LIBRARY UNIVERSITY OF CALIFORNIA RIVERSIDE ILLUSTRATIONs A R C H IT E C T U R E O RN A M E N T. ILLUSTRATIONS A R C H IT E C T U R E ORN A M ENT A SERIES OF SEVENTY PLATES DRAWN AND ETCHED ON COPPER, FROM HIS OWN SKETCHES IN FRANCE, ITALY, SPAIN, GERMANY, HOLLAND, AND BELGIUM. n º BY J. B. WARING, F.R.I.B.A. | ti Author of “The Arts connected with Architecture in Central Italy;” “Architectural Art in Italy and Spain” (with Macquoid); “Architectural Studies at Burgos and Miraflores, Spain;” “Designs for Civic Architecture;” “Masterpieces of Industrial Art;” “Treasures of Ornamental Art, Manchester, 1857;” &c. WITH DESCRIPTIVE NOTICES BY THE ARTIST. L O N DO N : BLACK IE & SON, PATERNOSTER ROW: GLASGOW AND EDINBURGH. 1871. /// 24, 4/22 –2 ~ º º - - º º (SA , - * - “THE GREAT BUSINESs of stupy is to For M A MINU ADAPTEL AND ADEQUATE to ALL TIMES AND ALL OCCASIONS: To which ALL NATURE IS THEN LAID open, AND which MAY BE SAID to possess thf. KEY to HER INExHAUSTIBLE Rich Es.”—Sir Joshua Reynolds, Discourse XI. *- - - (; i, AS(;OW : W. G. BLACKIE AND Co., PRINTERs, vi Li. A Fireſ, p. * * * -- * : * , Fº ---, -, . -ºs) of J. º.º. . . . . . . . . º P. R. E. F. A. C. E. §HE intention of the present undertaking is to present a fresh and sug- §§ § # gestive series of examples in architectural and ornamental design, ſ ºrs which it is hoped will assist in new inventions and adaptations, and ºº:: * be of practical service to all who are engaged in the execution of orna- mental work. During several extensive tours in various parts of Europe, the author accumulated a great mass of drawings and sketches, principally relating to architecture and the arts connected with it, from which the following selection is made. These are all taken directly from the objects represented, and very few of the examples chosen have been heretofore published in any form: the plates having, with few exceptions, been etched by the author from his own drawings, the mistakes which sometimes occur when sketches are translated by a second hand have thereby been avoided. The etchings are purposely done in a pictorial style, being intended to serve rather as motives for fresh designs than as models for exact reproduction. Although the illustrations relate mostly to architecture, and are instructive to architects, they will be found interesting to the archaeolo- gist, and useful to ornamental designers and art workmen of all classes; and it is hoped that they will likewise prove attractive to the amateur as well as to the artist. The author is desirous of enlisting the sympathies of the public in the cause of Art, being satisfied that the more extended and more appreciative our art-loving public becomes, the better will be the work of the artist who labours to produce works of beauty, and who, like all other artists—the poet, musician, painter, orator, and actor—depends greatly for the success of his efforts on the sympathy he meets with from those to whom he addresses himself. In forwarding this object the sketches now published will, it is hoped, exercise a beneficial effect. Who that is gifted with an appreciation for art, but will admire the bold and powerful ornamental sculpture of the Romanesque period; the quaint fancy and elegance of the Dutch and North German was work, CONTENTS, AND LIST OF THE ILL U S T R ATION S. Pl, Athºs. II. III. IV. VI. VII. . VIII. IX. XII. . XIII. XIV, XV. , XVI. XVII. XVIII. XIX. XX. . XXI. XXII. XXIII. XXIV. XXV. • XXVI. XXVII XXVIII. . XXIX. xxx. XXXI. XXXII, XXXIII. . XXXIV. . XXXV. XXXVI. , XXXVII. ROMANESQUE DECORATIVE SCULPTURE, from St. Gilles (Gard), ROMANESQUE SCULPTURED ORNAMENT, Museum, Toulouse, ROMANESQUE CAPITALS, Museum, Toulouse, - - - ROMANESQUE ORNAMENT, Abbey of Moissac (Tarn et Garonne), ROMANESQUE SCULPTURE, Portal of St. Croix, Bordeaux, ROMANESQUE STONE CARVING, Notre-Dame, Poitiers, . . - - - ROMANESQUE STONE CARVING, Notre-Dame, Poitiers, and St. Gilles (Gard), ROMANESQUE FIGURE SCULPTURE, from Toulouse and Arles, ROMANESQUE ORNAMENT and Ancient Lettering, from various sites, ROMANESQUE SCULPTURE, from various sites, . TRANSITIONAL ROMANESQUE SCULPTURE, Spain, WOOD AND STONE CARVING, from Burgos, Spain, . ROMANESQUE AND MEDLEVAL GERMS, from various sites, ROMANESQUE ORNAMENT, from Pisa and Assisi, - ROMANESQUE SCULPTURE, from Lucca, Pisa, and Genoa, ROMANESQUE ORNAMENT, from Ravello and Venice, ROMANESQUE SCULPTURE, from Pisa and Volterra, - - - ROMANESQUE AND MEDIAEVAL STONE CORBELS AND CAPITALS, MEDI.EVAL SCULPTURE, from Auxerre Cathedral, MEDIAEVAL SCULPTURE, from Lyons and Auxerre, . - - ENTRANCE TOWER TO WILLENEUVE-LES-AVIGNON, France, TRIPLE CHIMNEY-PLACE in the Salle-de-Justice, Poitiers, MEDLEVAL STONE CARVING, France and Germany, MEDIAEVAL SCULPTURE in alabaster; Miraflores, Spain, MEDLEVAL SCULPTURE in alabaster; Miraflores, Spain, , MEDI.EVAL SCULPTURE, from Burgos and Miraflores, Spain, . MEDIAEVAL SCULPTURE, from San Juan, Toledo, Spain, . MEDIAEVAL CARVING IN WOOD, Germany, - SCULPTURED DOOR AND WINDOW. JAMBS, from Italy, MEDIAEVAL CARVING IN WOOD, Italy and France, MEDIAEVAL CARVING IN STONE, Toulouse and Bordeaux, MEDLEVAL STONE-WORK, from various sites, MOORISH CAPITALS, from the Alhambra, Granada, MOORISH ORNAMENT, from Toledo and Granada, MOORISH ORNAMENT, from Granada and Segovia, PORTION OF GREAT “CORONA,” Hildesheim Cathedral, . LATEN FONT in the Bruderkirche, Brunswick, - 23 23 24 viii CONTEMTS. PLATES. XXXVIII. XXXIX. . XL. . XLI. . XLII. XLIII. XLIV. XLV. XLVI. XLVII. BRONZE MONUMENT, Magdeburg Cathedral, , PORTION OF GREAT BRASS SCREEN, Haarlem Cathedral, ORNAMENTAL MEDIAEVAL IRONWORK, from various sites, ORNAMENTAL IRON WORK, from Augsburg, Munich, and Ulm, ORNAMENTAL IRONWORK, from Augsburg and Ulm, ORNAMENTAL IRONWORK, from Germany and Holland, - - ORNAMENTAL IRON RAILINGS, Fuggers Chapel, St. Ulrich, Augsburg, ORNAMENTAL IRONWORK, from Buildings in Augsburg, ORNAMENTAL IRONWORK, from Ulm and Augsburg, ORNAMENTAL METAL-WORK, South of France, ORNAMENTAL IRONWORK, from various sites, . ORNAMENTAL METAL-WORK, from various sites, MARBLE AND STONE BRACKETS, from Florence and Pisa, RENAISSANCE CRESTINGS, &c., in Wood and Stone, ORNAMENTAL STONEWORK, from Palermo and Bologna, ORNAMENTAL STONEWORK, from Florence and Siena, PALACE GATEWAY AND CHURCH-TOWER, Walladolid, - PICTURESQUE COMPOSITIONS IN ARCHITECTURE, from various sites, ARCHITECTURAL COMPOSITIONS, from various sites, . . . . WOODWORK FROM HALF-TIMBERED HOUSES, North Germany, MONUMENTS AND MONUMENTAL SLABS, Germany and Holland, DRINKING HORN AND TENURE HORN, from Amsterdam and Toulouse, RENAISSANCE ORNAMENTAL SCULPTURE, Italy and France, - - NOTE ON THE ARTISTIC VALUE OF THE PRECEDING EXAMPLES, . - - ON THE ADAPTATION OF PLANT FORMS TO ORNAMENT, and on Devices for the Façades of Buildings, . - - - - PLANTS SUITABLE FOR ORNAMENT: Great Thistle, PLANTS SUITABLE FOR ORNAMENT: Acanthus and Thistle, PLANTS SUITABLE FOR ORNAMENT: Great Thistle, &c., PLANTS SUITABLE FOR SCULPTURE: Artichoke, Cactus, &c., PLANTS SUITABLE FOR SCULPTURE: Water Melon, &c., - - - PLANTS SUITABLE FOR SCULPTURED ORNAMENT: Thorn Apple, &c., . PLANTS SUITABLE FOR SCULPTURED ORNAMENT: Arum, Canna, FLOWERS SUITABLE FOR ORNAMENT: Lily and Iris, . PLANTS SUITABLE FOR ORNAMENT: Hellebore, &c., PLANTS SUITABLE FOR ORNAMENT: Creepers, 30 XLVIII. . XLIX. L. LI. . LII. . LIII. LIV. LV. . LVI. . LVII. LVIII. LIX. LX. . I, XI. . LXII. I, XIII. LXIV. LXV. LXVI. LXVII. LXVIII. . I, XIX. LXX. INDEX, in which the Illustrations are arranged according to their localities, Direction to the Binder. *** Place the Plates in the order of their Numbers immediately after the Contents, and the Descriptious at the end. 39 41 42 43 43 43 44 44 44 4(; º º sº *…*.