. OF CALIF. LIBRARY, L<* LIBRARY OF ARCHITECTURE AND ALLIED ARTS 453 South Spring Street Los Angeles, Calif. CARDS: No book vAl\ be issued or received without presentation of card. The person in whose name the card is issued is responsible for all books and plates drawn on it, and for all fines accruing on the same. FINE: Five cents per day will be charged for books and plates kept overtime. DAMAGES: Pencil marks, torn or defaced labels, CM book plates or card pockets or mutilation of the book or plate itself will be charged to the card * owner. See that they are not issued to you with ^J ' such defects. TIME: Book or plates may be kept 14 days, ex- cept when labeled otherwise. RENEWALS: No book can be renewed if a postal reservation is waiting. Renewal for one week is given upon all 14 day books or plates which have LO no * been reserved by postal, upon presentation ri of card and book number or by telephone. RESIDENCE: Notify the Library immediately of any change of residence of yourself or guaran- tor. Date Due L brary Burj Cut, no. 1137 A HANDBOOK OF ORNAMENT WITH THREE HUNDRED PLATES, CONTAINING ABOUT THREE THOUSAND ILLUSTRATIONS OF THE ELEMENTS, AND THE APPLICATION OF DECORATION TO OBJECTS By FRANZ SALES MEYER PROFESSOR AT THE SCHOOL OF APPLIED ART KARLSRUHE FIRST AMERICAN EDITION THE ARCHITECTURAL BOOK PUBLISHING COMPANY PAUL W E N Z E L AND MAURICE KRAKOW THIRTY-ONE EAST TWELFTH STREET, NEW YORK /VK /5> A-/57/) / INTRODUCTION. [The term "ORNAMENT", in its limited sense, includes such of the Elements of Decoration as are adapted, or developed, from Natural Foliage. These differ from the Geometrical elements, inasmuch as they are organic i. e. possessing stems, leaves, flowers, a Trapezoid. Some suitable subdivisions are given on Plate 17. Definite directions for the Trapezoid can scarcely be given; its sub- division is seldom easy, and varies with each particular case. The general principle is: Endeavour to cut-off projecting angles by means of triangles in such a way as to leave a portion of the entire figure regular or symmetrical. This is, however, a matter of artistic taste; and more easily learnt than taught. Among other applications of the symmetrical or parallel Tra- pezium is that to Cupolas of Domes: the lines are indeed curves on a bent surface; but this causes very little alteration in the sub- division. GEOMETRICAL MOTIVES. Plate 13. The Oblong, and its Subdivision. GEOMETRICAL MOTIVES. \ The Oblong, and its Subdivision. IMatc 11. 24 GEOMETRICAL MOTIVES. n i^=4j ij r\ L Plate 15. The Oblong, and its Subdivision. GEOMETRICAL MOTIVES. i I: The Oblong, and its Subdivision. Plate 1C. 2G GEOMETRICAL MOTIVES. Plate 17. The Rhombus, the Trapezium, and their Subdivision. The'Subdivisions of tlie Uhombus, &c. TboCircle, &c. (JotbicTracciy. 2 PIRATE 17. THE RHOMBUS, AND THE TRAPEZIUM. 1 4. Subdivision of the Khonibus. 5 8. Parallel Trape/ium. I) 10 ,, Symmetrical Trapezium. THE CIRCLE, ITS SUBDIVISION, AND INTKRSKCTIONS. (Plate 18.) The Circle is often used in ornamentation as a fundamental forni. No good result is produced (as a rule) by dividing it merely by r.idii or other straight lines; aud it is therefore usually divided by means of curved lines or of a combination of arcs aud straight lilies. By describing circles to cut each other: motives may bo obtained, as shown by figures 3 and 7, tho latter of which is the basis of a Roman mosaic pavement found in Pompeii (Figure 17). That circles which cut each-other form of themselves an effec- tive pattern is shown by tho engine-turned ornament, which is pro- duced by machinery and applied to tho decoration of Watch-cases, and to tho plates from which Bank notes, Share certificates, &c. aro printed. Ornamentation by means of arcs plays a conspicuous part in Gothic tracery, which will be treatcd-of in tho following chapter. PLATE 18. THE CIRCLE. 1 12. Different divisions and intersections. 13 1C. Tracery in the Gothic stylo. 17. Centre of a mosaic pavament, Pompeii, (Kuusthandwork). GOTHIC TRACERY. (Plato 19.) In the forms of Tracery, the Gothic stylo evolved and brought to perfection a characteristic decoration by means of arcs of circles. And although the results have something stiff and mechanical, when compared with the ornaments taken direct from nature in other styles, it cannot bo denied that they possess a great originality, aud richness of form. Tracery was chiefly applied to stone, and wood; in architecture, and furniture; for galleries, windows, and panels, &c. Well-known forms are the circles (figs. 13 1G of Plate IS showing 2, 3, 4 and G foliations), the trefoil (Plate 19, figs. 3 aud 4), 28 GEOMETRICAL MOTIVES. Plate 13. The Circle, and its Subdivision. GEOMETRICAL MOTIVES. 29 Gothic Traccrv Plate 19. 30 Gothic Tracery. The Ellipse. the quatrefoil (in the centre of fig. 2), the cinquefoil, &c. The pro jecting points are termed cusps, the voids between tho cusps aro termed foils. PLATE 19. TRACERY. 1 11. Gothic tracery, for panels and windows. The figures give partly the fundamental construction, partly the further deve- lopernent. Thus figures 1 and 2, 3 and 4, 6 and 7, 8 and 9, 10 and 11, belong together. THE ELLIPSE. (Plate 20.) The Ellipse is a figure, whose radius of curvation is continually changing. It has the peculiar quality that, if any point on the circumference be joined with the two foci, the sum of the two con- necting lines is invariable, and always equal to the longitudinal axis. The three-centred arch is an approximate construction to an elliptic curve. It is composed of a number of arcs, which is not possible in the case of the ellipse. As regards beauty of line it can never be a substitute for the Ellipse; but its easier construction has, notwithstanding, caused it to be used for many purposes. The expression "Oval" for the ellipse, is erroneous. Oval is derived from "ovum" (egg), and therefore means an egg-shape. The Ellipse is of comparatively late appearance in art, the con- struction presupposing a certain knowledge of Geometry, which was not possessed by primitive peoples. Afterwards it became of common application, as will be seen from many passages of this Handbook. The Ellipse is. a very popular shape for ceilings, panels, boxes, and dishes. Figure 15 affords hints as to the manner of subdividing it. PLATE 20. TIIL: ELLIPSE, &c. 1 2. Construction by means of 8 points. When the square with its diagonals au. ' Construct two squares, having one side in common, and in thorn describe the four diagonals; these will then mark-off the four arcs which must then be drawn from the points denoted by small dots. 10. Construct a rectangle with sides equal to tho transverse and longitudinal axes respectively; draw the two transversals (the transverse and longitudinal axes) aud join their ends in ono of the quarters. Cut-oil' from this line, beginning from the point of junction with the conjugate axis, the difference of half the trans- verse and half tho conjugate axis; on the centre point of the re- maining piece draw a perpendicular and the three more similar lines; these four lines will then show tho limits of the arcs which are then to be drawn from the points marked by small dots. The Ellipse, &c. The three-centred Arch. 33 11. Construct an Oblong with sides equal to the transverse and longitudinal axes respectively, and draw the two transversals. Measure the half of the transverse axis upon half the longitudinal axis, and ascertain the difference; halve this difference. This half difference must now be taken four times along the transverse axis trom the centre point of the Ellipsoid, and three times along the longitudinal axis. The four required points will thus be ob- tained. The straight lines connecting them will give the points of junction of the arcs. li Construction from eight centres. Construct an Oblong whose sides are equal to the major and minor axes respectively; draw the transversals, and join their ends in one of the quarters. From the nearest angle, draw a perpen- dicular to this diagonal; the points where this perpendicular cuts the two axes will be two of the required centres. Two more are obtained by symmetrical transference. From these four points describe circles with a radius = J /s (CB-DA); the points where they cut each other internally will give four more centres. If the centres thus found be joined by means of straight lines, as shown on the figure, the latter will mark the points where the eight arcs will meet. 13 14. Construction of Ovals or egg-shaped figures. The construction of such ligures usually consists in combining a semi-circle with a semi-ellipse. 13. Draw in a circle two diameters at right angles to each other, and two intersecting .chords of a quadrant; these when produced will determine the points where the various arcs meet The centres of these latter lie on the ends of the diameters. 14. The construction of the lower half is the same as in fig. 7. The centre of the upper lies in the intersection of tangents to the lower and upper circles. 15. Example of the subdivision and decoration of an ellipse, (Storck'a Zeichenvorlagen). THE THREE -CENTRED ARCH. The Three-centred arch, which was often used in the Transition period between the Gothic and the Renascence, may be considered as a semi-ellipsoid; and it may be described by one of the methods shown on Plato 20 (see also the Head-piece to this Section, on page 3). \ Mryor, Handbook of Ornament. 84 B. NATURAL FORMS. a. The Organisms of Plants (Flora of Ornament). In nearly every style the plant-world has been used in patterns. Leaves, sprays, flowers, and fruits, either singly or combined, have been adapted in ornament. The direct imitation of nature, retaining form and color as much as possible, leads to the naturalistic con- ception; the construction of an ornament according to the rules of rhythm and symmetry, with a stricter observance of regularity is known as the artificial method. The selection of the comparatively few plants from the luxuriant field of the plant-world was partly determined by beauty of form (the outline of the leaf, the delicacy of the spray, &c.) and partly by the fact that they possess (or did at some time possess) a symbolic meaning. The plates which illustrate this section will first exhibit the Akanthos; and then such plant-forms as are less used or only found in certain styles. They will first be presented as they exist in Nature; and then as they were modified in the various styles. THE AKANTHOS LEAF. (Plates 2123.) Of all the ornamental designs which have been borrowed from plants; the Akanthos is the most popular. Since its introduction by the Greeks, it recurs again and again in every Western style. A symbolical significance has never attached to the Akanthos; its frequent The Akanthos Leaf, A:c. 35 and varied application is due to the ornamental possibilities and beautiful serration of its leaves. It grows wild in the South of Europe, but in more northern latitudes is only found in our botanical gardens. There are many varieties of the plant, of which we may mention the following: Akanthos mollis, with broad, blunt tips to the leaves; Akanthos spinosus, with pointed lobes terminating in spines, and comparatively narrow leaves. The conception and treat- ment of the margin and shape of the leaf, is the principal characteristic of the different styles. The Greek foliage has pointed leaf-edges; in the Roman style, the tips of the leaves become rounder, broader, to some extent with more vigorous curves; the Byzantine and Roma- nesque styles, again, return to stiffer, less delicate forms. The Gothio style, which used the foreign Akanthos in addition to a number of native plants, adopted in the early period, round, bulbous forms; later Gothic, 0" the contrary, preferred bizarre, long -extended, thistle-like foliage: in both cases the general conception is more or less naturalistic, but the details are usually idealised beyond recognition. The Renascence, which revived Antique ornament, developed the Akanthos, and parti- cularly the Tendril, to the highest degree of perfection; in the follow- ing styles formalism degenerates in this direction. Modern ornamental art seeks its models in almost every style; and its creations have generally no pronounced, specifically Modern character. PLATE 21. TUB AKANTHOS, AND ARTIFICIAL LEAF. 1. Leaf of Akanthos Mollis, (Jacobsthal). 2. Akanthos calyx, the leaves and flower of Akanthos Mollis, natura- listically treated, (Jacobsthal). 