GY


PRE FACE.
stas?
EFORE the appearance of the present work, the object
of which is to give a selection of the purest and best spe-
cimens of ornament of all kinds and of all ages, many
books on the subject of ornament had been given to the
public; but, in general, they were either specially re-
stricted to one class or one style, or imperfect as giving
faulty or inaccurate examples, or difficult of access to
most of those who require them for practical purposes, on account of the ex-
pensive form in which they were published. The author has endeavoured, as
far as possible in a work of moderate expense, to remove these difficulties. It
has been his study to give faithful representations of authentic models belong-
ing to each particular class of designs, of affording a direct reference to some
of the best examples of the several styles and periods, and therefore furnishing
hints for a selection of parts which when combined may produce a new arrange-
ment of equal elegance; thus constituting a mass of materials from which the
artist or manufacturer may derive a succession of entirely novel designs.
Each style has its peculiar character, and this must pervade all fresh combi-
nations to make them pleasing and satisfactory. The ornament of different
nations has its distinctive features, and these so vary as to illustrate particular
epochs. A knowledge of these necessary points can only be attained by an
opportunity of studying from the originals themselves, or from copies drawn
with strict adherence to their peculiar characteristics. On this point the
Author trusts that the present Collection will be highly conducive to the
enlargement of correct taste in all branches of decorative art.
Greece and Rome have left us specimens of foliage in which natural objects
have been copied with classical elegance; but in the middle ages
and oriental
examples we find a profusion of ornamental detail, rich in invention, of a

293290


iv
PREFACE.
grotesque and fanciful nature. At the period of the Renaissance the elegant
taste of the ancients was blended with mediæval richness and eastern fancy.
We look for the best specimens of painted glass in windows from the twelfth
century to the fifteenth; for florid ornamental architecture in buildings of the
same period; for carvings and engraved ornaments, bindings of books, jew-
ellery, embroidery, ornamental plate, and furniture, in the sixteenth century.
We have elegant and rich designs of drapery during the middle
ages. Foliage
and scroll-work are peculiarly bold and effective in the twelfth and thirteenth
centuries; and throughout the fourteenth, fifteenth, and sixteenth centuries,
arabesques are abundant.
The present Volume contains Examples of most of these Classes, taken
from the period at which each was in its greatest perfection, and the specimens
are arranged in chronological order. Architectural Ornaments are given from
works of various dates ; stained glass from York, Durham, Canterbury, Salis-
bury, Cologne, Chartres, &c.; painted tiles of the thirteenth and fifteenth
centuries, from Westminster, and Great Malvern in Worcestershire ; carvings
in wood and panels of the fifteenth and sixteenth centuries ; rich ironwork of
the thirteenth century, from the doors of the church of Nôtre Dame at Paris ;
ornamental drapery, velvet hangings, &c. from designs of the fifteenth century;
lace and needlework of the seventeenth ; bindings of books of the sixteenth
century; and designs for jewellery, plate, and other ornamental articles, by
Hans Holbein, and contemporary artists.
.
To the practical designer, therefore, this work is offered as a useful collec-
tion of
pure
studies of ancient works of art; while the amateur will find in it a
correct series of illustration of the progress of ornamental design during a long
period of history.


)
LIST OF PLATES
TO THE ENCYCLOPÆDIA OF ORNAMENT.
Plate 1. The Title, taken from a binding in the possession of George Lucy, Esq. of Charlecote, War-
wickshire.
2. Ante-pendiums, or Altar Cloths of the date of about 1500, taken from churches in Italy. These
draperies, generally made of rich velvet or brocades, were used for the decoration of the
altars in the churches of the middle
ages.
3. Arabesque on the lining of a door in the Palace of Heidelberg.
4. Pattern of Grolier Binding; and another formerly belonging to Thomas Wotton in the British
Museum.
5. Two Patterns of Grolier Binding in the British Museum.
6. Cover of a Book, taken from Erasmus on the New Testament, in the possession of Mr. Pickering.
7. Bosses from Southwell Church, Nottinghamshire, and from the Passage leading from the
Cloisters of Westminster Abbey.
8. Capital of Pilasters in the Temple of Eleusis at Athens.
9. Capital from the Lady Chapel of Lincoln Cathedral.
10. Capital from Lincoln Cathedral, and from the Library and Chapter Room of Southwell Church,
Nottinghamshire.
11. Capitals and Entablature from the Façade of the Certosa
12. A Centre Ornament from an Engraving of Israel van Mecheln.
13. A Circular Ornament in the possession of Thomas Willement, F.S.A. date 1570. This is
executed in a soft metal, similar to that used for printing type, and may have been the
original design for the interior of a tazza, so frequently found among the utensils displayed
on the side-boards of the gentry in the 16th century.
14. Drapery from a Picture of the Virgin and Child by Cima da Conegliano, in the Louvre at Paris.
15. Ewer, from the Collection of Mr. Frisson, Languedoc.
16. A Finial, from Lincoln Cathedral.
17. A Frame, from a Drawing in the British Museum.
18-19. Designs by Hans Holbein for Goldsmiths' and Jewellers' Work, taken from a very interesting
series of Drawings by Holbein in the British Museum. Additional MS. 5308. These
afford many excellent hints for modern jewelry, and might readily be adapted to numerous
purposes.
20. Velvet Hangings. These hangings are composed of crimson velvet and gold thread.
21. Velvet hangings at Hardwicke Hall, Lancashire, a seat of the Duke of Devonshire.
22. Iron Work from one of the western doors of the church of Notre Dame, Paris. These doors
exhibit, it is supposed, the finest examples of wrought iron of the 13th century. The hinge
selected is one out of ten, each displaying considerable variety in design, combined with the
most admirable execution.
23. Key-stone, and Ornaments round a Capital, in the church of Pont de l'Arche, Normandy.
24-25. Patterns of ancient Lace-work from engravings of the date of 1601.