*.iº. Tilſilſ - - - sº sºsºsº º Zºë-rº º, i. ROMAN ESQUE DECORATIVE SCULPTURE. FROM FACADE OF S: G|L ES (GARD). FRANCE T RO MAN ES QUE OR NA MENT MUSEU M. TO U L OU SE. （） s no in O L W na Sn W STV ] | dv O} () () S + N \7 W O H |- — — - — — — —– – – – – – – ، ، ،|----- §<<<<<~： ----_-| º --- º º | 30 NV - B S OWSSL0W 30 ABG GW E, HI WOH H （INE W WN80 E fi òSE NYWOH , ， ºg útº- 2， •••± r . 7，3 （XnV30 HO8 X | 080 IS 30 TV LÀ 0， 3 H I W O H H H H ſildī£10S ETIÒ SE NW WOH ¿ººº，） №*#|-\ ！，ſeº. ?? z º.º. ）** ES） | 1 /|- ------ – – - - - - - Plaze & STONE CARV NO NOT RE DAME, PO|T| ERS. STONE CARY | NO NOT RE DAME. PO|T| E R S (A) FROM ST O || LE S ROMAN ES QUE F | G U R E – SCULPT U R E. 2) FROM ST S E R NIN, TOULO US E. (3) M U S E U M TOULO US E. THE REST FROM SARCO PH A G |, A R L E S M U S E U M. (I. "O C 3 T O L 'N w n ſ NVS WOH + (+) ISO 9 H D G H v HN ‘SV 0713 ſi H S VT HO S H H IS I OTO E HI WOH-(2-2 1) ° N I v d S * B H nld n n O S B n Ó S B N V W O H T V N O 11 I S N W H I | WOOD AND STON M ONU M E N T S - LAS H U E L G A S. "“” – _-T E. c.A.R.V. N.G. BURGOS, SPA' N. ！ | S | S S 'O N | - [] }} N \; S \,\} \ x + 0 0 [] L N B W V N H O B n Ò s = N w w O B -***#！***************** ##### * ± √ V § │ ~ WO W () [] [] ſ či O () O H / N O H G -30 Tl + N \; ， Rowanesque AND MEDEVAL stone COR BELS. AND CAPITALs. 1.2. FROM THE CLOISTERS OF MONTMAJOUR NEAR ARLES. 34. STROPHIME, ARLES. 5. S. SERNIN, TOULOUSE. 6.7. S. JEAN, POITIERS 8.9. BEAUCAIRE, TOWER CHAPEL. |O || ||2. ACEN CATHEDRAL I3 MORTUARY CHAPEL MONT MAJOUR. * 5.16 118. S. PORCHAIRE, POTTERS. 19.LE MANS CATHEDRAL. 20, 21. Moss AC ABBEY CHURCH, THE REST FROM POITIERS CATHEDRAL. Plate/3 MEDIAEVAL SCULPTURE AUXER RE CATH E D R AL. (A) P SANO, OR VIETO. A late C MEDIEval sculptuſ E, FRANCE. FROM THE FACA D F : Lºy ONS CATH EDRAL (A) FROM A U X E R RE CATH E D R A L. º Plate 21. w \!| | || -3 ！ | ----- ！ %%%%%ſaeŹŹ% ź Ź =·%！ Źź（~~~~ ſſſſſſſſſſſſſſſſ-Hae. ſı| ZŤ 2. ！ · ø， º ae Zſae！ ENTRANCE TOWER TO V |LLENEUVE LES AVIC NON. ---- — — ~~~~ S H H | | | 0d º 3 0 || S n ^ B G H II y s! 3 O B | d A B N W / H O →（）ſae „ſº · i º : : i N was sºon Jº W S LN Hºlſ. NOW TV/08 T H | |NO H H | N = \| V N H O H = 1svgwiw N | 3 H ſhLa Tſh OS TVA 3 1C3 W tº - ~º-> ſ \ ; l s y; - S C U L PTU R E | N A LABA STE R. PORT |ONS OF THE ROYAL MONUMENTS MIRAFLORES, CASTILLE Plate 26. M E D | EVA L SCULPTU R E. SPA | N. l. 2. 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CATH EDRAL U L M . 4-. 5. 6. CATH E D R A L. | R O N W O R K . | | R ON CORONA, MACDE BU R O 2 C R L L E STUL RICH, AUC SBU R O 3. DOM AUC SBU RC 5 H A A R L. F. M 4 O U D F K E R K . A M S T E R D A M Plate 44. | RON RAILING, FUCC E R S CHAPEL, STULRICH AUC SBU R G. Plate 4 | RON WO R K . | 2 HINGES ULM CATHE DRAL 3 STULRICH AUGSBURO 4 AUCSBURG, DOM KIRCHE. - - - - Plate 47. { // 22. & Z•-I | =æ&s√≠√∞ ¿№ſº-º-º-º-º-º-º-º-º-º-o---- ſ/- - - - - - -Swae¿№ 5）---- F~|#№|NU\ſ*$/））?'; ÈËžĒĒĒĒĒĒĒĒĒĒ## |[ )（( | } \ ! ,§§!\, ſºff| ！！！！！！！！！--~~~~！ **：！ ſºſ:© ---- #№] （) ºffſ| ſae， |'， | rºw\ ，slſaeza JºſšķSVēſ & § 9|- 2：3 （=S）№ £ĶĒ№ºš!!！ o 3 R E N A IS S A N C E O FR N AM E N T A L S C U LPT U R E . (1) BRONZE TURNCOCK, (2) MARBLE FINAL (3) WOOD COLONNETTE HOTEL CLUNY (4) BRON Z E LAMP, DIJON MUSEUM. PAR S. Plate, 61. - \ \ \ | PLANT S SUITABLE FOR OR NAMENT. i : ** Plaze 67. SUTABLE FOR SCULPTURED ORNAMENT. PLAN T S - - ae * * * ** ILL U S T R ATIONS OF ARCHITECTURE AND ORNAMENT. DESCRIPTION OF THE PLATES. =:----- DECORATIVE sCULPTURE FROM THE CHURCH OF ST. GILLES (GARD), FRANCE. P LA 7" E /. by a very close adherence to Gallo-Roman models, combined with a strongly-marked adoption of Byzantine mouldings and ornament. This is here shown in the mouldings of the fluted dado and the sculptured pedestal. The pedestal forms part of the principal entrance to the church, and the sculptures represent Cain and Abel offering their sacrifices to Jehovah. The dresses of these figures are purely Byzantine, and the manner in which their robes are hung on projecting knobs is not uncommon in Byzantine and Romanesque illuminations of the 11th and 12th centuries. The sculpture is in low-relief and very spirited—the grinning devil in the right-hand spandril being particularly noticeable. The oval subject represents the Creator seated above the clouds and on the waters, holding the earth in his hand, with a flame and light point nimbus over his head. The capital, formed by eagles, is one of a row running along the entire façade of the church, which is richly carved throughout in the manner here indicated. This is one of the most graceful examples we have met with in French Romanesque architecture. The present Abbey Church of St. Gilles was dedicated by Pope Urban II., A.D. 1096, and these details are all from the principal front, with exception of the inlaid archivolt (A) and fluted dado (B), which are to be found among the remains of a still older church adjoining the present OIle. A DESCRIPTION OF THE PLATES. 5 excellent result in breaking the line and catching light. The piece from St. Gilles forms the companion dado of the façade to that of Cain and Abel, shown in Plate I. The subject, an allegorical one, is of frequent occurrence in Romanesque buildings, and may symbolize the devil in the form of a centaur seeking to slay the soul in the form of a hart. The strongly-marked Graeco-Assyrian character of the centaur in this piece is very interesting. ROMANESQUE FIGURE-SCULPTURE FROM TOULOUSE AND ARLES. PLATE VIII. We may see in this group of subjects the characteristics of two distinct schools of sculpture, which were gradually developed in Europe up to and after the 11th century. Nos. 1 and 2 represent portions of marble slabs let into the wall at the back of the choir of St. Saturnin or Sernin, Toulouse, which, if not actually of Byzantine workmanship, are close copies of Byzantine models. They exhibit perhaps the lowest state to which the art could fall, in the utter want of expression and design, poorness of execution, and plaited character of drapery, the nature of which may be seen on figure 2. M. Didron ascribes these pieces of sculpture to the 9th century; remains of colour are still to be traced upon them. From this school sprung almost all the figure-sculpture of Cisalpine Europe up to the 13th century, that of later date being generally formed on Roman models. In the south of France sculpture of this class was perhaps carried to greater perfec- tion than in any other part of Europe. An example of this is given in No. 3, the statue of a saint, in the Museum of Toulouse, executed by Gilibertus, probably of the 12th century, which, however stiff and inartistic, is still a fine work in point of execution, and not destitute of a certain quiet dignity of character. The sarcophagi from the Arles Museum are of much earlier date and of great interest; they range from the 4th to probably the 9th century. We have selected portions of the Christian monuments only. The upper portion of a tomb contains the apostles in niches, with wreaths of victory and symbolic sculpture above. The female figure in the centre-piece represents Mary, the mother of Christ, with eagles holding wreaths. The head to the left is from the tomb of the Labarum, - B DESCRIPTION OF THE PLATES. 