8. Leaf of Akanthos Mollis, (Raguenet). 4. Leaf of Akanthos Spinosus, (Gewerbehalle). 5. Cup, corona of a Greek Stele, (Raguenet). 6. Overlap of leaf, Roman candelabrum, Vatican. 7. Greek leaf, displayed, (Jacobsthal). 8. Roman leaf, Capital of a column, Pantheon, Rome, the spoon- like roundings of the points of the leaves, as well as the deep incisions, are characteristic; and designed to look well at a distance. PLATE 22. THE ARTIFICIAL LEAF. 1. Leaf, Roman capital, (Raguenet). 2. Leaf displayed, as it is often used on Roman reliefs, e. g.: so- mewhat more richly developed, on the so called Florentine Pilaster, Uffizi, Florence, (Jacobsthal). 8. Byzantine leaf, Sta. Sofia, Constantinople, (Raguenet). 4. Romanesque leaf, St. Denis, (Lievre). 3 36 NATURAL FORMS. Plate 21. The Akanthos Leaf, and the Artificial Leaf. NATURAL FORMS. 37 The Artificial Leaf. Plate 22. 38 NATURAL FORMS. Plate 23. The Artificial Leaf. The Artificial Leaf. Artificial Foliage. 39 5. Romanesque leaf, monastery of St. Trophimus, Aries, XII. century (Raguonet). 6. Gothic leaf, (Lievre). PLATE 23. THE ARTIFICIAL LEAF. 1. Leaf, French Renascence, St. Eustache, Paris. 2. Leaf, style of Louis XVI, (Raguenet). 3. Leaf, French Renascence, church, Epernay, (Lievre). 4. Leaf, French Renascence, (Gropius). 5. Modern Leaf, Louvre, Paris, (F. A. M. Cours d'ornement). 6. Modern Leaf, Theatre, Monte Carlo, Monaco, (Raguenet). ARTIFICIAL FOLIAGE. (Plates 24 26.) The Scroll is a purely artistic invention, the natural plant having no tendrils. Flowers and calices, such as frequently occur in artificial foliage, are usually developed with serrated edges, composed to recall natural models, (Comp. Plate 25, figs. 2 und 3). Artificial foliage is often combined with forms from plants, e. g.: laurel, oak, ivy, ears of wheat, &c., (Comp. Plate 26, figs. 2 and 4). What was said above of the Akanthos leaf, holds good here too, for' the differences of exe- cution in the various styles. The greatest luxuriance and the highest elegance were attained by the Italian Renascence, (Comp. Plate 25, fig. 5). It is characteristic of the Louis XVI. epoch that the lines which form the scroll are somestims flattened, and, so to speak, make elliptic spirals, (Comp. Plate 26, fig. 4). PLATE 24. ARTIFICIAL FOLIAGE. 1. Ornament, summit of the monument of Lysikrates, Athens. 2. Cup, Roman. 8. Roman ornament, the so called "Medicean Pilaster", (Artificial fo- liage of a large size). 4. Fragment of a Greek relief, (F. A. M., Cours d'ornement). PLATE 25. ARTIFICIAL FOLIAGE. 1. Roman ornament, marble Biga, from the 'style of the ornament it must have been an imitation of an original in bronze. 2. Roman ornament, from the so called "Florentine Pilaster", a richly decorated marble relief in the Uffizi, Florence, (Jacobsthal). 8. Romanesque frieze, St. Denis, (Lievre). 4. Early Gothic, Notre Dame, Paris, (Lievre). 5. Renascence ornament, relief on the tomb of Hieronimo Basso, Sta. Maria del Popolo, Rome, by Sansovino, (Gropius). NATURAL FORMS. Plate 24. Artificial Foliage. NATURAL FORM.S. I v^l-y Hi i^^^ ^^> Sl^r^w^^ ^3^,^g>^ A^T -M. ^ sf-4 ^ sc , *yt A.^:^ -/ = . v- ?S\ ArtiJicial Foliage. 1'late 25. NATURAL FORMS. Plate 2o. Artificial Foliage. Artificial Foliage. The Laurel, the Olive, and Uie Vine. 43 PLATE 26. AICTIFICIAL FOIJAGE. 1 3. Details from a relief on the lectern, cathedral, Limoges, (Lifcvre). 4. Ornament, Louis XVI. style,, (P. A. M., Cours d'oruement). 5. Modern French ornament, (F. A. M.). THE LAUREL, AND TEE OLIVE: (Plates 27, 28.) The Laurel and the Olive owe their introduction into ornamen- tation to their symbolical significance. Both played a conspicuous part in the tree worship of the ancient Greeks. The Laurel was sacred to Apollo. It was the symbol of atonement; singers and con- quering heroes were crowned with it; and in a similar sense it is sttll used as a symbol of glory. The Olive was sacred to Athene; Olive branches were the prize of victory et the Olympian games. In Rome tfte victorious, Laurel- crowned heroes were met on their return home by slaves bearing wreaths of-Olive boughs. The Olive branch is the symbol of peace. PLATE 27. TUB LAUREL, &c. FROM NATURE. 1 -Laurel (Laurus nobilis). Evergreen; blossoms yellowish white; fruit ball or egg shaped, blue black. 2. Olive (Olea europea). Evergreen; blossoms small, white; fruit oval, greenish, or black. PLATE 28. THE LAUREL, &c. 1 2. Branches, Greek vase, conventional painting, (Owen Jones). 8. Branches, beaker, in the silver treasure, Hildesheim, Roman, Original of chased silver, museum, Berlin. 4. Fragment, Roman marble relief. 5. Branch, intarsia panel, Palazzo Ducale, Mantua, (Meurer). 6. Branch, spaurail, Louis XVI. style, (Lidvre) 7. Band, French Renascence. THE VINE. (Plates 29, 30.) Although the Vine does not occui frequently, it is not an un- popular element oi artistic decoration. The Antique and Medieval styles, in particular, show a certain preference for the vine. In Antiquity the Vine (Vitis vinifera) is the attribute of Bac- chus. Vine leaves and Ivy, sometimes in connection with Laurel, encircle the brows of Bacchantes, and adorn their drink ing -vessels and utensils, the thyrsus, kantharos, &c. NATURAL FORMS. Plate 27. The Laurel, and the Olive. NATURAL FOLIMS. The Laurel, the Bay, and the Olive. Plate 28. NATURAL FOEMS. Plate 29. The Vine: Natural. NATURAL FORMS. 47 The Vine: Artificial. Plate 30. 48 The Vine, the Lotus, the Papyrus, and the Palm. The ecclesiastical art of the Middle Ages adopted the Vine, toge- ther with ears of Corn, as the symbol of Christ. Later styles, and Modern art, have adopted the Vine in both the antique and medieval senses. PLATE 29. THE VINE. 1. Natural branch. PLATE SO. THE VINE. 1. Scroll ornament, Roman relief. 2. Roman ornament, vertical Border. 3. Early Gothic ornament, Notre Dame, Paris, (Lievre). 4. Renascence ornament, Italian pilaster. 5. Renascence ornament, frieze, Venice, IGth century, (Griiner). THE LOTUS, THE PAPYRUS, AND THE PALM. (Plate 31.) The Lotus and the Papyrus are plants of ancient oriental civi- lisation; and play an important part in the social life, of the Egyptians, Hindoos, Assyrians, and other nations. The dried stalks of these -water plants were used as fuel, or made into mats and other plaited arti- . cles;. their roots served as food; the pith as wicks for lamps. The paper of the ancients was made of Papyrus. This explain sits appear- ance in the ornamental art of these nations, and its special luxuriance, in Egyptian style. Spoons and other utensils were decorated with Lotus flowers and calices; the capitals of Columns imitate the flowers or buds of the Lotus: the. shaft resemples a bound group of stalks; the base reminds' us of the root leaves of these water plants; their mural Painting shows Lotus and Papyrus motives in the most comprehensive manner. The Lotus was sacred to Osiris and Isis, and was the sym- bol of the recurring fertilisation ,of the land by the Nile, and, in a higher sense, of immortality. The Palm, of which a few varieties exist in the East and South 'of Europe, is also used in ornamental art. Palm leaves or branches were used at the entry of kings into Jerusalem, at the feasts of Osiris in Egypt, at the Olympian games in Greece, and in the triumphal pro- cessions of anciont Rome. They were the symbol of victory, and of peace. In this latter sense they have been received into the ritual of the Christian church. The late Renascence and following styles down to the present day have made a decorative use of palm leaves. The symbolic significance in a higher sense, as the token of eternal peace, has secured for the Palm leaf a place in Modern art on tombs and .similar monuments. The decojrative effect, of dried palm fronds NATURAL FORMS. 49 The Lotus, the Papyrus, and the Palm. Meyer, Handbook of Ornament. Plate 31. 4 50 NATURAL FORMS. Plate 32. The Ivy: Natural, and Artificial. The Lotus, the Papynis. and the Palm. The Ivj. 51 along with lulls of grasses and the like, has brought them into fashion as a finish to the artistic adornment of rooms. PLATE 31. THE LOTUS, &c., FROM NATURE. 1. Lotus flower (Nymphaea Nelumbo Indian water lily). 2 and 3 Lower end and half-opened bud of the Papyrus plant (Cy- perus Papyrus L. Papyrus antiquorum Willd). 4. Idealised Lotus and Papyrus, Egyptian mural painting, (Owen Jones). 5. Frond of an Areca Palm (Areca rubra in Asia as a tree, the so called Pinancj). The species Chamaedorea and Phoenix have similar fronds. C. Leaf of a Fan 'Palm (Corypha australis). The species Latania, CJiamaerops, Borassus, &c. t have a leaf of similar shape. THE IVY. (Plate 32.) The Ivy (liedera helix) is indigenous to the East, North Africa, South and Central Europe, and England. It is an evergreen climbing shrub which develops into a tree under favourable circumstances. In ancient times it was sacred to Bacchus. Beakers for filtering wine were made of ivy wood. As an attribute of Bacchus it is found twined round the thyrsus which the bacchantes flourished in their hands in processions and dances. The Ivy is a common decorative ornament on ancient vases. It was also the symbol of friendship, specially of the weaker with the stronger. Ivy leaves are of very various shapes. Usually broad and five-lobed, they appear at the ends of young shoots in long pointed, lance-like forms. Flowering twigs have leaves }vithout indentations, heart-shaped, with elliptic or ovaJ tapering. The latter forms in particular were adopted by Antique art PLATE 32. THE IVY. 1. Spray with broad-lobed leaves, from Nature. 2. Spray with elliptic tapering leaves, after blooming, from Nature. 8. Spray with lanceolate leaves, from Nature. 4. Decoration of the neck of a Greek Hydria, Campana collection (L'art pour tous). 5. Upper part of a pilaster like-panel, Antique. 6. Fragment of decoration, Roman column, Vatican, Rome. 52 The Corn, Ac. Various Leaves. THE CORN, THE HOP, THE CONVOLVULUS, AND THE BRYONY. (Plates 33, 34.) Seeing how important agriculture has been in all ages, it was impossible that decorative art should neglect the ears of Wheat, although their comparatively scanty ornamental possibilities prevented any very extensive application. Combined with other motives, ears of Corn have been made use of in various styles. In ecclesiastical art they have a symbolical significance (See what was said of the Vine). The Hop (Humulus lupulus) is a well known indigenous plant of civilisation, and also occurs wild in marshy woods. Its picturesque qualities indicate it as well adapted for ornamental use. In combina- tion with ears of Barley, it is applied in Modern art to the decoration of Beer-mugs, the walls of Inns, &c. The Convolvulus (Convolvulus), an indigenous climbing plant of ornamental appearance, is frequently used in Modern art. The Bryony (Bryonia) has delicate tendrils and beautifully in- dented leaves, which afford a fertile motive, so that it is astonishing that this, and other allied plants have hitherto found comparatively little favor in decorative art. PLATE 33. TIIE CORN, &c. 1. Ears of Oats (Avena sativa). 2. Ears of Rye (Secale cereale). 3. Ears of Wheat (Triticum vulgare). 4. Ears of Spelt (Triticum spelta). 5. Ears of the common Barley (Hordcum dlstichum). 6. Ears of the battledore Barley (Hordeum zeokriton). 7. Field Convonvulus (Convolvulus arvensis) with red flowers. The hedge Convolvulus (Convolvulus sepium) has a similar habit and white flowers. (The group has been sketched freely from a cast from nature, by Bofinger of Stuttgart.) PLATE 34. THE HOP, &c. Hops and Bryony (drawn from pressed plants). VARIOUS LEAVES. (Plate 35.) Plate 85 presents a series of various leaves, whose general orna- mental possibilities have either secured or deserve to secure for them a place in art. The Oak, the king of our indigenous trees, the symbol of power NATURAL FORMS r.3 \ The Com, and the Convolvulus. Plate 54 NATURAL FORMS. Plate 34. The Hop, and the Bryony. NATURAL KUKMS. Various Lertves. Plate 35. 56 Various Leaves, and Flowers. and strength, in antiquity the tree of Jupiter, has from time to time been used in every western style. Oak foliage, and perhaps almost as frequently the leaves of the Maple, are often used in early Gothic, where we meet them on friezes, cornices, and columns. The fre- quent recurrence of oak leaves, in certain works of the Italian Rena- scence, is due to the fact that the Oak was the crest of the family of della Eovere (Rovere = winter oak; two members of which family ascended the papal chair, as Sixtus IV. and Julius II.). Oak, someti- mes alternating with laurel, is a usual ornament of medals and coins. PLATE 35. OAK LEAVES, &c. 1. Leaf of the winter Oak (Quercus sessiK/Jora). 