6
LIST OF PLATES TO THE ENCYCLOPÆDIA OF ORNAMENT.
Plate 26. Needlework from the tester of a bed at Levens Hall, Westmoreland, the seat of the Hon. Col.
F. G. Howard.
27. Wall Ornament on the Tomb of Ibrahim Aga, at Cairo.
28. Ornament from the soffit of an arch in the Gallilee of Durham Cathedral.
29. Ornaments in stone from Southwell Church and Furness Abbey.
30. Ornamental Tracery from the Abbey of Jumieges in Normandy.
31. Ornaments on the Box containing the Seal of the Royal Hospital of St. Catherine, Regent's Park.
32. Ornaments on an ancient Chair in St. Mary's Hall, Coventry.
33. Ornaments carved in wood at Hildesheim and Salzwedel.
34. Ornamental Carvings in Wood.
35. Ornaments from the Palace of Heidelberg.
36. Coloured Ornaments from the monuments of Sophia and Maria, daughters of James I. and from
that of the Countess of Oxford and family in Westminster Abbey. These ornaments are
carved in low flat relief in alabaster, the raised parts being gilt and the spaces between filled
in black.
37. Ornaments of the beginning of the 17th century, containing a panel with a shield and coronet,
and two inlaid ornaments.
38. Heraldic Panels, in the possession of Thos. Willement, F. S. A.
39. Panels in Marble, from the Façade of the Certosa di Pavia.
40. From a Picture by an early German painter of the date of 1472.
41. From a painted Screen in Worstead Church, Norfolk. This screen is one of the most interesting
examples of painted architecture in England.
42. Pendants from St. Stephen's Chapel, Westminster.
43. Three Sides of a Pilaster in the cloister of St. Sauveur at Aix in Provence.
44. Designs for Plate, from a very valuable collection of drawings by Van Swol, in the print room of
the British Museum.
45. Border of Stained Glass in the Royal Abbey of St. Denis, near Paris.
46. Stained Glass in the possession of Thomas Willement, F. S. A.
47-48. Stained Glass from Canterbury Cathedral.
49. Stained Glass from Salisbury Cathedral.
50. Stained Glass from the Chapter House of York Cathedral.
51. Stained Glass from Southwell Church, Nottinghamshire.
52. Stained Glass from the church of Altenberg, near Cologne.
53. Stained Glass from the sacristy of the Cathedral at Chartres.
54. Stained Glass from the entrance to the sacristy of the Cathedral at Chartres.
55. From Stained Glass, and from Needlework. The stained glass from the beautiful window re-
cently erected in St. George's Church, Hanover Square, and formerly in the Cathedral at
Mechlin.
56. A Staircase, from a drawing in the possession of C. J. Richardson, Esq. F. S. A.
57. A Design for Tapestry, from a drawing in the possession of C. J. Richardson, Esq. F. S. A.
58. Painted Tiles from the Chapter House, Westminster. From drawings by L. N. Cottingham,
Esq. F. S. A., at whose suggestion this beautiful floor was uncovered Jan. 1st, 1831. One
quarter only of each figure is given to allow room for four varieties.
59. Painted Tiles from great Malvern Church, Worcestershire.



Date about 1500.
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WORKS BY MR.
S HA W.
1
1.
Jlluminated Ornaments,
SELECTED FROM MANUSCRIPTS AND EARLY PRINTED BOOKS
OF THE MIDDLE AGES,
CAREFULLY COLOURED FROM THE ORIGINALS, WITH DESCRIPTIONS
BY SIR FREDERICK MADDEN, K. H.
In One Volume 4to. 51. 58. or on LARGE PAPER, highly finished with opaque colours,
and heightened with gold, Imperial 4to. 101. 10s.
“ The design of this work is unique, and its execution beautiful. The elaborate richness of decoration, and splendour of the
combinations of colour and blazonry, which render illuminated missals so curious and valuable, afford many useful bints for
embellishment, both in colour and design." --Spectator.
2.
Specimens of Ancient furniture,
DRAWN FROM EXISTING AUTHORITIES, WITH DESCRIPTIONS
BY SIR SAMUEL R. MEYRICK, K. H.
In One Volume containing 75 Plates, medium 4to. plain, 21. 2s. with numerous co-
loured Plates, 41. 4s, or on imperial 4to. the whole of the Plates coloured, price 101. 10s.
“Mr. Shaw's Specimens of Ancient Furniture is another most interesting and original work, gratifying at once to the anti-
quary, who regards them from their associations; to the virtuoso, who furnishes his mansion à la mode antique; and to the
historical painter, who aims at accuracy of detail.”—Gentleman's Magazine, Jan. 1834.
3.
Specimens of the Details of Elizabethan
Architecture.
In One Volume 4to. containing 60 Plates, price 31. 35., or Imperial 4to. India PAPER,
price 61. 6s.
“The great accuracy of Mr. Shaw's pencil stamps the highest value upon this work."
Gentleman's Magazine, April, 1835.
4.
Specimens of Ornamental Metal Work.
With 50 Plates, 4to. price 21. 2s.









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3 2435 01550 9524
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THE ENCYCLOPAEDIA OF ORNAMENT