9 might be repeated with advantage so as to form a double group. The brackets (3) support the organ-loft of the conventual church of St. Clara, Burgos. They are of wood, and very effective in design. The stone sarcophagus supported by animals, emblematic, we think, of vigilance, courage, and fidelity, is a good example of transitional Romanesque, probably of the latter part of the 12th century; and is preserved, with many others, in the entrance porch of the con- vent of Las Huelgas, near Burgos. ROMANESQUE AND MEDIAEVAL GERMS FROM VARIOUS SITES. P LA 7" E A / II. The upper portion of the Plate exhibits rudimentary crockets and surface ornamentation. The fine leaf-ornament (3), dying off into the soffit of the arch, from the portal of St. Emilion (Gironde), is remarkably good. The town of St. Emilion itself, as a well-preserved relic of the Middle Ages, fully repays a visit by the architect. Its rock-cut church is a work of unusual interest archaeologically. The capitals from Le Mans are of the highest interest as remains of early buildings, which we are inclined to assign to the 10th century, if not earlier. They are to be found in the churches of Notre Dame de la Couture and Notre Dame du Pré, where they form part of blank arcades continued round a portion of the walls on the ground level, and are evidently remains of earlier buildings. The very peculiar character of the bases, almost like inverted capitals, is fully shown in the examples we have selected. The portion of a channelled pier on the left side of the lower part of the Plate is from the interior of Valence Cathedral, and is interesting as belonging probably to the Carlovingian period. ROMANESQUE ORNAMENT, PART OF BRONZE DOOR, PISA CATHEDRAL; AND OF PRINCIPAL ENTRANCE, SAN RUFINO, ASSISI. P LA TE AI V. The bronze door of the south transept in Pisa Cathedral is the only one remaining of three originally executed by Bonanno of Pisa, about the year 1180. C , 10 ILLUSTRATIONS OF ARCHITECTURE AND ORNAMENT. Unlike the earlier bronze doors of Italy, especially those of the south, it shows little trace of Byzantine influence, but rather a bold, heavy, and, it must be admitted, a somewhat inartistic development of Romanesque art. The inscription in the panel we have selected, representing the Annunciation, is “Ave Maria gratia plena.” The flowers are effective, and the junction of the roll-mouldings cleverly arranged. In Kugler's Kunstgeschichte will be found a list of many of the most important bronze doors of this period; and in the Duc de Luyne's and Baltard's Recherches sur les Monuments des Normands en Sicile, many good illustrations of ancient bronze doors in South Italy. The Cathedral of Assisi, dedicated to St. Rufinus, was finished by Giovanni da Gubbio, A.D. 1140, but was not consecrated before the year 1253, by Gregory IX. The rich central doorway, part of which is here delineated, is a striking work, and remarkable as showing similar symbolical sculpture on its columns to that at Lucca (No. 3, Plate XV), and a lion rending a pagan figure, as seen at St. Gilles (Gard), (Plate X. No. 4). ROMANESQUE SCULPTURE FROM LUCCA, PISA, AND GENOA. PJ, A TE X V. The stone font for complete immersion, in the church of San Frediano (Frithian), at Lucca, is ornamented with rough sculpture, a portion of which we have given (No. 1), representing two figures on horseback, called traditionally Knights Templar, but which is most likely meant to be a portion of Pharaoh's host in the Red Sea. Robertus Magister signs this work with his name, the date, according to Kugler, being 1151. The sculptured transom of San Salvatore (No. 2) is of much more careful execution, and of rather later date; it represents the baptism of a saint, and is inscribed with the name of St. Nicholas, patron saint of baptism, as well as that of “Biduino,” a sculptor who worked about the year 1180. This is a good specimen of Italian sculpture at the close of the 12th century, and enables us to measure the immense advance made in the early part of the 13th century by Nicolo Pisano, one of the greatest geniuses of any age. DESCRIPTION OF THE PLATES. 11 The column No. 3, from the arcade of the principal front of Lucca Cathedral, is sculptured with figures illustrative, we conceive, of the combats between the Virtues and Vices. It bears a very close analogy to the so-called mysterious column of Freysing Cathedral (Bavaria), which M. Martin, in a very elaborate and clever article, has endeavoured to connect with the adventures of the Scandinavian mythical hero Siegfried (see Cahier and Martin, Mélanges d'Archéologie). No. 4 shows part of a carved column in low relief, from one of the principal entrances to the Duomo, at Lucca. Notice here the figure of a huntsman blowing his horn, which is a counterpart of numerous horns, often called tenure-horns (see Plate LIX.), and sometimes believed to be drinking-horns; but this they were not, the drinking-horn being of quite a different form; they are called tenure-horns from the fact of their being deposited as tokens of fiefdom of forest land or hunting- ground. The serpent on a column (No. 5) is from one of the upper arcades of the church of San Paolo ripa d'Arno, Pisa. This column we believe to be unique; the device evidently relates to one of the oldest myths on record. No. 6 shows part of an angle of the Cathedral of Genoa, and introduces a lioness supporting a pillar, a device of frequent occurrence in the Lombardic churches of Northern Italy. The lion, in ancient Church symbolism, bears many meanings; at St. Gilles, France, and Assisi, Italy, we have him represented rending the enemies of Christ; in the present instance we conceive to be represented a lioness (the Church, the spouse of Christ, who was descended from David, the lion of the tribe of Judah) protecting one of her children, a lamb, and supporting other members of the Church, smaller lions, who form one of its pillars, and drive out the Evil One in the shape of a dragon (see also St. Gilles, Plate X. No. 4). We may here remark, that the distinction between lions and lionesses should always be discriminated, as they doubtless, we think, severally symbolize Christ and his Church; the differences are marked, and strikingly shown in Plate IV., containing the central pier of Moissac Abbey doorway. ROMANESQUE SCULPTURED ORNAMENT AND INLAID WORK FROM RAVELLO AND VENICE. PLA 7" E. Y. V.I. Some of the most highly-finished sculpture in Romanesque art is to be found on the pulpit of the Church of Ravello, near Amalfi, Southern Italy. The DESCRIPTION OF THE PLATES. 13 the corbels in the cloisters which form the entrance to the church are very frequently similar to the examples (1–4) from the cloisters at Arles, which are symbolical, we think, of the slaughter of the Innocents; (1, 2) the lion's head being equally typical of the civil power, or of the Devil devouring children; (3) Herod's daughter dancing, the head inverted precisely as represented at a later period in a sculpture on the portal of Rouen Cathedral; and (4) the legendary ass worshipping at the manger, as the old monkish distich had it, “Cognovit bos et asinus te magnus mundi dominus.” From the exteriors of churches we have the following specimens: (5), the bars of the manger and an animal's head, from the apse (external wall) of St. Sernin, Toulouse; (6, 7), heads, again, of attendant animals, from the exterior of St. Jean, Poitiers; (8), the rage of Satan, and (9) a copy of a Roman bracket, from the exterior of the tower chapel at the castle of Beaucaire, near Nismes; (10, 11, 12), probably the heads of the founders, from the external wall of the apse of the Cathedral of Agen (Lot et Garonne); (13), simple ornament, from the exterior of the mortuary chapel of Montmajour, near Arles; (14, 15), a founder and his shield of arms, and (16, 17, 18), a scroll and animals, from the exterior of St. Porchaire, Poitiers; (19), the bird of night and of wisdom, from the exterior of the Cathedral at Le Mans. The external corbels are thus shown