2. Spray of the bitter Oak (Quercus cerris). 8. Leaf <>f the Maple (Acer campestre), 4. Spray of the sugar Maple (Acer plantanoides). 5. Leaf of a species of Ranunculus. 6. Leaf of the oriental Amber tree (Liquid amber orientah). 1. Leaf of the Amencan Amber tree (Liquid amber Styraciflna). (This tree furnishes the Storax or Styrax, a kind of resiu.) 8. Leaf of the Tulip tree (Liriodendron tulipifera). 9. Leaf of the climbing Mikania (Mikania sca7idens). 10. Leaf of the Liverwort (Hcpatica triloba). VARIOUS FLOWERS. (Plates 3G, 37.) It need scarcely be said that flowers, these most beautiful pro- ducts of the plant world, have in all ages been exceedingly popular in ormtniental art. In flat as well as in relief ornament they are used in the most manifold forms, as bouquets, garlands, wreaths, &c. Flower-painting for decorative purpose's (fans, tapestry, &c.) has de- veloped into a distinct branch of art. Flowers, with their natural developement from a centre, are the most obvious models for the for- mation of Rosettes (rosette = fittle rose). The Rosettes on the well- known sarcophagus of Scipio, the rosette Bosses on the doors of the Antique and the Italian Renascence, are striking examples of this. The realm of Flowers is 'so extensive that we must confine our- selves to a few examples. Plate 36 gives a variety of single flowers (drawn from casts from nature by J. G. Bonnger of Stuttgart): Plate 37 shows a bou- quet of flowers. PLATE 36. VARIOUS FLO WEES. 1. Alpine Rose (Rhododendron), NATURAL FORMS. r>7 Various Flowers. Plate 36. NATURAL FORMS. Plate 37. Various Flowers. Various Flowers. The Festoon. 59 2. Chrysanthemum. 3. White Lily (Lilium candiiJum). 4. Hellebore (Hclleborus). 5. Wild Rose (Rosa canina). 6. Blue-bell (Campanula). 7. Wild Rose, seen from the back. PLATE 37. VARIOUS FLOWERS. Bouquet, carving, Louis XYI. style, (F. A. M., Cours d'orneruent). TIJE FRUIT FESTOON. (Plates 3840.) Fruit, tied in a bunch with leaves and flowers, was a popular decorative motive of the Roman, Renascence, and later styles. We may mention the hanging clusters as a decoration of pilaster and similar panels; and the clusters hanging in a curve and known as Festoons. In these cases: flowing ribbons fill up the empty spaces. The plates give examples of both kinds. Festoons of fruits hanging in deep curves between rosettes, can- delabra, skulls of animals, &c., are common in the Roman style. The origin of this style of decoration is to be sought in the circumstance that Festoons of real fruit were hung as a decoration on the friezes of the temples, alternating with the real Skulls of slaughtered sacri- ficial animals, in connection with the Candelabra, Tripods, and other sacrificial Instruments. This style of decoration was then transferred from sacred to secular architecture, revived by the Renascence in more or less altered forms, and has remained in use to the present time. In the Roman style the empty space above the centre of the curve is often filled by Rosettes, Masks, and Figures. These features weie usually replaced by heads of Angels on the ecclesiatical buildings and tombs of the Italian Renascence. PLATE 38. THE FRUIT FESTOOX. 1. Cluster, Libreria, Cathedral, Siena, Italian Renascence. 2. Cluster, tomb of Louis XII. St. Denis, French Renascence. 3. Cluster, Modern. 4. Festoon, tomb of Cardinal della Revere, St. Maria del Popolo, Rome, Italian Renascence. PLATE 39. THE FRUIT FESTOOM 1. Festoon, between skulls, Roman. 2. Festoon, Roman mortuary tablet, Vatican 60 NATURAL FORMS. Plate 38. The Fruit Festoon. NATURAL FORMS. B1 The Fruit Festoon, Plate 39. 62 NATURAL FORMS. Plate 40. The Leaf, and Flower Festoon. The Fcstoou. Animal Organisms. 03 PLATE 40. THE LEAF FESTOON, &e. 1 FcstOon between skulls, Roman. 2 Festoon, tomb of Beatrice and Lavinia Ponzetti, Sta. Maria della Face, Rome, Renascence, by Balilassare Perimi. 3. Festoon, Louis XVI. style. 4. Festoon, Modern, Paris, (Ragucuct). I). Animal Organisms (The Fauna of Ornamcni). By tho side of the Flora, stand the Fauna of ornament. The use of Animals, in natural or idealised forms, is considerable, but, compared with that of Plant-forms, it is less extensive. The reason of this is obvious: that greater difficulties stood in the way of the adaptation of animal forms than in the use of plant motives. Tho absence of Animals in tho Mahometan styles is due to religious maxims which forbade or limited the use of representations" of living Beings. Following the same direction as was taken in the Flora, we shall find that the principal representations from the Fauna are not, as might be supposed, those of domestic animals such as the horse, the dog and the like, but that the selection was guided first by the sym- bolic character, and next by the ornamental possibilities of each. If we disregard the more accidental naturalistic use of animals, such as enliven scroll ornaments in the shape of butterflies, birds, reptiles, and other animals, and confine our attention to those inde- pendent forms of animal ornament which have become typical; they will be found to diminish to a comparatively small number, the most important of which will here be treated in detail. Of the mammalia we have first to mention the Lion, Tiger and Panther, the Ox, the Horse, and the Gloat; the Delphin also finds a place. The Eagle is the only bird which has been generally used. Then come the fantastic forms of fabulous animals: the Griffin, the double headed Eiigle, &c. TDE LION. (Plates 41 4-1.) The Lion (Fclis leo) holds tho first rank in ornamental fauna. His strength, bis courage, and his nobility, have assured him from the earliest times the Title of "King of Beasts". His majestic stature, his compact, proportionate build, his striking muscles, offer grateful pro- blems to art. Lying, walking-, sitting, fighting, conquering or con- quered, he is an often-used motive. Lion scenes and lion hunts are common subjects on the palaces of the Assyrian kings. Characteristic, natural movements, and a 64 The Lion. distinctive rendering of the muscles, give these idealised representations a peculiar charm and a certain grandeur. The Lion was used in the Egyptian religion. The fact that the annual overflow pf the Nile, so fertilising and of Such immense im- portance for the land, occurred at the time when the sun entered the sign of the Lion, brought the animal into relation with water; and led to representations on pails and other vessels for water, &c. Egyptian art usually idealises the Lion till he is unrecognisable; it represents him at rest; and the simple, severe treatment of the mane (not unlike a stiff ruff) gives him somewhat of the appearance of the Lioness, which does not posses one. Among the Greeks and Romans the Lion was considered as the guardian of springs, of gates, and temples- hence his appearance at fountains, on flights of steps, over gates, and on monuments. The sleeping Lion is the symbol of the fallen hero. (The lion of the Piraeus, the tomb of Leonidas, and the tombs cf Halicaruassus , may be quoted as evidence.) In Christian art: the symbolism of the Lion is various: as tho emblem of the Redeemer (the Lion of the Tribe of Judah), as tho emblem of the evil principle and of the enemies of the church as well as of the Devil Jbimself (the enemy who goeth about as a roaring lion, seeking whom he may devour), as the attribute of the evange- list St. Mark, and of other saints. Hence his frequent appearance on the vessels, and other articles of religious use, &c. In consequence of the crusades in the 12th century, he was in- troduced into Heraldry, in which he became the most popular animal figure. As a heraldic creature he was severely idealised, (see Division III, under Heraldry). In the Renascence period, the Lion is represented in all of the foregoing uses. In the Rococo period, there was little skill, and little understan- ding, for the figure of tho Lion. Modern art follows" the example of the Antique and the Renas- cence; and thus it comes that in the present day the Lion enjoys the lion's share in decoration. It is remarkable that in all ages, when representing the Lion, Ar- tists have given to his countenance something of a human type, by using the oval eye of man, instead of the round Cat-like eye, (Compare, Plate 47, fig. 1).* Plates 41 48 show the Lion in naturalistic treatment, and also the conventional treatments of tho various epochs; Plate 44 is devo- ted to heraldic treatments. * An exhaustive article, entitled "Der Lo'we in der Kunst," by Const. Uhde, will be found in the "Gowerbehalle," 1872. pp. 81 et seqq. NATURAL FORMS. 65 G6 NATURAL FORMS. Plate 42. The Liou. NATURAL FORMS. 67 The Lion. Plate G8 NATURAL FORMS. > &~*> ^^^-^ 4#/J s*- * S ? / ^">v ^"^ ^^-,ty ^ c^i^ <^r- Phite 44. The Lion. The Lion. 69 PLATE 41. THE LION. 1. Walking Lion, from Nature, (Miinchener Bilderbogen). 2. Egyptian Lion, relief with sunken outlines, temple, Dachel, (R*- guenet). 3. Egyptian Lion, Capitol, Rome, (Raguenet). 4. Assyrian Lion, glazed clay slabs, royal palace, Khorsabad, 6th cen- tury B. C. 5. Heads of slaughtered lions, Assyrian bas-relief, British Museum. PLATE 42. THE LION. 1. Lion supporting a shield (called "il Marzocco"), by Donatello, Na- tional Museum, Florence, Italian, 15th century. 2. Lion, front of the Louvre, Paris, Modern, by Barye, (Baldus, Ka- guenet). 8. Lion, Tuileries, Paris, Modern, (Baldus, Rnguenpt). 4 and 5. Lion, in front of the palace of the Cortes, Madrid, Mo- dern, (Raguenet). 6. Lion supporting a shield, Modern, (Raguenet). PLATE 43. THE LION. 1. Sleeping Lion, monument to Pope Clement XIII., St. Peter's, Rome, by Canova. 2. Wounded Lion, Kriegerdcnkmal, Hannover, by Professor Volz, of Carlsruhe. 3. Head of the Companion of the above. 4. Walking Lion, Modern, French. PLATE 44. THE LION. 1. Lion, in pavement, town hall, Lunoburg. 2. Lion, shield of Johanu of Horingen, register of the university of Erfurt, 1487, (Hcraldische Meisterwerke). 3. Lion, coat of arms, Inlaid marble work, Sta. Croce, Florence. Italian Renascence, (Teirich, Eingelegte M.innorornainente) 4. Lion, coat of arms, Intarsia panel, Sta. Maria Novella, 1 Florence, Italian Reuasctmco, (Meurer, Flachornamento). 5. Lion, tomb in Weilheim, German, IGth century, by Johann of Trarbuch. 6. Lion supporting a shield,, mural decoration, Modern, (Horal- dische Meisterwerke). 7 8. Heraldic Lions, Albrecht Diirer. 70 The Griffin, &c. The Lion Houd. THE GRIFFIN, AND THE CHIMAERA. (Plates 45 and 40.) Iri^addition to the imitations of natural animals there have been, from the earlist times, various fabulous Monsters, which were composed of parts of several different animals. Centaurs, Sphinxes, the Assyrian human Lions, Lion and Eagle men, combine the human and the animal body. The combination, of different animal -forms with one another, leads to Monsters, the chief representatives of which are the Griffin, and the Chimaera. The Griffin is the union of a Lion's body with the head and wings of an Eagle. The fore extremities may belong either to the Lion or the Eagle. As the Lion with water, so the Griffin is associated in Antiquity with fire; hence his frequent appearance with Candelabra on friezes, &c. In Heraldry the Griffin is the symbol of wisdom, and watchfulness. There are other combinations; e. g. the Chimaera, the Hippo- grifl', the Ichthyogriff, &c., which may be seen in Pompejan decoration. PLATE 45. THE GRIFFIN. 1. Greek Griffin, Fragment, Museum, Naples. 2. Roman Griffin, Fragment. 3. Griffin, Renascence. PLATE 46. TIIE GRIFFIN, &c. 1. Head of an Assyrian eagle -headed Personajre, ) T ,,. . J . viTin t British Museum. 2. Head ot an Assyrian non-headed 1 orsonage, ] o. Roman Chimaera, Vatican. 4. Sitting Griffin, support of a seat, Castle of Gaillon, French Renas- conce, (F. A. M., Cours d'ornement). 5. Winged Lion, tomb of Loys de Bresz6, Rouen cathedral, 1535 1544. 6. Winged Lioness, as supporter, Louvre, Paris, Modern, (Baldus). 7. Sitting winged Lioness, Casa S. Isidora, Santiago, Chili, Modern, French, (Raguenet). THE LION HEAD. (Plates 47, 48.) The Lion head has been still more extensively applied than the entire figure of the Lion. It is found in countless examples: as a Gargoyle on the temples of the Antique, as a Spout on vessels, with a ring in the jaw as a Handle and Knocker on the doors of the por- tals of the Middle Ages and the Renascence; and as a purely deco- rative element like Bosses and Rosettes. The Antique created a NATURAL FORMS. 