outside edges of the curved part In the foreground of Fig. 51 maybe seen an illustration of the Roman Corinthian columns, which were an outgrowth of the Greek order.
njp.32101076807708	1793