to have been of a very mixed character. Internally, however, contrary to what might have been expected, they are still more so; and that style of architecture (Gothic) which we so often hear pronounced to be the only fit style for Christian buildings contains subjects, and that in the most sacred precincts, which are frequently of the most disgusting grossness or the broadest burlesque. In Poitiers Cathedral (13th century), for example, round the naves and transepts are about three hundred corbels, of wonderful variety of character and great power of execution; of these we give thirteen which speak for themselves, and pass over others which are unfit for reproduction. In St. Fredigonde (Poitiers) are also about two hundred corbels of the most wild and grotesque character; and in Notre Dame de la Couture (Cultura Dei), Mans, another remarkable series, in all of which we find, not Christianity, but the burlesque literature and jokes of the day graphically perpetuated in stone within the very holy of holies of the Church, in mockery both of priests and altar. The Abbey Church of Moissac (Tarne et Garonne) contains some very fine capitals, many of which are symbolical, but belonging to a period when symbolism - D 14 ILLUSTRATIONS OF ARCHITECTURE AND ORNAMENT. was losing its hold on art. The two sketches 20 and 21, however, appear to symbolize, in the case of the lion and lioness holding lambs in their mouths, Jesus and the Church holding up the Christian, whilst the nondescript animals, one of which is a kind of griffin, grasping geese in their mouths, represent the silly heathen who are a prey to the devil. Flames form the central abacus ornament of the last, and an altar that of the first. MEDIAEWAL SCULPTURE, FROM AUXERRE CATHEDRAL, FRANCE. PLA 7" E A LY. It is the fashion of the day to compare the sculpture of the Early Pointed period with the works of Greece and Rome; and there is so far reason in the comparison, that we may admit the sculpture of this period to have been founded on principles derived from the best ancient models then available. To Nicolo Pisano is generally ascribed the rise and development of sculpture founded on ancient models which took place throughout Europe during the 13th century. England has some fine examples of this period, of which those in the choir of Lincoln Cathedral are perhaps the most perfect. France is rich in them, and particularly have we been struck with the superior character of the sculpture on the façade of Auxerre Cathedral, which is probably early 14th century work. The Cathedral itself is a noble specimen of the best periods of the Gothic style, commenced in 1215, and finished probably before 1373. The subjects we have selected from Auxerre are—Cain denying knowledge of his brother Abel after the murder (height about 1 ft. 9 in.); the Almighty creating the sun, moon, and stars (about 1 ft. 6 in. high); Prudence or Wisdom, with a serpent round her waist (about 2 ft. 6 in. high); Religion (?) raising a winged soul (about 2 ft. 6 in. high); and Samson killing the lion (1 ft. 5 in. high);-this last is, so far as we know, a unique example of anatomical knowledge in mediaeval sculpture. To show the close resemblance of style between Italian and Cisalpine works, we have given a figure of the Virgin from Orvieto Cathedral (1290–1320), of the Pisano school. It is taken from Agincourt's History of Art by its Monuments. DESCRIPTION OF THE PLATES. 15 MEDLEVAL SCULPTURE, FROM THE FAQADE OF LYONS CATHEDRAL AND AUXERRE CATHEDRAL. PLATE Y Y. Among the many panel-sculptured façades of the French churches, that of Lyons is perhaps the most elaborate. It has two hundred principal panels, besides several smaller ones on the returns of the three portals. They are apparently early 15th century work, and their themes are very various—legends and grotesques, Old and New Testament history, astronomical and natural history subjects, scenes of every-day life and artistic fancy, appear by turns. We illustrate a few which appear to us the most characteristic of those that can be approached sufficiently near to be carefully examined; and although perhaps not equal to the panels of the north porch of Rouen Cathedral (15th century), they are yet characterized by great freedom and vigour of design, as well as carefulness of execution. Beginning at the left hand, upper row, we have (1, 2), the Devil, mounted on a goat, attacking a Christian; (3), the punishment of a back-biter; (4), an ancient philosopher with donkey's feet,_from his head springs a schoolman; (5, 6), games of the people; (7), Merman, wife, and young one; (8), the punishment of carnality (?); (9), a myth; (10), mad as hares in March; (11), a monk (?), half animal, combatting the Devil with a leg of mutton; (12), a composition from nature. All these designs are executed in half-relief, and are remarkable for their spirited action, truth to nature, and clever adaptation to the spaces which they are required to fill. ENTRANCE TOWER TO WILLENEUVE-LES AVIGNON, FRANCE PI, A TE XXI. Villeneuve-les-Avignon, situated about a mile from Avignon, on the opposite bank of the river Rhone, is a very complete and interesting example of an old fortified town in the 14th century, the walls of which are still in a good state of preservation, although the domestic buildings are completely destroyed. The entrance gateway here illustrated is in a very perfect state, and shows the guard-house on top, chimneys, sentry-boxes, and principal staircase. The pro- 16 ILLUSTRATIONS OF ARCHITECTURE AND ORNAMENT. jecting piece nearer, forming portion of the main wall, consists of a sentry-box with fireplace, chimney, and external drain. The end of this wall is discon- nected from the entrance towers themselves, apparently for the purpose of pre- venting surprise by the enemy. The reader should consult M. Violet Le Duc's excellent treatises on military architecture in his Dictionnaire Raisonné de l'Architecture, for full descriptions of examples of mediaeval fortifications. This plate was etched by Mr. A. Goodier. TRIPLE CHIMNEY-PLACE, IN THE SALLE-DE-JUSTICE, POITIERS. PLATE YA II. The magnificent triple stone chimney-place of the salle-de-justice at Poitiers is about thirty-six feet in length from pillar to pillar. It is a noble work of the 14th or early part of the 15th century, and is, we believe, a unique example of its class. It does not compete in elaborate ornament with the numerous and finely carved chimney-pieces of the 15th and 16th centuries, still preserved in France, and Belgium especially; but then they only consist of one opening, whilst this possesses three fireplaces, which, when the great logs were all blazing at once, must have produced a grand effect; although even then they would barely suffice to warm the large hall in its entirety. Placed as it is on a raised platform, it was intended probably mainly for the use of the chief officials and distinguished people; whilst the crowd in the hall rather saw the burning piles of wood on the capacious hearthstones, than felt the heat from them. For an account of the principal ancient French chimney-pieces, see Le Duc's Dictionnaire, s. v. “Cheminée.” MEDIAEWAL STONE CARWING, FRANCE AND GERMANY. PJ, A TE XXIII. The beautiful arrangements of natural foliage (1, 2, and 3), from the wall of the choir of Bordeaux Cathedral, are probably of the 14th century. No. 4 DESCRIPTION OF THE PLATES. 