7! The Griffin. IMate 45. 72 NATURAL FORMS Plate 46 The Griffin. &c The Lion Head, &c. The Goat Head, dc. 73 remarkable form by the direct union of the Lion head with one leg, to form the support of a Table, (See Division II, Supports, Plates 143 and 144). PLATC 47. THE LION HEAD 1. Head, prospectus of Dr. Schubert's Naturgeschichto. 2. Head, painting by Paul Meyorheim. 3. Gargoyle, Metapontum, Greek, (Gropius, Archiv.). 4. Gargoyle, terracotta, Athens, (Gropius). 5. Gargoyle, Parthenon, Athens. 6 and 7. Front and side view of an antique head, Vatican. PLATE 48. THE LION HEAD. 1. Door knocker, Cathedral, Mainz, Romanesque. 2 3. Heads, in basrelief, by Ghiberti, Medallions insido the brouze doors, Baptistry, Florence, Italian Renascence, (Gropius). 4. Head, fountain of the sacristy, San Lorenzo, Florence, Ita- lian Renascence. 5. Head, in medallion, Italian Renascence. 6. Head, Heidelberg castle, German Renascence. 7. Gargoyle, Opera House, Paris, Modern, French, Architect Garnier, (Raguenet). 8. Head, Modern, French, Architect Gamier, (Raguenet). 9. Head, in profile, Modern, French, by the sculptor Cain ol Paris, (Raguenet). 10. Head, by Lienard, Modern, French. 11. Head, by Prof. Volz, of Carlsruho. THE LION HEAD, GOAT HEAD, &c. (Plates 49, 50.) The Tiger (Fclis ti/jrix) and the Panther (Fclis pardus) arn sometimes found in antique works. Amorini, Bacchantes, and M-ienads, gambol about on them or drive in carriages drawn by these civa- tures; and decorate themselves and their utensils with their skins. Panther and Tiger heads, as well as the head of tho Lynx (Fclis lynx), find from time to time similar application to tho Lion head. Ram heads are a favourite form of corner ornament for tho cornices of altars, and tripods; or servo, like tho skulls of Oxen, as objects from which to hang festoons. The decorative use in both cases is connected with tho uso of tho Ram as a sacrificial animal, (Com- pare p. 71). Instead of real animal heads wo sometimes meet with fantastic forms which may bo described as Chiuiaera heads. 74 NATURAL FORMS. I'liite 47 The Lion llrud NATURAL FORMS. 75 Plate 76 Heads of Various Animals- PLATE 49. THE PANTHER HEAD, Ac. 1 and 2 Front and side view of Panther head. Modern, Frpooh. 8 and 4. Front and side view of Tiger head, from Nature 5 and 6. Front and side view of Lynx head, Antique Gargoyle, Vatican. PLATE 50. THE RAM HEAD, &c. 1 and 2. Front and side view of Chimaera head, Corner of antique three -sided altar. 3. Ram head, Roman altar. 4. Ditto. 5. Ditto. and 7. Front and side view of Ram head, Late Renascence. HEADS OF VARIOUS ANIMALS. (Plate 51.) The Horse (Equus) offers certain difficulties in the way of artistic imitation. The legs, for example, are too thin for rendering in Statues, except in Metal. This circumstance presents less hin- drance to representations in bas-relief. As an isolated figure the Horse seldom occurs; he is more frequent in groups forming teams of two, three, and more (biga, triga, quadriya), intended to be the crowning feature of monumental edifices (San Marco, Venice; Brandenburger Thor, AJtes Museum, Berlin, Propylaea, Munich) mostly along with the figure of the man who leads him (Horse-tamers on the Monte Cavallo, Rome) or rides him (Statue of the Condottioro Bartolommeo Colleoni 1476, Venice, the colossal statues in the Burg- hof at Vienna; the Grosser Kurfiirst, the Alter Fritz, the battle scenes by Kiss and Wolff on the staircases of the Museum at Berlin). In bas-relief: the horse is, almost without exception, represented only in profile (hunting scenes from the ancient Assyrian royal palaces, the frieze of the Parthenon). In grottesque Painting- he furnishes the fore parts of various monsters, the hinder parts being formed by fish tails, or in some other way The use of the horse head as a medallion, on Stables, Riding schools, Prize-cups, and numerous objects connected with sport, is common in Modern art. In Heraldry the Horse occurs in a few cases (Shield of Stuttgart). In Japan: the Horse is symbolical, and is connected with the hours. Still less adapted to ornamental purposes is the Os; and repre- sentations are. therefore exceedingly rare The same is true of the Dog, the Pig, the Fox, the Stag, the Hare, &c., whose forms, either entire or as heads, are only used symbolically, on such objects a~s have some connection with Hunting (hunting weapons, powder boras, targets). NATURAL FORMS The Panther Head, &c. flute 49. 78 NATURAL FORMS. Plate 50. The Ram Head, &c. NATURAL FORMS. The Horse Head. 1'late 51. 60 Doadfl of Various Animals. The F.aple. PLATE 51. TIIE IIonsE HEAD, &c. 1 Horse head, Parthenon, Athens. 2 Horse head, Assyrian basrelief, British Musenm. 34. Antique Horse head. 5. Horse head, Modern, German. C. Head of a hunting Dog, \ -1 Head of a Fox, 8 Head of a Boar, \ ^ HabenscbadPn, of MfJnchw. 9. Head of an Ox, ) THE EAGLE. (Plates 5254.) Like the lion among quadrupeds, the Eagle (Agnila, Fiilco fulvus) is the most important representative of the featherod tribes. His size and strength, his majestic flight, his keen vision, distinguish him above all other birds. He has been used in decorative art since the earliest times, e. g. in the Persian, Assyrian, and Egyptian styles With the Greeks: he was the companion of Zeus, whose thunder- bolts he keeps and guards; he carried off Ganymede on his wings The Romans used him in the apotheoses of their emperors; and chose him for- the standards of their legions. Napoleon I., imitating Roman caesarism, granted his armies the French Eagle in 1804. Hence the frequent appearance of the Eagle on trophies, and emblems of war In ecclesiastical art: the Eagle is the symbol of the evangelist S. John, whom he either accompanies, or symbolises independently The Eagle appears in Heraldry at a very early period, about (lie time of Charlemagne. Next to the Lion he is the most-used heraldic creature (e. g. the United States, Germany, Austria, Prussia, and France under the second empire, all possess the Eagle). His heraldic forms vary considerably from the natural one. Blue excepted, ho appears in all the tinctures. The doublo-headed Eagle is a Byzantine invention. The heraldic eagle is a highly ornamental figure, so that, from the middle ages up to the present time, he has been employed not only for heraldic, but also for purely decorative purposes: he is seen in manifold forms in intarsia, cut or etched in metal, cut in leather, embroidered, woven, and painted; on weapons and tools, furni- ture, ceilings, and walls, (See the Heraldic treatment in Division III, Heraldry). Our figures show him, natural as well as idealised, in various positions and conceptions; plate T>3 shows his heraldic forms, (Comp. plate 284). Tho Eagle. The Wing. 81 PLATE 52. THE EAGLE. 1. Young Eagle, in a scutella (dish), Roman. U. Roman Eagle, pedestal of Trajan's column, Rome, (Raguonet). 3. Roman Eagle, Vatican, Rome, (Raguenet). 4. Roman Eagle in an oak garland, Bas-relief originally in Trajan's Forum, now in SS. Apostoli, Rome, (De Vico, Trenta tavolo, &c.). 5. Sitting Eagle, modern, (Gerlach, Das Gewerbemonograinm). PLATE 53. THE HERALDIC EAGLE. 1. Romanesque Eagle, Germanisches Museum, Nuremberg. 2. Eagle, Gothic style, Viollet-le-Duc, (Dictionnaire de 1'architec- ture). 8. Eagle, Gothic style, oil painting, Germanisches Museum, Nurem- berg. 4. Eagle, Gothic style, by Albrecht Diirer, (Hirth, Fonnenscbatz). 5. Eagle, Renascence, by Albrecht Diirer, (Hirth). 6. Eagle, Renascence, (Hirth). 7. Eagle, Renascence, by Wenderlin Dietterlin, (Hirth). 8. Eagle, Modern, German, (Heraldische Meisterwerke). PLATE 54. TIJE EAGLE. 1. Eagle, as Akroter, Flora pavillion, Louvre, Paris, Architect Lefuel, (Boldus). 2. Eagle, in a laurel garland, Modern, German, by Rauch. 3. Eagle, with oli w e branch, in medallion, Louvre, Paris, (Baldus). 4. Eagle, high relief, by Rauch, on monument, Berlin. 5. French Eagle, Modern, new Opera House, Paris, Architect Gamier, (Raguenet). 6. Flying Engle, from Nature, (Raguonet). 7. Eagle, from nature. TIIE WING. (Plato 55.). As the small scale of the preceding plates does not admit of the details of the Wiug being fully shown; and as draughtsmen, as well as modellers, are often called-upon to design winged shapes (be- sides the Eagle, Angels, Ainorini, Genii, Grottesques, the Caducous ol Mercury, the symbolic Wheel of the railroad, fec,: we have thought it advisable to add a plate showing the details of the Wings on a somewhat larger scale. They are taken from nature; but will be found helpful for idealised renderings. PLATE 55. THE WING. 1. Wing of a duck. 2. Wing of a wild goose. Meyer, Handbook of Ornament. 6 82 NATURAL FORMS Plate 52. The Eagle. NATURAL FORMS. 83 The Eagle. Plate 53. 6* 84 NATURAL FORMS. Plate 01. The Eagle. NATURAL FORMS. The Wing. 86 The Dolphin. THE DOLPHIN. (Plates 5658.) The Dolphin (Dclpkinus dclphis, French, dauphin) has enjoyed an unusual share of attention. This sea mammal, which has some- times been erroneously classed among the fishes, lives in the seas of the northern hemisphere, swarms round ships, swims in shoals, and is fond of sport. In ancient times the Dolphin enjoyed, and enjoys even now in some parts, a kind of Veneration which protects him from persecution. We meet him occasionally on Antique coins, on Graeco-italic terracottas, on Pompeian mural paintings, on furniture and utensils, and in the architecture of the Greeks and Romans. Guigo IV. of Viennois (1140) took to himself the title of "Dauphin", and the Dolphin as crest. One of his successors, Humbert 1 1., surrendered the Dauphiny in 1349 to Charles of Valois, in exchange for a legacy and on the condition that the heir to the throne should always bear the title "Dauphin"; which condition was faithfully kept. This is the explanation of , the frequent appearance of the Dolphin in French decoration; but its frequent appearance in Italian decoration, is due to its artistic capabilities. The Dolphin is often used in pilasters, panels, in intarsias, in ceilings and mural paintings, in enamel, in niello work, and in typographical ornaments. In modern styles the Dolphin often masks the spouts of fountains. In symbolic representations he is the companion of Nymphs, Nereids, and Tritons, and of Arion, Aphrodite, and Neptune, with whose trident ho is often combined in ornament. PLATE 56. THE DOLPHIN. 1. Portion of frieze, Graeco Italic, Campana collection, Paris. 2. Shield of the French kings, 15th century, (Raguenet). Castle at Blois, French Renascence, (Raguenet). Italian Renascence, Louvre, Paris, (Raguenet). 5. Head, from a relief, French, by Clodion (17381814). 6. Pair of Dolphins, by Schinkel, (Vorbilder fur Fabrikanten uiiJ Handworker). 7. Head, as spout, by Barbezat, Paris, (Raguenet). 8 9. Heads, as spouts, face and profile, (Hauptmann, Moderne Orna- mentale Werke im Stile % der Italienischen Renascence). PLATE 57. THE DOLPHIN. 1. Frieze, Sta. Maria dell' Anima, Rome (1500 to 1514), Italian, (Raguenet). 2. Panel ornament, French Renascence. 3. Choir seats, Certosa near Pavia, Italian Renascence, (Teirich, Meurer). NATURAL FORMS. 87 The Dolphin. Tlatc 88 NATURAL FORMS. Plate 57. The Dolphin. NATURAL FUKMS. The Dolphin. Plate 90 The Dolphin. Tho Shell. The Serpent- 4. Part of Frieze, Rome, Arco della chiesa nuova, Italian Re- nascence, (Weissbach und Lottermoser, Architektonische Motive). 5 6. Heads. 7 8. Parts of Address by German artists, to king Humbert of Italy, by Director Gotz. PLATE 58. THE DOLPHIN. 1. Panel, Venetian Renascence. 2. Lower part of panel, Ducal Palace, Venice, Italian Renascence. 3. Part of frieze, Sta. Maria della Pace", Rome, by Bramaute, 150-1, Italian. 4. Part of Majolica Tile,. Sta. Caterina, Siena, Italian Renascence. 5. Head, cathedral, Limoges, French Renascence. 6. Handle of a vessel, pilaster, by Benedetto da Majano, It'll ian Re- nascence. 7. Pen drawing, by Lucas von- Leyden (1527). THE SHELL. (Plate 59.) Among molluscs: the Nautilus (Nautilus Pompilius) and various shells, principally of the family of the Trochoidae, are placed on feet; and, elegantly mounted in metal, serve as Drinking-vessels. The Scallop shell is used as the top of cylindrical niches, as a waterbasin in the form of a shallow dish, and as a decorative back- ground for vases and busts. It was extensively employed for these purposes in the later Renascence. PLATE 59. THE SHEIX. 1. Nautilus, from nature. 2. Snail (Turbo marmoratns), from a Renascence driuking-ve?sel. "3. Exterior of the Scallop (Ostrea Jacobaea Pecten Jacolaeus), from nature. 4. Interior of the Scallop, after Jost Amman, (Hirth, Formonscliatz). 5. Scallop design, Louis XVI. style, lower end of a panel. 6. Scallop design, by the sculptor Lehr, of Berlin. 7. Scallop design, for the decoration of a niche. THE SERPENT. (Plato 60.) The Serpent is occasionally used for symbolic and decorative purposes. It is developed hits an antique Bracelet, and to a Handle for vessels, a pair twine round the Staff of Mercury (the Caduceus, NATURAL FORMS. The Shell. Plate 59. 92 NATURAL FORMS. Plate 60. The Serpent, &c. The Serpent. Human Organism. 93 comp. plate 76), and a single one round the staff of Esculapius. Coiled in a circle with tail in mouth it is the symbol of Eternity on, tombs, it is used in mythology, and is an indispensable accompani- ment of the symbols of Envy and Dissension; and the hair of Medusa is represented as composed of Serpents (Plate 65). In ecclesiastical art: the Serpent is the symbol of Wickedness, Sin, and Temptation (the scene in Paradise); it appears under the feet of the Virgin Mary with an apple" in its mouth. In Heraldry: it is represented devouring a child, on the shield of the Visconti, of Milano. PLATE 60. THE SERPENT. 1. Cast from life of a Viper (Vipera berus - - Pelias berus) with a Lizard (Lacerta viridis Lacerta ayilis), by J. EberhaiJ of Heilbronn. 2. Cast from life of a Viper, by J. Eberhard of Heilbronn. 3. Antique bracelet in the form of a Viper, Pompeii. 4. The Snake as the symbol of Eternity, (Gerlach, Allegorien und Embleme). c. Human Organism. The human form has been, and is destined to be a favoured object of representation in art. The desire, to depict for contemporaries and to transmit to posterity, the great Deeds of individuals and the epoch-making Achievements and fate of whole races and nations, is universal among mankind; as also the attempt to reproduce the Portraits of celebrated Persons. Even the supernatural powers, his Gods, man represents in the form of men. The "Lord of creation" can give to the beings he venerates no more ideal form than his own, which he holds to be the most developed*. The Christian conception has arrived at the same result by the reverse process: "God created man in his own image." Virtues, Vices, Passions, Sci- ences and Arts, Ages, Seasons and Hours, Elements, Rivers, Countries, Hemispheres, and many other things receive symbolic expression; and are pictorially rendered by human figures. And the human body is often represented, without any meaning, and solely (decoratively) * Mortals, however, opine that the Gods had an origin man-like; Feel and have voices like men, like men have a bodily fashion Oxen and lions, no doubt, if tboy had but hands and a chisel, Pencils as well, to depict the figure divine, would do likewise: God for tho liorse were a horse, and God for the oxen were ox-like, Each would think God like hinisolf and give to his God his own image. Xenopbanes of Colophon. 61)0 B. C. 94 The Human Figure. The Mask. on account of its beauty of form. All these delineations, which fall within the domain of high art, lie beyond the scope -of this work. \Ve have only to deal with the human figure so far as it has been received into decoration: we have only to occupy ourselves with "conventionalised" man. This includes the applications of the human face, more or less true to nature or with arbitrary accessions; masks and caricatures; grottesques, those strange combinations of human with animal or plant elements; and also the applications of the upper half of the human body as the starting-point of ornament; half-lengths as commencements of ornaments; those mixtures of human and animal shapes in which the upper half falls to the share of man, e. g.: sphinxes, centaurs, &c. THE MASK. (Plate 61.) The Mask, strictly so-called, is an artificial, hollow face, intended to be placed in front of, and to conceal the human countenance so as to make the wearer unrecognisable, or to characterize him in some special way. The use of the Mask dates back to the popular Harvest games of the earliest Greek period. From these games the mask is believed to have been transferred to the ancient Theatre, in which the actors all appeared masked. Different classes of Masks were recognised: tragic, comic, &c. Definite types of Masks were connected with .de- finite characters and "persons". The mouth -openings of these Masks were unnaturally large and shaped like a bell-mouth, so as to reinforce the Toice of the speaker; in Latin the mask is termed "persona" (from personare = to sound through). From theatrical, the Masks passed to artistic use, e. g. in the mural paintings of theatres and secular edifices (Pompeian decorations), on Bacchic vessels and other utensils (various beakers in the silver treasure of Hildesheim). The Renascence and the following styles have at times used Masks in decoration, altering and exaggerating the forms. In particular the Mask is often used for the decoration of the keystones of door and window arches. We may also mention the beautiful, freely-treated Heads of dying warriors by Schliiter on the arsenal at Berlin; and the Masks in Antique style on the new Opera House in Paris, by Gamier. PLATE 61. THE MASK. 1. Bacchus, Graeco Italic-, fragment of a vessel or utensil. 2 3. Heads, goblet (Hildesheim treasure), Roman, Berlin Museum. 4. Keystone, Graeco Italic, terracotta, Campana collection. 5. Part of Frieze, Gra'eco Italic, Campana collection. 6. Silenus, handle of Etruscan vessel. 7 8. Decoration, Pompeii. The Mask. The Grottesque Mask. 95 9. Satyr, Italian Renascence, by Sansovino, over a Festoon in Sta. Maria del Popolo, Rome. ' 10. Dying warrior, by Schlxiter, Berlin arsenal, 1G97. THE GROTTESQUE MASK. (Plates 6264.) Masks and Caricatures pass into each other, sc that it is diffi- cult to draw a strict line between them. The French language ex- presses this connection clearly, by using the related words "masque" and "mascaron." Under Masks are usually classed the delineations of beautiful countenances, either true to nature or idealising it. Caricatures are faces gunning, deformed, distorted by accessories, or terminatiog in foliage. Tho Antique, which had no love whatever for the depicting of the ugly and. bizarre, only used Caricatures in its oldest periods, in the so-called Archaic style. The Middle Ages frequently employed Caricatures. The Renascence and Barocco styles, as well as our most Modern, art, often apply Caricatures to keystones, to consoles, as spouts and handles, on shields and cartouches, in capitals and panels, on the backs of chairs, and in general on carved furniture, on stove -tiles, &c. We possess a number of excellent Caricatures from the hand of the youthful Michelangelo, who treated this form with predilection, and with the breadth characteristic of his genius. PLATE 62. THE GROTTESQDE MASK. 1. Etruscan, terracotta, Campana collection, (F. A. M., Cours d'ornoment). 2. Grottesque, Italian Renascence, Venice. 8. Grottesque, tomb of the cardinal Sforza, Sta. Maria del Popolo, Rome, Italian Renascence, by Sansovino. 4. Single Grottosque, from frieze, Italian Renascence, by Michel- angelo, San Lorenzo, Florence. 5. Part of capital of pilaster, French Renascence, tomb of Louis XII, St. Denis. 6 7. Modern French Grottesques. PLATE 63. THE GROTTESQUE MASK. 1. Carved bench, Italian Renascence, Bargello, Florence. 2 3. Female, metal shields, German Renascence. 4. Akroter, Tribunal de Commerce, Paris. 5. Grottesque, Louvre, Paris, (Bald us). 96 NATURAL FORMS. Plate 61 The Mask, &c. NATURAL FORMS. Meyer, Handbook of Ornament The Grottesque Mask. Plate 62. NATURAL FORMS Plate G3. The Grottesque Musk. NATURAL FORMS. 90 Tin' Cruttr-iiio Mask 100 The Grottesque Mask. The Medusa Head. The Grotteaque. 6. Modern French, Theatre de Bellecour, Lyons, Architect Chatron, (Raguenet). 7. Modern French, Ministry of War, Paris, Architect Bouchot, (Raguenet). PLATE 64. THE GROTTESQUE MASK. 1. Grottesque, by Michelangelo, Italian Renascence, (Raguenet). 2. Grottesque, castle of Ecouen, French, 1538, (Raguenet). 3. German, 16th century, (Lessing). 4. Grottesque, German Renascence, Gemanisches Museum, Nuremberg. 5. Grottesque, pedestal of a column, tomb in Pforzheim, German Renascence, by Hans von Trarbach. 6. From the spout of a can, German Renascence. 7. Grottesque, escutcheon of a lock, German Renascence. 8. Grottesque, modern panel, Sculptor Hauptmann. THE MEDUSA HEAD. (Plate 65.) Unique among the masks is the head of Medusa. Medusa, in mythological tradition one of the three Gorgons, whose Head Perseus cut-off, to present it to Athene as an ornament for her shield. It is employed in ancient art as a decoration for breastplates and shields, on and above doors and gates, and on the ground of paterae and dishes. The expression is that of the rigidity of death; its look is meant to petrify; the hair is interlaced with serpents; serpents wind themselves in knots beneath her chin; and small wings are often addtd. The Archaic art represented the Gorgon as ugly, terrible, and disgusting; the later Greek conception, under Praxiteles, was of stern, grand, beauty,, (the so called Rondanine Medusa in the Glyptothek at Munich). In the Modern and Renascence styles, the head ot Medusa is only decorative; and it is seldom employed. PLATE 65. THE MEDUSA HEAD. 1. The Farnese dish (Onyx Patera), Museum, Naples, Roman. 2. Centre of antique Patera, Roman. 3. Medallion, probably modern, French. 4. Tympanum, Tuileries, Paris, (Baldurs). THE GROTTESQUE. (Plate 66.) Grottosques (from grotto) are fantastic, often really ugly monsters, produced by the combination of human, animal , and plant organisms The Grotteaque. The Half-Figure. 101 in the freest and most arbitrary manner. Squatting, winged female figures without arms; human bodies with fishtails, with endlessly long, winding necks, with extremities terminating in foliage, are types of this style of ornamentation. The origin of the Grottesque must be sought in the decorative painting of the Romans. Pompeii offers copious material. Various painters of the Italian Renascence, among them Rafael, revived and used the antique Grottesque painting (Rafael's loggie), after the discovery of the grottesque painting in the thermae of Titus at Rome, (from these' vaults or Grottoes is derived the name grottesque). The Grottesques are a striking example of the playful and artistic feeling of the Ancients; and t stand in great contrast to the coarse attempts at the comic to be found in Medieval art. From decorative painting the grottesques passed to the plastic art of the Renascence. The revival of Italian decorative painting in modern art has led to the retention of these forms also. PLATE 66. THE GROTTESQUE. 1. Part of pilaster, Italian Renascence, by Benedetto da Majano. 2. Part of pilaster, tomb of Louis XII., St. Denis, French Re- nascence. 3. Part of pilaster, Palazzo magnifico, Siena, Italian Renascence, by Barile. 1 5. Parts of ornamental columns, Palazzo Guadagni, Florence, (Schutz), G. Italian majolica pavement, Siena, Italian Renascence, (I/art pour tous). 7. Stall in San Severino, Naples, Italian Renascence, by Barto- lommeo Chiarini and Bernadino Torelli da Brescia, (Schutz). 8. Stall, San Agostino, Perugia, Italian Renascence. THE HALF -FIGURE. (Plates 6768.) From Antique times up to the present day, Half-figures have been popular as startings for ornaments. The upper part of the human body undergoes little variation from its natural forms. Below the breast or the stomach, often denned by a girdle, there is developed a sort of inverted foliage-cup, from which the scroll orna- ment grows. Half-figures are found not only in the flat and in bas- relief, but also in round plastic art, in this latter case as brackets for lamps, torchholders, doorknockers, &c. PIATE 67. THE HALF-FIGURE. 1 2. Panels, Roman Altar. 3. Part of a Roman relief. 102 NATURAL FORMS. Plate 65. The Medusa Head. NATURAL FORMS. The Grottesque Plate 0(5. 104 NATURAL FORMS. Plate 67. The Half-Figure. NATURAL FORMS. 105 The Half-Figure. Tlate 68 106 The Half Figure. The Sphinx, and the Centaur. 4. Socle of Altar, cathedral of Orvioto, Italian Renascence, (Go- werbehalle). 5. Part of relief, Italian Renascence. PLATE 68. TIIE HALF-FIGURE. 