19 execution a rare combination of delicacy and force, of graceful design and power of light and shadow, obtained when required by means of deep or thorough undercutting, such as we have not seen equalled in any other works of the kind. Honour to Gil de Siloe MEDIAEVAL SCULPTURE, FROM SAN JUAN, TOLEDO, SPAIN. PLATE Y_Y VII, The cloisters of the Church of San Juan de los Reyes, Toledo, present a splendid series of figures and ornamental work, very finely carved in stone (15th century). The portion we have given is from the side of the church entrance, and represents a sainted martyr (as notified by the palm-branch), beneath an elaborate canopy. The statue is surrounded by that redundancy of foliated ornament, characteristic of the later period of the Spanish Gothic style, and which would offend good taste, were it not so admirably designed, and executed with such vigour and feeling for effect. In the cloisters of San Juan de los Reyes, between windows filled in with elaborate tracery, are ranged a series of statues with plinths and canopies, similar to the example given on this Plate. The smaller pieces on the right represent a good arrangement of the pomegranate, and a very graceful stone finial belonging to one of the piers in another part of the cloisters. MEDLEVAL CARWING IN WOOD, GERMANY. PJ, A TE Y X VIII. The noble 13th century Cathedral of Magdeburg contains fine stalls of a later period, from one of which our illustration No. 1 is taken. The panel sculptured in relief represents Jesus brought before Pilate, and by his side stands the executioner with his flat-ended sword. The carved cresting is a good example of that grotesque spirit which so frequently inspired the German Gothic artist. Ulm Cathedral contributes (No. 2) a finely-carved chest for priests' vest- ments. St. Stephen's Vienna, is peculiarly rich in beautifully carved work, both DESCRIPTION OF THE PLATES. 21 MEDIAEWAL CARWING IN WOOD, ITALY AND FRANCE. PLATE X YX. The noble and interesting Lombard Romanesque Church of San Zeno, at Verona, contains some stalls of the 15th century, carved and coloured, one of the divisions of which here given (No. 1) is particularly bold and effective. Its style indicates a German influence or origin, such as may be seen also on the richly carved stalls of the Church of the Frari at Venice. The remaining subjects on this Plate are good examples of late French Gothic carving in wood, to be found on various pieces of furniture preserved in the Museum of the Hotel Cluny at Paris. The tracery of No. 3 is open cut; and it is noticeable how boldly the sculptor has departed from the usual system of repetition of ornament above the arch-shaped opening, without losing a sym- metrical effect. - MEDLEVAL CARVING IN STONE, TOULOUSE AND BORDEAUX. PI, A TE XX XI. The portion of a stone doorway is from the Lycée or Government College of Toulouse, a brick building, and formerly a religious house. It is a particularly good example of late Gothic art, both as regards ornament and light and shade. The brickwork, as usual in the south of France, is excellent, the bricks being of close texture, large size, and a rich deep colour, alternating with well-marked thick beds of fine mortar. The stone benitier, or holy-water bason, is from a chapel in the Church of St. Michel, Bordeaux, and its exuberant ornament is highly characteristic of the Gothicized French Renaissance practised in the early part of the 16th century. The top of the canopy, marked A, is shown by the side of the benitier. Although the pelican feeding her young with her own blood, as seen in the corbel of the water-stoup, is an old Christian symbol, the resusci- tation of heathen art is seen in the naked figure of Fame blowing a trumpet, which surmounts it. 22 ILLUSTRATIONS OF ARCHITECTURE AND ORNAMENT. MEDIAEWAL STONE-WORK, FROM WARIOUS SITES. P LA TE A A Y II. We have already noticed various symbolic meanings of the lion in ancient sculpture. We here append two more examples of symbolism. No. 3, from the central pier of Dijon Cathedral portal, being clearly Satan's head, nailed at the very entrance of the church, and made captive with an iron ring. In No. 5, from the façade of St. Trophime, Arles, a pillar of the church presses down the head of Satan, who with his teeth gnaws in rage and despair at the Holy Scrip- tures, symbolized by the alternate torus and hollow mouldings. That these mouldings, when employed as a base to columns, are intended to represent the Holy Scriptures appears probable from their forming pedestals on which pillars rest, in several instances during the Romanesque period, and notably in those of the cloisters of Monreale Cathedral, Sicily. The capital formed by angels (No. 4), also from the façade of St. Trophime, Arles, is a fitting apex to the pillar. The marble altar-table (No. 6), from the south aisle of the cathedral, Avignon, is interesting from its antiquity, being probably a work of the 10th century. It is hollowed out on the surface, like many others of the early Romanesque period. An example almost identical with this is to be seen in the Church of St. Abbondio, Como, ascribed to the 11th century, or even earlier. The stone-pillar lamp (No. 1) is from the south portal of St. Stephen's, Vienna, and forms a graceful example of late German Gothic art. No. 2 is a specimen of wall-corbelling known in France as a “cul de lampe,” often very elaborate and effective, as at Agen Cathedral, the Hotel Jacques Coeur, Bourges, &c.; the present example is from the Cathedral of Carcassonne, and has been lately restored under M. Violet Le Duc's direction. MOORISH CAPITALS, FROM THE ALHAMBRA, GRANADA. PJ, A TE ATA A / / /. This and the two Plates immediately following present examples of the extreme delicacy and elegance of design characteristic of the Hispano-Arab works. These capitals and columns from the Alhambra deserve especial notice DESCRIPTION OF THE PLATES, 23 for their well-considered beauty of proportion and design, and notably for the manner in which the small annular mouldings serve to harmonize the richness of the capitals with the shafts. When drawn by the author, these capitals were devoid of colour, and were dependent on their sculptured design for their effect, the colour of the marble having become by time of a beautiful warm mellow tint. We understand they have been lately restored; the colours, besides white and gold, being only blue and red—the usual scale of colour in Moorish ornament. MOORISH ORNAMENT, FROM TOLEDO AND GRANADA. P LA TE Y Y_Y I V. This Plate presents specimens of rich and graceful surface-decoration, prin- cipally from the Alhambra. The ornament is in low-relief, executed in the finest cement, and depends greatly on colour for its effect, being picked out in gold on a blue or red ground. The example from the church of S. M. La Blanca, Toledo, occurs in the spandrils between the arches of the nave. It is bolder in effect than the others, and is equally graceful in point of design. This building was originally erected early in the 15th century as a Jews' synagogue. MOORISH ORNAMENT, FROM GRANADA AND SEGOVIA. PI, A 7" E. YLYX V. In this Plate Nos. 1, 2, 3 are from the Alhambra, Granada; the two lower subjects are in wood, that on the left is part of the frieze in the Court of Myrtles, that on the right is the soffit of a beam in the chapel, and both were originally rich with colour and gilding. The rosage is in cement from the Lions' Court, the half section A serves to show its relief. The portion of a ceiling (4) from the Alcazar, Segovia, is of wood, coloured and gilt; style, late Gotho-Arabic of the 15th century; the form of the pendents and the amount of their projection from the ceiling will be more fully understood by the detail B. Spain is rich 24 ILLUSTRATIONS OF ARCHITECTURE AND ORNAMENT. in similar ceilings, many of which would well repay illustration. At Saragossa, Guadalajara, Toledo, and