1. Bracket, 1750, Italian, South Kensington Museum, London, (Arundel Society, Objects of art). 2. Decoration on ceiling, Castle of S. Angelo, Rome, Italian Re- nascence. 3. Sketch, by Polidore da Caravaggio, 16th century, Italian, Louvre, Paris. 4. Centre of a relief, lectern, cathedral, Limoges, French Renascence. 5. From basrelief, by J. Verchere, Modern, French. THE SPHINX, AND THE CENTAUR. (Plate 69.) The Sphinx is an imaginary combination of the Human bust with the body of the Lion. It was originally an Egyptian invention. The colossal Sphinx of Memphis was begun under Cheops; it is hewn from the living rock, partly supplemented by masonry, and is more than 150 feet long. The bust is generally a Woman's; but in some cases it is a Ram head. The Sphinx is the guardian of temples and tombs, in front of which it is frequently ranged in avenues. In the Roman period: wings are added, probably through Assyrian influence; and the crouching position is sometimes exchanged for the half-erect. The Renascence uses Sphinxes in painting (as double sphinx also, with a single head and double body), and in free shapes as fire dogs, &c. The Barocco period adorns gardens and portals with crouching Sphinxes, (the castle garden at Schwetzingen contains a considerable number). Centaurs are imaginary wild monsters, with the fore part of a Man and the hinder part of a Horse. Among the Greeks, the Centaur ori- ginally symbolised the Thessalian race of equestrian renown. Mytho- logy recounts their struggles with the Lapithae. Later delineations, such as the mural paintings of Pompeii, depict the Centaurs less wild, tamed to the servico of Dionysos, and sporting with Amorini and Bacchantes. The decorative capabilities of these fantastic figures has ensured them renewed application in later styles; and they are some- times used in modern decoration. PLATE 69. THE SPHINX, AND THE CENTAUR. Crouching Sphinx, Egyptian, Louvre, Paris, (Raguenet). Crouching Sphinx with ram head, Egyptian, (Raguenet). 3. Lower corner of an antique cardelabrum, Roman. NATURAL FORMS. 107 The Sphinx, aud the Centaur. Plate 69. 108 Plate 70. The Cherub Head, &c. Miscellaneous Heads. 109 4. Sitting Sphinx, Modern, French, Andiron, by the sculptor Fiat, (I/art pour tous). 5. Crouching Sphinx, modern. 6 7. Centaurs and Bacchantes, Mural paintings, Pompeii, (ChoCs d'oeuvre de 1'art antique). MISCELLANEOUS HEADS. (Plate 70.) Angel-faces, winged, youthful heads, with a circular or disc-like halo, are first met- with in the Byzantine style, as a result of the activity of ecclesiastical artists. In the early Italian Renascence, the rendering is charmingly naive (Lucca della Robbia may be specially mentioned)-, they adorn friezes and arches, fill medallions, and are found in borders. They occur often on Tombs; and they are also much used in Modern ecclesiastical decoration. The profiles of Minerva, Mars, Apollo, frequently occur in me- dallions. The Skull or Death's head, the gruesome grinning relic of de- parted life, and emblem of Decay and Death, finds its place in the Dances of Death, at one time so popular; also on the shield of Death (Albrecht Diirer), on Monuments, Tombs, &c. It is generally represented in front view, and often over two crossed bones. PLATE 70. THE CHERUB HEAD, &c. 1. Cherub, Early Italian Renascence. 2. Cherub, candelabrum, Certosa near Pavia, Italian Renascence. 8. Frame, Germanisches Museum, Nuremberg. 4. Column of the Plague, Vienna, Barocco. 5. Modern, medallion, by Prof. Heer, Carlsruhe. 6. Minerva, Berlin Museum, Modern. 7. Minerva, Modern. 8. Warrior, Louvre, Paris, (Baldus). 9. Mars, from Lievre, Les Arts Decoratifs. 10. Skull, from nature. <^fe1fe "~^7 C ARTIFICIAL OBJECTS. Besides Geometrical elements, and those copied from organic Nature: ornamental art avails itself of Artificial objects, either alone or in combination with the two first-named classes. But this does not include the accidental use of all kinds of articles in symbolic work, and the still-life painting, but only the vessels, tools weapons, instruments, shields, knots, ribbons, &c., which are used as decora- tion, or blended with it. It is easy to understand how the vessels of religious rites passed into the decoration of religious edifices, temples, and churches. In the Antique style: the altars, tripods, candelabra, sacrificial axes, sprinklers, &c.; in the Christian styles: the symbol of the cross, marks of priestly dignity, the instruments of the Passion, &c., decorate friezes, walls, and panels, (Comp. Plate 75, figs. 2 and 6). Decorative groups of hunting and warlike implements and of tools, &c., are termed Trophies: the devices of guilds and companies are Symbols. The following chapters will treat of these things in detail, along with other designs, of somewhat rarer occurrence, which also belong to this section. THE TROPHY. (Plates 71 and 72.) It was the custom of the Greeks to hang on the trucks of trees, the weapons which the flying enemy had Jeft behind on tho The Trophy. The Symbol 111 field of battle. These tokens of victory, or Trophies, have also found a place in decoration. The Romans erected artificial, symbolical Trophies of stone or bronze in the form of columns, pyramids, and similar architectural structures. Since their time Trophies have been used not only to decorate all monuments connected with war and victory, e. g. arsenals, the offices of the ministry of war, guard-houses, barracks, and weapons, especially shields; but they have been used up to the present time for purely decorative purposes, as elegantly- arranged and prettily-grouped weapons of war, in the architecture of the pilasters of castles, town-halls and tombs, in the intarsias of the Renascence, on woven fabrics and tapestries, as vignettes; and, above all, in plastic ornament. It was also natural that Trophies should also be formed of hunt- ing-weapons, which have much similarity with weapons of war, and also of objects connected with the navy. The original meaning of the word (TQOTHUOV = token of victory, from r^OTrr), turning, flight) has, it must be admitted, been lost sight of in these applications. PLATE 71. THE TROPHY. 1 6. Decoration of chased metal dish, Renascence. 7 8. Decoration of clock panel, French Renascence, Louis XllI style, (Lievre). 9 10. Panels of door, Otto-Heinrich portion of the Castle, Heidel- berg, German Renascence, (Pfnor). PLATE 72. THE TROPHY. 1. Panel, tomb of Galeazzo Pandono, San Domenico maggiore. Naples, Italian Renascence, (Schiitz). 2. Part of Panel, Italian Renascence. 3. Part of Panel of a stall, Dordtrecht, Dutch Renascence. 4. Pedestal of monument to a Margrave, Pforzheim, by Hana von Trarbach, German Renascence. 5 6. Panels, Quay front, Tuileries, Paris, (Baldus). 7. Part of design for a monument, by J. Ch. Delafosse. THE SYMBOL. (Plates 7377.) The grouping of tools and instruments, to symbolise some special idea, leads to the design of Symbols. Thus we find, disregarding those of war and hunting, which we have treated of as trophies, Symbols of art, both of Art in general and of the special arts: Music, Painting, Sculpture, Architecture, &c.; Symbols of Science, n y ARTIFICIAL OBJECTS. I'liitc 71 The Trophy. ARTIFICIAL OBJECTS. 113 Kf\fT, Handbook pf Ornament. The Trophy. Plate 72. 8 114 The Symbol either as a wholo or for individual sciences: Mathematics, Astronomy, Chemistry, &c.; of Commerce, of Technical Science, and finally of Handicrafts and Trades. Singing, for example, is symbolised by a lyre with or without sheets of music: Music by violins, flutes, horns, Pan's pipes, &c.; Dancing by the tambourine and castagnettes ; Acting by masks; Paint- ing by brush and palette; Sculpture by the hammer, chisel, and works of sculpture, busts, torsi; Architecture by square, straight-edge and compasses, usually in combination with capitals. The Railroad and Steam are symbolised by a winged wheel, the Telegraph by coils of wire, which radiate lightning. Trade is represented by casks and bales of goods on which the caducous (a staff round which winged serpents are twining the attribute of Mercury) is resting; Agriculture has the plough, the sickle, the scythe, &c., Vine culture the vine press. The different Trades have chosen their Symbols partly from their tools, partly from their finished products. The Guilds and Companies of past centuries introduced a certain system into these outward and visible signs; a large number of guild pictures, some of them very beautiful and ingenious, are preserved in the industrial art museums of modern times. A far more detailed and extensive treatment of Symbols than can be given in the present work will be found in Gerlach's Allegoricn und Embleme, to which we are indebted for a number of illustrations. PLATE 73. THE SYMBOL. 1. Angle ornament, hall of the Ministry ol State, Louvre, Paris, (Baldus). 2. Louvre, Paris, (Baldus). 8. Symbol of the violin makers' guild, Klingenthal, 1716, (Gerlach, Allegorien und Embleme). 4 5. Pilaster panels, by the sculptor Fomilini of Florence, Modern. 6 9. Medallions, by the sculptor Lehr of Berlin, Modern. PLATE 74. THE SYMBOL. 1. Carved wood Door-head, French, 18th century, (L'art pour tons). 2 3. Symbols of sculpture and painting, by the sculptor Hauptmann, Dresden, Modern. 4. Part of Exhibition-programme, Miinchen, 1876, by R. Seitz. 5. Address-card of an ink factory, by Prof. Hammer of Carlsruhe. 6. Title to an edition of Goethe's works, by Dir. Gotz of Carlsruhe. PLATE 75. THE SYMBOL. 1. Part of Panel, court of Ducal palace, Venice, Italian Renascence, (Schutz). ARTIFICIAL OBJECTS. 115 The Symbol. Plate 73. 8" 116 ARTIFICIAL OBJECTS. Plate 74. The Svmbol. ARTIFICIAL OBJECTS. 117 The Svmbol. Plate 75. 118 ARTIFICIAL OBJECTS. Pla'e To. The Symbol. ARTIFICIAL OBJECT; 119 The Symbol. Plate 120 The Symbol 2. Ecclesiastical art, 8. Architecture and Sculpture, 4. Painting, 6. Antique art, 6. Christian art, 7. Art, 8. Sculpture, In Pilasters, by the sculptoi Hauptmann, Modern, staircase of Museum, Dresden. PLATE 76. TIIE SYMBOL. 1. Banner, of the architectural school of the Polytechnicum , Carls - ruhe. 2. Chemistry. 3. Mathematics. 4. Mechanical Engineering. 5. Civil Engineering. 6! Forestry. 7. Post and Commerce, Polytechnicum at Carlsruhe, Designed by a. Kachel. 8. Mechanical Engineering, J 9. The Mechanic, (Gerlach, Allcgorien und Embleme). 10. Smithery, 11. Navigation and Commerce, Tuileries, Paris, (Baldus). PLATE 77. THE SYMBOL. 1 . Navigation, \ 2. Agriculture. 3 Music | Court front of tbe Tuilcries > Paris > (Baldus). 4. Farming, i J; 6. War, Border of a copper plate engraving, by Heinrich Goltzius (15581617). 7. Hunting and Fishing, by Stuck of Munich, (Gerlach, Alle- gorien und Embleme). 8. Forestry, 9. Sword-making, 10. Musketry, / (Gerlach) 11. Farriery, 12. Smithery. ) THE RIBBON. (Plates 7879.) Ribbons are not used alone, but are frequently employed as a decoration of garlands and festoons (comp. plates 88, 89, 40), of sym- bols (comp. plates 71 77), or they are Labels to bear some motto (comp. plate 78). The Ribbons of the Antique are simple, often ter- minating in a ball or acorn like knob; the Middle Ages, particularly ARTIFICIAL OBJECTS. 121 Tho Ivibbon, ami the Lnbcl IMatc 7S. 122 ARTIFICIAL OBJECTS. ;:iie 79. The Hi'obon. ARTIFICIAL OBJECTS. 123 Miscellaneous objects. Plate 80. 124 The Ribbon. Miscellaneous objects. the Gothic, make them curled and quaint; in the Renascence they are developed in various free and elegant styles, often divided at the ends like a pennon. In the Louis XVI. style they are often peculiarly crinkled, but in spite of this mannerism they are not without a cer- tain decorative charm, (Comp. plates 78 and 79). . PLATE 78. THE RIBBON, AND THE LABEL. 1. Label for motto, on the seal of the town of Schiltach, Gothic, Inscription on the scroll: "S. opidi schilttach". 2. Ribbon, from Jost Amman's Wappen- und Stammbuch, German Renascence. 8. Ribbon, painting by B. Zeitblom, Carlsruhe gallery, Gothic. 4. Label for motto, old Germain painting, School of Cologne, Carls- ruhe gallery. 5. Label for motto, triumphal car, by Hans Burgkmair, 1473 1530, German, (Hirth). 6. Label for motto, Albrecht Diirer's "Der Eiilen seyndt alle Vb'gel neydig und gram," German Renascence, (Hirth). PLATE 79. THE RIBBON. 1. Ribbon and knot, After Daniel Hignot, German Renascence. 2. Ribbon and knot, the Louis XVI. style, (Lievre). 3. Ribbon and knot for a bunch of fruit, after Prof. Sturm of Vienna, (Storck's Zeichenvorlagen). 4. Drapery Festoon, (Raguenet). MISCELLANEOUS OBJECTS. (Plate 80). Finally, among the artificial objects which are used in decora- tion, especially of pilasters, we may mention those forms like cande- labra and vases, from which ornaments, like growing plants, usually rise, (Comp. plates 80 and 131). Cornucopias, Torches, small inscription Tablets, and many other objects, are introduced. PLATE 80. MISCELLANEOUS OBJECTS. 1. Vase, window pilaster of ' the Cancelleria, Rome, by Bramaute. Ita- lian Renascence, (De Vico). 2. Vase, pilaster of a door, San Angostino, Rome, (De Vico\ 3. Vase, lower part of a panel, Italian Renascence. 4. Vase, tomb of Louis XII., St. Denis, French Renascence. 5. Vase, Louis XVI. style, (F. A. M. ( Cours d'ornement). 6. Crossed Torches, upper part of pilaster, by Benedetto da Majano, Italian Renascence. 7. Crossed Torches, Renascence. OKNAMEN' APPLIED TO FEATURES. A. Bands. B. Free Ornaments. C. Supports. D. Enclosed Ornaments, or Panels. K. Repeating Ornaments, or Diapers. 126 INTRODUCTION. The second division of the Handbook deals with ornament as applied in decorative Features. They will be arranged according to their function, and treated in accordance with the mutual relations of the decorative form and its application. Every one acquainted with Decoration, must have been struck by the fact that on certain Objects and on certain parts of them the decoration invariably appears to have been modelled on 1 the same principle, no matter how much the selected motives may vary from each other or belong to special styles. In decoration, as elsewhere, there is a right and a wrong use for everything; each object, even the very smallest, requires its own proper Form and Decoration, and the artist who understands style will give these, though in many cases unconsciously; artistic instinct guiding one man where another must study laboriously. Be this as it may, the relations are there. A socle ornament cannot be reversed and used as a frieze without modification; a column, which looks beautiful and even delicate on monumental archi- tecture, may produce a clumsy effect if reduced and applied to furni- ture; no one finds fault with the 20 or 24 flutings of it in archi- tecture, but half of them would more than suffice for the smaller Cabinet. And so on. The achievements of those periods, in which the intimate connection between form, aim and material was either unknown or forgotten, are what might be expected. The Empire Style, which copied the Antique at the instance of an august per- sonage; and, in so doing, produced work which is classical in respect of its mannerisms; is an example. A Greek temple and an arm chair are two different things; each has its own peculiarities; and must be fashioned and decorated in accordance therewith. It were an insoluble problem to give & formula for each case; and to attempt to do so lies beyond the scope of this Handbook. But we will attempt to bnng together some important groups from the entire field; and by means of them to illustrate the principles of design. 127 A. BANDS. The group of Bands includes all those ornamental forms which are used to give expression to the ideas of bordering, framing, and connecting. The motives are partly geometrical, partly organic, chiefly plant- forms; artificial forms being more rarely used. The Band has no "up" or "down"; but only an onward or an outward tendency. It has no limitation in regard to length; but is generally a narrow, ribbon-like ornament. The proper application of Bands is to the enclosing of ceilings, walls, floors, panels, on certain architectural constructions, on the abacus and the plinth of columns, and as a running ornament round the shaft of the latter. They are further used as the hem or border of garments, carpets and other textiles; as borders in typography, on the rims of plates or dishes, or to separate the ground from the rim, &c. The principal ornaments in this group aro: the Fret; Chain and Interlaced patterns (Guilloche); Foliated bands in the various forms of Rosette, Palmette, Flower, Leaf, and Scroll bands, &c. The Evolute Spiral band (Plate 97) stands to a certain extent on the borderline between Bands and Free ornaments. Leaf patterns, and the Egg-and-tongue which has been devel- oped from them, are not Bands at all, in the strict sense of the word. They express the mediation between the support and the weight, for which reason they are used as the enrichment of Mouldings. They are hero included among bands in order to avoid an independent group for the sake of the one plate. As a matter of fact, they do often appear as bands (the Egg-and-tongue as a decoration of plate medallions, &c). 128 The Fret Band. THE FRET BAND. (Plates 8184.) The Greek Fret (or Meander border) is, as it name indicates, a specifically Greek ornament, and no doubt of textile origin. Its accomodation to the rectangular network suggests this. The name "meander" is said to be derived from a river of Asia Minor, the Maeandros, now the Menderes, which flows in sinuous curves. Although the forerunners of the Greek border are to be found in the Assyrian and Egyptian styles, it was Greek vase-painting and architecture which gave rise to the variations of the pattern; architecture also employed it plastically. Among other applications in the Koman style it was used for mosaics on floors and often contrary to the principles of style of flat ornaments in those parallel perspective representations in which it seems as if it were a plastic ornament, (Plate 83. 8). The Middle Ages seldom used the Fret (one example will be found on Plate 83. 9); but similar forms are common in the Chinese and Japanese styles (Plate 84. 7). The Renascence revived the Fret in its ancient application; made new combinations; and sometimes ( interlaced it with plant motives (Plate 83. 10). Although very commonplace, the fret still has a good effect when it is applied in the proper manner. Its construction ia very simple. In general although not always the breadth of the broad lines or ornament is equal to the distance between them; we therefore draw a square network as shown on Plato 1, fig. 1, then draw all the horizontal linos (the measure- ment of the lengths and the observance of the rhythmic regularity peculiar to each Greek pattern are the only difficulties), and then join their ends by means of perpendiculars, (Plates 81 and 82). Centres are formed by arranging the axis at a suitable place, and reversing the pattern, (Plate 84. 6 and 10). Angle junctions may be similarly arranged by cutting the pattern diagonally to the square net at a suitable place, and reversing as before, (Plate 84. 3, 4 and 6). The angle-treatment of Current Frets 13 more difficult (Plate 84: figs- 1, 2, and 5). The end of a Fret with only one row may be formed by cutting the pattern short at a suitable spot; where two or more rows run parallel to or cross each other, they may be combined so as to form proper endings (Plate 84. 11). The pattern is sometimes carried round a circle; but this is an arrangement which is quite out of accordance with its character. The square network is not always applicable to cases in which the Fret has to be repeated within a given length. In this case the divi- sions of length are either elongated or compressed by drawing the auxiliary lines at a greater or less angle than 45 (this ia shown on Plates 81 and 82). The Fret Band. The Chain Band. 129 PLATE 81. UNSYM METRICAL OB CURRENT FRETS: GREEK VASE PAINTINGS. 1 4. Ordinary, simple patterns. 5. Elongated pattern. 6. Raking pattern. 9 10. Patterns which are interrupted hy rosettes, stars, &c. 8 9. Abnormal pattern, formed by fragments, instead of a contin nous line. PLATE 82. RECIPROCATING FRETS. 1 4. Ordinary, simple patterns. 5. Double pattern, Greek. C. Intersecting pattern, Louvre, Paris. 7 and 10. Fragmentary pattern, Greek, and modern. 7 and 9. Symmetrical double pattern, Greek. 7 10. Ornamented patterns. PLATE 83. INTERSECTING FRETS, &c. 1 6. Ordinary patterns, Greek vase paintings. 7. Abnormal pattern, Japanese metal vessel. 8. Pattern in parallel perspective, Eoman mosaic pavement. 9. Mediaeval folded-tape pattern, resembling the Fret, (Racinet). 10. Pattern ornamented with laurel, Louvre, Paris. PLATE 84. ENDS, ANGLES, AND CENTRES, OF FRETS. 1, 2 and 5. Free, unsymmetrical angle treatment. 3, 4, 6, 7 and 8. Symmetrical angles. 9 and 10. Centre treatments. 11 14. Ends of patterns. Antique motives, except No. 7 (Chinese), and No. 8 (Modern). THE CHAIN BAND. (Plate 85.) The basis of the design is the Chain. The Chain Band is there- fore composed of circular, elliptical, square, or lozenge shaped links, which are either represented all in front view (as in 1, 2, 4 and 8), or^ alternately in profile (as in 3, 5, 6, and 7). The Chain pattern probably occurs sporadically in every style. That Chain-bands have not been more frequently used, although they are a simple and effective mode of decoration, may be due to the fact that the chain appeared to a certain degree to be too force- ful, too vigorous in its effect. At any rate, delicacies of artistic feel- Meyer, Handbook of Ornament. 9 130 BANDS. Plate 81. The Fret Band. BANDS. 131 CTZI CTI ) CT3 [~E n c_h c_b cizi S The Fret Band Plate 82. 9* 132 BANDS. Ell 6 - to: IP 11 I Plate 83. The Fret Band. BANDS. 133 [JJMIEJJ i rp IP] The Fret Band. Plate 84. 134 BANDS. Lr U J Lr -0 n n Plate 85. The Chain Band. The Chain Baud. The Interlacement Band. 135 Ing, which have found expression elsewhere, and often unconsciously, seem to point to this conclusion. The construction of such bands is simple; and in the case of those illustrated may be understood from the plate itself. PLATE 85. THE CHAIN BAND. 1 5. Modern decorative painting. G S. Carved wooden ceiling, Townhall, Jever, German, Renascence. THE INTERLACEMENT BAND. (Plates 8690.) The Interlacement Band includes all those bands which are for- med of a number of 'lines interlaced or plaited together. They are usually symmetrical to the longitudinal axis; and may be produced indefinitely. The principle is that the interlacing broad lines shall pass over and under one-another alternately. Rope patterns are used as borders in painting, in textiles, in pottery, intarsia, and the ornamentation of manuscripts; in architect- ure on the under sides of stays and beams, on archivolts (the arche3 of doors and windows), in the soffits of arches, 'sometimes in a frieze, and often as the enrichment of the torus moulding. Interlacement patterns are used in all styles, though in some they are more popular than in others. And in this ornament the indivi- duality of each style is very strongly marked. In the Antique: the ornament consist of wavy interlacing bands round regularly- placed knobs or eyes. The wavy lines are composed ol arcs or of arcs and straight lines, in which latter case the arcs uiake tangential junctions with the straight lines (Plate 86). In flat ornament the interlacing lines are distinguished from each -other by shading or by colour; in plastic ornamentation they are fluted or channelled. The Interlacement patterns of the Middle Ages Chiefly of the Byzantine and Romanesque periods make use of Antique forms; adding to them the angular bend (Plate 87. 1 3). In the so called Northern styles Celtic, Anglo-saxon, Norman, Scandinavian, and Old Prankish: it is the most conspicuous ornament. Here we meet extremely complicated and richly combined interlacings, mostly freely drawn, without the aid of the compasses. It is cha- racteristic, and remarkable in regard to these styles, that the same baud appears in sections of different colours in their ornament. The works of Owen Jones and Racinet contain numerous examples, mostly from old illuminated manuscripts: our Plate 87 (4 8) reproduces some of the simplest (reconstructed with the compasses). 136 The Interlacement Band. The Moorish style favours a peculiar interlacement. It is cha- racteristic that the bands, which are always straight, make angles of 90 or 135, and are adapted to a network as shown on Plate 1, fig. 5. Here, too, we find the alternate colouring of the single bands. Numerous examples will be found in Owen Jones, Racinet, and Prisse d'Avennes, "L'Art Arabe", a selection from these being given in Plate 88, figs. 16. "The other Oriental styles exhibit greater variety in this respect; and. also employ round forms, (Plate 88. 