Segovia are preserved some of the finest examples. This Plate and the two preceding have been etched by Mr. A. Goodier. PORTION OF THE GREAT “ CORONA” CHANDELIER, HILDESHEIM CATHEDRAL. PJ, A TE Y A X VI. A distinguishing feature of the early Romanesque churches was the “corona lucis,” or crown of light, notable examples of which are still preserved at Aix-la- Chapelle and at Hildesheim. At Hildesheim there are two, the largest of which, about 54 feet in circumference, forms the subject of this illustration. It is stated to have been made and presented to the church by Bishop Hézilon in the 11th century. It is formed of copper, originally gilt, silvered, and perhaps coloured; the towers are open cut, and contained statuettes, the names of which alone remain; the upper parts of the towers probably served as lanterns. The name “Saulus” on our Plate should probably be “Paulus,” as the names of apostles alternate with those of prophets from the Old Testament. The ornament between the inscriptions is open cut. Figs. 1 and 2 show thorough-pierced ornament on the sides of the niches; fig. 4 is a soffit of turret, open worked, the scroll-work gilt, with black central band; fig. 3 is a leaf of this ornament somewhat enlarged; fig. 5, part of an arcade on left-hand lantern turret; fig. 6, a black inlay orna- ment on copper gilt, supporting the candlesticks; the figure at bottom shows a plan of the corona and its supporting chains. The pendent rods and bosses are plain laten or copper gilt. The upper inscription is too long for insertion here; its last lines are, “Solis sol lucet in illa: mystica discernit, tenet, aspicit, omnia novit: et solium regni cordis locat in penetrali.” The lower inscription is the donor's offering prayer. Neither Kratz (Der Dom zu Hildesheim) nor Cahier, nor Kugler, appear adequately to describe this noble specimen of Romanesque art; a good description is still needed, and the writer regrets that he did not, at the time of making his drawing, take sufficient interest in early church art to induce him to make fuller notes regarding it. The student who desires farther information on the modes of lighting mediaeval buildings should consult M. Cahier's learned and complete disserta- DESCRIPTION OF THE PLATES. 25 tion in the Mélanges d’Archéologie, by MM. Cahier and Martin; and Le Duc's Dictionnaire du Mobilier, s. v. “Lampe.” The student of Romanesque art should not fail to visit Hildesheim, as he will find there treasures in bronze, stone, wood, textile art, goldsmiths' work, and illumination, in great quantity and of the highest interest, presented in old times to the cathedral by St. Bernard, Bishop Hézilon, and other great abbots. LATEN FONT IN THE BRUDERKIRCHE, BRUNSWICK. PLATE X YX VII. North Germany is rich in artistic brass or laten work, of which this font in the Bruderkirche, Brunswick, is an excellent 15th century example. It is decorated with figures of the twelve apostles placed in richly sculptured niches. The figures are characterized by great truth to nature, variety of expression, and clever arrangement. The water-carriers beneath, though quaint, are very effective, and serve to give solidity to the rest of the design, while they lean against the font, rather than give it support. The effect of the font is greatly enhanced by the well-designed steps which lead up to it. It is with regret that we failed to discover the name of the artist. BRONZE MONUMENT OF AN ARCHBISHOP, MAGDEBURG CATHEDRAL. P LA 7" E. V. A. Y. VIII. Besides two remarkable and early Gothic monumental slabs in bronze, somewhat like those at Amiens, the fine cathedral of Magdeburg possesses in the bronze monument of Archbishop Ernest von Magdeburg, one of the most beautiful works extant of Peter Vischer. This monument, according to Kugler, was completed A.D. 1495. The date, however, on the monument itself fixes the death of the prelate in 1510. Among the numerous works of this great sculptor, who worked principally between the years 1489 and 1529, this certainly takes a very high place, both as regards design and execution in metal work. The figure of the archbishop is finely rendered, his feet rest on a lion which supports G 28 ILLUSTRATIONS OF ARCHITECTURE AND ORNAMENT. The fine ornamental hinge (No. 2), from a door in Augsburg Town-hall, is especially notable, both for its intrinsic merit and as being no doubt designed by Elias Holl himself, the Palladio of Augsburg, by whom the town-hall was built between the years 1615–18. No. 3 shows a very graceful adaptation of the fleur-de-lis as a termination for an ornament in Augsburg Cathedral. No. 5, from an iron railing in Ulm Cathedral, illustrates the usual flower finial of the period (15th century); and No. 6, from one of the doors in same cathedral, is a good example of an iron handle probably executed early in the 16th century. This plate was etched by Mr. A. Goodier. ORNAMENTAL IRON WORK, FROM GERMANY AND HOLLAND. P LA 7" E A L III. Fig. 1 is a portion of a small open-worked circular chandelier in iron, of very graceful design, from Magdeburg Cathedral. Fig. 2 represents a portion of a chapel railing in the Church of St. Ulrich, Augsburg, which is formed of thin flat strips of iron conjoined, and is exceedingly pleasing. The lion's head (fig. 3), from a door in the choir of Augsburg Cathedral, is a fine and effective piece of ironwork, the ground of which appears originally to have been coloured. The Dutch examples (figs. 4, 5) show that quaintness of design which prevails in North German art. No. 4, from one of the side-chapels of the Oudekerk, Amsterdam, illustrates an adaptation of the sacred thorn to use as well as ornament; whilst the clever use of ordinary wattle-work in iron is observable in No. 5, which is a portion of a chapel grille in the Church of St. Bavon, Haarlem. IRON RAILING, FUGGERS CHAPEL, ST. ULRICH, AUGSBURG. PI, A TE Y L. I. V. The sepulchral chapels of the princely merchant family of Fugger in the Church of St. Ulrich and St. Afra at Augsburg, are inclosed with ironwork of DESCRIPTION OF THE PLATES. 31 unfrequently admirable works of art. Thus Jachimo, describing Cymbeline's chamber, says, “Her andirons (I had forgot them) were two winking Cupids of silver, each on one foot standing.” ORNAMENTAL IRONWORK, FROM WARIOUS SITES. PLATE Y L. VIII. The Museum of Toulouse is contained in a suppressed monastery, and in the middle of the cloister-green, placed over a well, is to be found the character- istic example of 17th century ironwork, heavy though elaborate, shown in No. 1. Ironwork, of better design, for the same purpose, but of the 15th century, shown in No. 2, is from the entrance courtyard of the Hotel Cluny, Paris. The mace-bearer, No. 3, from the Town-hall, Exeter, is intended to hold the large and smaller maces of the Corporation. It is coloured red and green, and is parcel gilt. A plainer example of the same date (17th century) is to be seen in the cathedral there. The portions of railings, Nos. 4 and 5, from the Cathedral of Segovia, are 16th century work; and the finial (No. 6), from the interior of the Cathedral, Toledo, is of the 15th century. The portion of a lamp-chain (No. 7), is from St. Francis, at Assisi. The lamp- chains in Italian churches are often of excellent design and effect; they consist generally of four angular pieces of projecting ornament springing from a central rod or chain, as seen in the specimen here illustrated. ORNAMENTAL METAL-WORK, FROM WARIOUS SITES. PLATE XLIX, The flower (front and side, No. 1 and A), from the bronze doors of the Cathedral of Monreale, Sicily, (12th century), is remarkably good, both in design and execution. The door-handle (No. 2) and nail-head (No. 3), from Miraflores, near Burgos, show the value of a suggestive model (the echinus or sea-urchin): they are of the latter part of the 15th century. The specimens 32 ILLUSTRATIONS OF ARCHITECTURE AND ORNAMENT. from North Germany bear witness to the quaintness and originality of Teutonic ornamental design. The two handles from Hanover (Nos. 4 and 5) are early 16th century work; that from Wolfenbüttel (No. 6), late 17th century. No. 7 represents a small open-worked pendant lamp, probably of the 15th century, preserved in the National Bavarian Museum, Munich. No. 8, an iron knocker (early 16th century), from a street in Verona, a city containing many good examples of knockers and door-handles. In No. 9 we have a good though small specimen of the torch-holders and rings common in Central Italy; it is from a palace near the Podesta in Arezzo, and also a work of the 16th century. No. 10 is a bronze knocker of the 17th century, from the Town- hall, Lyons; and No. 11 a door-handle of the same period, from a house at Avignon. MARBLE AND STONE BRACKETS, FROM FLORENCE AND PISA. PA, A 7" E. L. No. 1 is from the noble marble pulpit of Santa Croce, Florence, by Benedetto da Majano (A.D. 1444–1498). The sculptured portions of this bracket are beautiful, both in design and execution, but its general form contrasts unfavour- ably with No. 2, from a tomb in the cloisters of Santa Croce, dated A.D. 1472. This, again, is inferior in form to No. 4, from the tomb of Francesco Ammanati, in the Campo Santo, Pisa, dated A.D. 1385; and we consider all three are greatly inferior, in point of composition, to the marble bracket, No. 3, from the tomb of Bonifazio della Gherardesca, A.D. 1330, in the same sacred cloister. All these are in white marble, with exception of No. 2, which is of stone. For other interesting monuments and sculpture in the Campo Santo, Pisa, see Raccolta di Sarcofagi, d.c., by P. Lasinio, Florence. RENAISSANCE CRESTINGS, &c., IN WOOD AND STONE. PJ, A TE LI. The design of the finely carved stalls of San Pietro, Perugia, is ascribed to Raffaelle. They are 16th century works of very high merit, and are illustrated, DESCRIPTION OF THE PLATES. 33 in outline, in the Ornati della Chiesa di S. Pietro, Perugia, typog Puccinelli, Rome, 1845. This is, however, a very unsatisfactory work, as the fine play of light and shade characteristic of the sculpture is entirely wanting. No. 1 is from the cresting of these stalls, and is of the highest merit both in design and execution. No. 2 is an elbow-piece from one of the stalls. The Cathedral and Town-hall of Perugia also possess fine examples of the same class of work, in walnut or other dark wood, richly carved, and relieved with gilding (16th and 17th century). Specimens of these are given in Nos. 3 and 4. The part represented in No. 4 is from a corner of the “banco dei magistrati,” a long and high chest behind which the authorities sat on a raised dais, the whole forming a large, elaborate, and finely carved piece of woodwork extending from the floor up to the ceiling. The intarsiatura of the town-hall is signed “Marcus Antonius Mercatelli,” a cinque-cento artist from La Marca. As good crestings in the early Italian style are not common, we have ventured to give one, executed in stone (No. 5), from the old Louvre: the crescent and flame are the insignia of Diana de Poitiers, circa A.D. 1550. We believe that this cresting no longer exists, but the original engraving of it may be seen in Paris et ses Monumens, by Baltard; Paris, 1803–5. ORNAMENTAL STONEWORK, FROM PALERMO AND BOLOGNA. PLATE L II. The garden-wall of a villa near Palermo, on the road to Monreale, appeared so well proportioned as to merit illustration: the lower portion of this wall forms a continuous stone bench the whole length of the garden, the ovals are perforated and should be perfectly symmetrical in outline, the failure of the etching, in this respect, mars their appearance. The ornamental rustication (No. 2) is from the Portico de' Banchi, Piazza San Petronio at Bologna, and has a very rich effect. It is to be found in the angle-piers of the Portico, and is said to have been executed from a design by Vignola. Among the great variety of rusticated work, which was employed with such excellent effect by some of the best masters of the Renaissance and Italian schools, it is not often that ornamental designs of this description are to be found; nor, indeed, as a I 34 ILLUSTRATIONS OF ARCHITECTURE AND ORNAMIENT. rule, do we consider the practice desirable: though in the present instance the delicacy of workmanship lends a charm to the wall face which it would not other- wise possess. ORNAMENTAL STONEWORK, FROM FLORENCE AND SIENA. P LA 7' E L III. Among the many beautiful fountains in the various Royal Florentine gardens, the little one in marble (No. 1), from Bellosguardo, is remarkable for the beauty of its sculpture. It is probably the joint work of Tacca and Giovanni di Bologna. The stepped parapet (No. 2), from the Boboli Gardens, is of the kind called “goulettes” by the French gardeners, as described by T. James in his Theory and Practice of Gardening, London, 1712. The utter decline of hydrotechny at the present day is greatly to be regretted, seeing that it is capable of the most beautiful and artistic effects in combination with architecture and sculpture. The column from Siena (No. 3), stands in front of the cathedral, and is a work of the early cinque-cento or late quattro-cento school. The wolf, with Romulus and Remus, forms the city ensign; the iron- work is for the support of a banner-staff. A PALACE GATEWAY AND A CHURCH-TOWER, WALLADOLID, SPAIN. PLATE L / V. The portals of the Fabio Nelli Palace, Valladolid, and of the house at Segovia (No. 2, Plate LV.), serve to illustrate the fine effect obtained by large voussoirs, which are so much employed in the north of Spain. Italian architec- ture, transplanted into Spain, had engrafted on it the massive and yet florid character which distinguishes most of the buildings of that country. The palaces are often exceedingly rich and effective, arising in great measure from the boldness of the arched openings, and deeply cut carved ornaments, amongst which a large shield of armorial bearings placed at the angle of the wall, like those of Florence, usually forms an important feature. The tower of the Church 3S ILLUSTRATIONS OF ARCHITECTURE AND ORNAMENT. religions of Asia. Notice in the one here figured the lions on each side of the sacred tree or “Hom,” griffins and fire-altars, and subjects relating to the chase as practised rather in the East than in Europe. Much light is thrown on the use of these emblems of fire-worship in an excellent paper by M. Lenormant, on the “Anciennes Étoffes du Mans et de Chinon” in the learned work by MM. Cahier and Martin, Mélanges d'Archéologie. RENAISSANCE ORNAMENTAL SCULPTURE, ITALY AND FRANCE. PA, A 7" E. L. A. The bronze tap (No. 1), about 4, inches high, preserved in the Museum of the Hotel Cluny, Paris, and the pendant bronze lamp (No. 4), from the Museum at Dijon, are both good specimens of Italian work of the 16th century. The small alabaster figure of Fame (No. 2) and the wood colonnette (No. 3), both from the Hotel Cluny, are respectively good examples of 16th and 17th century work. The former appears to be of the French school, and the latter is either French or Flemish, it would be difficult to decide which: it forms one of the supports of a piece of furniture, and is very boldly carved in walnut-wood, with much through-cutting, giving excellent effects of light and shade. The Artistic Value of the preceding Eramples. The principal points that constitute the artistic value of this series of examples of Ornament, and render them attractive, are, FIRST, a keen apprecia- tion of what is artistic in natural objects; SECOND, the power of adapting them to the purpose in view by a greater or less amount of conventional or artificial treatment; THIRD, vigour rather than delicacy of execution. Except in delicate objects meant to be closely inspected, refinement of execution is destructive of effect, and worse than useless. In architectural ornament a telling effect is only to be obtained by bold and deep cuttings, that give expression to a well- drawn and well-marked character in the design. Proportion and chiaro oscuro are the two most powerful constituents of all that is good in architecture, as in art generally. ON THE ADAPTATION OF PLANT-FORMS TO ORNAMENT, AND ON DEVICES FOR THE FAQADES OF BUILDINGS. THE illustrations of plant-forms that follow have been selected from numerous studies of plants made by the author. The greater number have been chosen with a view to their adaptability to carved work, and suitableness for producing marked effects of light and shade. In laying them before his fellow-students, he would seek to impress upon them the importance of obtaining an acute sense of the peculiar beauties of outline and character observable in fruit, flowers, and leaves, fine examples of which, suitable for ornament, are to be seen in the pine- apple, passion-flower, sunflower, dahlia, sea-kale, Savoy cabbage (leaves of the latter class frequently and effectively used in the late Gothic Architecture of North Spain), sea-thistle, spinach, sycamore, maple, &c. The difference of expres- sion caused by the slightest variation of curve and proportion may readily be noticed in any collection of birds' eggs: hardly any two are perfectly alike, and though all are ovoid in form, there is really a distinct character in each—from the exquisite grace of the wood-pigeon's to the heavy beauty of the hawk's egg. This fact, and it is an undoubted one, should serve to impress on the mind of the architectural designer the great importance of care and study in the outlines of the most ordinary mouldings, as well as in their concomitant enrichment. In that development of architectural art to which we confidently look for- ward, and signs of which indeed are even now visible throughout Europe, we desire to see the entire animal, vegetable, and mineral kingdoms explored for original and suitable motives for sculptured decoration, conventionally treated and adapted to the main characteristics of the style which they serve to adorn. Nature has in part been heretofore so made use of in all the styles of the antique past, and to a greater extent perhaps in the picturesque development of architec- ture during the Middle Ages, than in any other. In Symbolism the highest phi- DESCRIPTION OF THE PLATES. 43 PLANTS SUITABLE FOR SCULPTURE. PLATE L X I V. Nos. 1 and 1a represent the common artichoke; the lower figure when young, the upper when nearer to maturity. These and the cactuses (4 and 4a) on each side at top are, with slight adaptation, suited for finial knops for standards in wood, stone, or metal. One of these cactuses is drawn as seen from above. Nos. 2 and 20 serve to illustrate the tomato or love-apple fruit and leaves, and the value given to an object by unequal divisions. No. 3 is enlarged and conven- tionally arranged for the purpose of ornament, from the calyx and seed-vessel of a small plant the name of which I have not been able to ascertain. PLANTS SUITABLE FOR SCULPTURE. PLA. T E L X V. The figures A, B, D, and c, represent the buds, leaves, and fruit of the water- melon (Cucurbitaceae), a plant peculiarly adapted for architectural ornament; both for form and light and shade it is excellent. The figures E and F represent a stem and leaves of the spurgewort (Euphorbiaceae); the curved arrangement of the upper large leaves is very suggestive for the designer. PLANTS SUITABLE FOR SCULPTURED ORNAMENT. P LA 7' E L X VI. No. 1–Leaves, flower, and fruit of the stramonium or thorn-apple (Datura Stramonium), and a portion of the flower enlarged. No. 2–Leaf and fruit of the castor-oil plant (Ricinus communis). No. 3–Leaf and fruit of the common caper-plant (Capparis spinosa). No. 4–Leaves and fruit of a species of kidney- bean (Phaseolus). No. 5–Leaves and flower of the bee-orchis. No. 6—Leaves of wood-sorrel (Oxalis acetosella). This plant, which is frequently three-leaved, is considered by writers on botany to be the shamrock of Ireland, and .not the 44 ILLUSTRATIONS OF ARCHITECTURE AND ORNAMENT. clover, as usually supposed. All the examples here given are from the Tor- rigiani and Boboli Gardens, Florence. PLANTS SUITABLE FOR SCULPTURED ORNAMENT. PLATE L A VII. Nos. 1, 2, 3, and 4–Leaves and fruit of the common arum or wake-robin (Arum maculatum), by form and capacity for holding shadow, especially suited for architectural ornament. The centre leaf, drawn from a plant in the Torrigiani Gardens, is one of the Cannas, a genus of plants which have of late years come much into favour for the adornment of gardens. Remarkably fine examples of Cannas may be seen in the sub-tropical garden in Battersea Park. FLOWERS SUITABLE FOR ORNAMENT. PA, A TE A, A V///. No. 1—The “Giglio,” Florentine, or white lily. No. 3—The Turk's-head lily. The exquisite curves of flowers of the Lilium class are full of suggestion to the designer, and all of them deserve to be studied. No. 2–Leaves, buds, and flowers of the Iris germanica. The upper piece shows the arrangement of the flowers, as seen from above. The iris, and not the lily, is evidently the origin of the fleur-de-lis, if it is of floral origin at all. PLANTS SUITABLE FOR ORNAMENT, P/, A 7' E L A VAT. In the centre (No. 1) is a fine specimen of the Helleborus foetidus, drawn in Spain. The arrangement of leaves at the base is suggestive for a pendent boss. E shows the peculiar shape of the leaves near the ground, and D the flower in bloom. The small piece (No. 2) is also from Spain, but I have been unable to ascertain the name of the plant. No. 3 is a very graceful example of the wild chive (class Allium), the flowers of which enlarged are shown at F as naturally DESCRIPTION OF THE PLATES. 45 arranged. A A show the leaf and the curvature of its section. No. 4 is of the Spurgewort class (Euphorbiaceae). Its flowers are shown at B and C, the latter as seen from above. Both of these were drawn at Nice. PLANTS SUITABLE FOR ORNAMENT. I? I, A T E L Y.Y. At the top, No. 1 represents a bit of hedge-bedstraw (Galium Mollugo), a very graceful creeper, common in our hedges. In the centre (No. 2) are stems and leaves of the common briar. The lowest piece (No. 3) represents a stem, leaves, and immature fruit of the gooseberry. These last specimens afford clear proof that it is not necessary to seek far away for excellent subjects for artistic pleasure and practical use. The whole secret of beauty is found in the excellent story that most of us have read in our youth, called “Eyes and no Eyes:” there is no lack of material for the artist's use, if he will only learn to see it, and learn how to apply it. Nature abounds and is overflowing with beauty, and not the commonest plant of our hedges, the most ordinary vegetable, the smallest feather of a bird, but is replete with a beauty of form and a perfection of structure which we may learn to appreciate, and must seek in our humble way to imitate and apply artistically, if we desire to produce what will be permanently pleasing, and to form a work of beauty not subject to the capricious fancies of mere fashion. M