7 und 8). The Eenascence developed great variety. Besides the traditional forms of the Antique, peculiar constructions appear, chiefly to be met-with in the arts of inlaying, on book-cover decoration, in pewter chasing, and typographical borders, (Plate 89). Modern art borrows from all styles; and, as was also the case in the Middle Ages and the Renascence, intersperses its patterns with foliage, (Plate 90). PLATE 86. THE INTERLACEMENT BAND. 1 3. Ordinary antique patterns, single, double, and triple. 4 6. Elongated antique patterns, single, double, and triple. 7. Antique pattern, doubly interlaced, with unequal waves. 8. Antique pattern with two rows, terracotta painting. Construction: First mark the centres of the eyes: in 2 and 3 these lie on the points of intersection of a triangular net; in 5 and 6 on those of a diagonal square net. The rest will be understood from the figure. PLATE 87. THE INTERLACEMENT BAND. 1. Romanesque patterns, decoration of archivolt, Segovia. 3. Byzantine pattern, Sta. Sofia, Constantinople. 4 7. Northern patterns, Manuscript ornaments of the 8th and 9th century, (Racinet.) PLATE 88. THE INTERLACEMENT BAND. 1 6. Simple Moorish patterns, Alhambra, Granada. 7. Persian pattern, metal vessel, (Racinet). 8. Russian Oriental pattern, (Viollet le Due, "L'Art Russo"), PLATE 89. THE INTERLACEMENT. BAND.- 1 3. Patterns, wood and ivory inlaid work, Italian Renascence. 4. Pattern, by Domenico de Fossi, of Florence, 16th century, (Raguenet). 5. Intarsia pattern, Sta. Maria in Organo, Verona; in the original the interstices are enriched by plant sprays. BANDS. 137 The Interlacement Band. Plate 86. 138 HANDS -4- 2. Plate 87. The Interlacement Band. BANDS. 139 The Interlacement Band. Plate 88. 140 BANDS. Plate 89. The Interlacement Band. BANDS. 141 The Interlacement Band. Plate 90. 142 The Interlacement Band. The Rosette Band. 6. Title border of a mathematical work, printed in Paris, Oronce Pine, 1544, (Hirth). 7. Soffit ornament, entrance of the Otto Heinrich building, Hei- delberg, 1556 to 1559, (Musterornamente). PLATE 90. THE INTERLACEMENT BAND. 1 6. Angles of Border, Modern French, (Raguenet). 7. Edge of a modern Damask border, (Gewerbehalle). 8 9. Modern borders, (Botticher, "Ornamentenbuch"). 10. Modern wood intarsia, (Gewerbehalle). THE ROSETTE BAND. (Plate 91.) The term "Rosette Band" is a general name for rosette, spray and other bands, when the rosette is the leading characteristic. The single rosettes, which are similar to conventional roses seen in front- view, are either in immediate juxtaposition (Plate 91. 1 and 3), or divided by channels (Plate 91. 2), by calices (Plate 91. 5, 7, 12), or by stalks and sprays (Plate 91. 4, 6, 10, 11). The Rosette bands are either current, that is, they have a definitive direction sideways; or they are entirely without direction, that is, they are symmetrical, not only from top to bottom but also from right to left. By allow- ing the rosettes to overlap we get a band more or less identical with the so called Strung-coin, or "money-moulding", (Plate 91. 13 and 14). Rosette bands are especially common in the Assyrian style, in Antique vase painting, in the Medieval enamels (Cologne enamel), in" the Indian style, in the Renascence, and in the Modern styles. PLATE 91. THE KOSETTE BAND. 1. Antique vase painting. 2. Modern decorative pattern. 3 Antique bronze shield. 4 and 6. Antique patterns, after Jacobsthal. 5. Neck of a Greek hydria. 7. Latin Evaifgeliarum, written by Godescald for Charlemagne, 8th century, (Racinet). 8. Enamel brnament, the great reliquary, Aachen. (Racinet). 9. Indian enamel border, (Prisse d'Aveunes). 10. Indian carving, (Owen Jones). 11. Intarsia border, Sta. Maria in Organo, Verona, 1499, (Muster- ornamente). 12. Popular Renascence pattern. . 10. Pattern, Persepolis. 14. Plastic border, Louis XVI. style, (Raguenetf. BANDS. 143 K^/CC . O The Rosette Band. Plate 91. 144 BANDS. Plftte 92. The Palmette Band. Tbo Palmetto Band. The Vertebrate I3anl 145 THE PALMETTE BAND. (Plate 92.) The Palmetto is a specifically Greek kind of ornament. Like the fin- gers of an outspread hand (palma, the palm of tho hand) a group, odd in number, of narrow, entire leaves is combined into a spnmet- rical ornament. The centre leaf is the largest; and the leaves diminish gradually as they approach the sides. Tho tips of the leaves lie on a regular curve." The lower ends of the leaves are disconnected, divi- ded from each other by slight intervals, and usually spring from a tongue-shaped leaf. The delicate sensitiveness of Greek artistic feeling finds a striking expression in this ornament. It is applied in mani- fold ways, e. g: as Antefixes and Akroters, as Cornice-decoration (comp. the group of Free ornaments), and as Palmetto borders. In rare cases the Palmetto ornaments are in juxtaposition without anything between them this is usually tho case on tho Lekythos (a Greek vessel for Oil, &c.) Plate 92. 3 in the majority of cases the palni- ettes are connected or bordered by spiral bands (Plate 92. 1. 2 etc.). Palmette ornaments are of frequent occurrence on Greek vessels, and on the friezes of their architecture. Where they occur in later styles: it is only sporadically; and the severe classical beauty is not retained. PLATE 92. THE PALMETTE BAND. 1. 2, 3 and 5. Paintings, Greek, terracotta vessels. 4. 6 and 7. Greek, friezes. 8. Intarsia, Italian Renascence. 9. Modern, wrought iron trellis. THE VERTEBRATE BAND, &c. (Plates 9396.) Leaf bands are generally numerous in all styles; and as varied as are tho modes of their application. The leaved stalk, with or without flowers, fruits, &c., is the simplest natural motive. The various plants are used as a basis, partly with, partly without, symbolical reference. The Antique chiefly availed itself of the laurel, olive, and ivy; the Middle Ages used the vine, clover, thistle, and maple; the Renascence shows the Artificial leaf. To these traditional patterns: Modern art has added some others which are specially adapted for naturalistic representation, such as the convolvulus, the passion-flower, the hop, &c. Thus we find in the Antique: a succession of buds (Plato 93. 1); straight stalks with leaves, either attached or free (Plate 93. 2, 3); or undulating stalks, with leaves, fruit, or flowers (Plate 93. 4, 5, G). Meyer, Handbook of Ornament. 146 The Vertebrate Band, & the Undulate Band. The latter mode was retained in the Medieval style; in the Roman- esque style the stalks are more compressed, and the lobes of the leaves fully rounded (Plate 93. 7, 8); in the Gothic style the former are thin and extended, the latter slit and pointed. Extremely common are the two forms depicted on Plate 94, 7 and 8. Characteristic of the late Gothic is the. example 13, Plate 94; this kind of ornament- ation is excellently adapted for simple wood -carving and stamped leather-work. The Oriental conception, in textile fabrics and by the engraved and inlaid metal-work, is shown (Plate 94. 1 4). Intarsia. technique, leather-stamping, weaving, and the ornamenta- tion of manuscripts offered the Renascence opportunity to make use of, and to vary the floral border with" advantage (Plate 95). Inter- lacement and floral patterns are frequently combined in the same example (Plate 95. 5 and 6). As examples of Modern art, the naturalistic borders figured on Plate 96. 911. are given. When the main-stem runs longitudinally along the centre of the Band; like the vertebral- column in the skeletons of animals, then the arrangement is termed Vertebrate. When the ^nain-stem oscillates from side to side (as in Plate 93. 4, 5, & 8), then the arrangement is termed Undulate. PLATE 93. TIIE VERTEBRATE BAND, &c. 1 6. Paintings, Greek, terracotta vessels. 7 8. French, mural paintings, 13th century, (Racinet). 9. Glass window, Cathedral, Bourges, 14th century, (Eacinet). 10. Medieval. 11. Intarsia, Sta. Maria in Organo, Verona, 1499. 12. Modern, plate -border. PLATE 94. THE UNDULATE BAND. 1 3. Persian, metal vessels, (Racinet). 4. Indian. 5. Byzantine, glass mosaic, San Marco, Venice, (Musterornamente). 6. Portion of Romanesque initial, 13th century, Berlin Museum. 7. Romanesque, portal of cathedral, Lucca, (Musterornamente). 8. Gothic flat carving, end of 15th century, (Musterornamente). 9. Medieval, mural painting, Swedish church. 10. French, mural painting, 13th century, (Racinet). 11. Early Gothic, French. 12. Gothic, manuscript ornamentation. 13. Late Gothic, flat carving, 15th century, (Musterornamente). BANDS. 147 The Vertebrate Band, &e 148 BANDS. Tlate 94. The Undulate Band. BANDS. 149 The Undulate Band, &c. Plate 95 150 BANDS. Plate 96. The Undulate Band, &c. The Undulate Band. The Evolute-Spiral Band. 151 PLATE 95. THE UNDULATE BAND, &c. 1 2. Leather stamping, 16th century, Schwabisch Hall, (Muster- ornamente). 8. Terracotta frieze, castle of Schalaburg, Lower Austria, (Wiener Bauhiitte). 4. Intarsia frieze, from the same castle. 5 G. Borders of robes, tombs in Niederstetten and Lensiedol, 16th century, (Musterornamente). 7. Renascence, manuscript ornament. 8 9. German Renascence, (Hirth, Formenschatz). 10. Archivolt of door, Otto-Heinrich building Heidelberg castle, German Renascence. 11. French, Renascence. PLATE 96. TILE UNDULATE BAND, &c. 1. Border, picture by Domenico Zampieri, 16th century, (Muster- ornamente). 2. Border, half -columns, Sta. Trinita, Florence, Italian Ro nascence. 3. Intarsia frieze, stalls, San Domenico, Bologna, Italian Re- nascence. 4. Wrought -iron trellis of balcony, Milan, (Gewerbehalle). 5. Frieze, Italian Renascence. 6. Modern, (Cesar Daly). 7. Modern. 8 9. Laurel and oak borders, (Gewerbehalle). 10 11. Modern Borders, (Gewerbehalle). TUB E VOLUTE -SPIRAL BAND. (Plate 07.) The wave of the sea has been suggested as the motive of this "wave" pattern; but its origin is purely geometrical. Tho lino of the E volute -spiral pattern divides the surface of the bonier .into two parts, which in Hat ornament are coloured differently. In plastic work, for which the pattern is also suitable, the lower part projects. In wrought- iron -work: the curved lino runs freely between two bars. Tins pattern is adapted for borders of robes, shields, and pUtes; for uso on vessels, friezes, cornices, and tablets in architecture; and also as borders, for tapestries, and mural-paintings. A rosette is often placed at. the- volute-centres (Plato 07. 2 and 4); tho interstices between the lines aio sometimes decorated with leaves and tlower-binls (Plato 07. 9 12). This occurs chiefly in the Renascence period, when Uio Antique seemed too simple. How 152 The Evolutc-Spiral Band. The Enrichment of the Bead Moulding. far this may be carried, in some cases, in shown by fig. 14, in which the evolute-spiral line is nothing more than the skeleton of the orna- ment. The Middle Ages did not use this form at all._ Angles, and centres are arranged as shown on figs. 4 7. This band is excellently adapted for the framing round circular panels. PLATE 97. THE EVOLUTE-SPIRAL. 1 4 Paintings, antique vessels. 5 6. Angles. 7. Central junction. 8. Pattern round a circular panel. 9. Painting of a stove tile, German Renascence, Germanisches Museum, Nuremberg. 10. Modern borders. 11 Border, by Sebastian Serlio, 16th century. 12 Frieze, "Otto-Heinrich building of Heidelberg castle. 13 Wrought-iron trellis, temple of Apollo in the garden of the castle at Schwetzingen. 14. Painting, Palazzo ducale, Mantua, Italian Renascence. THE ENRICHMENT OF THE BEAD MOULDING. (Plate 98.) Bead, or Astragal, is the name given to those small half-round Mouldings, which are often enriched by ornaments like Pearls, strung together, &c., or as turned bands a.'ad cords. Generally they are only used in plastic art, and as a rule not alone; but below the Egg- and-leaf ornaments, and similar cornice profiles (Plate 100). They also occur as intermediate members between the shaft and the capital of columns. Beads are enriched with balls, discs, or ovals, in rather more than half relief. The simplest bead-enrichment is formed of round pearls, either close together or permitting the representation of the thread to show between them. Disc and oval enrichments are seldom used alone, but arranged alternately, as shown in figs. 1 to 7 In addition to the simple examples of the Antique, the Renas- cence uses richer forms, the single members being again ornamented, profiled and more arbitrarily fashioned (Plate 98. 8 and 12), or finished-off with small leaf calices (Plate 98. 9 and 10). Wood carving avails itself of strung discs seen in perpective (Plato 98. 11). The enrichments may also suggest torsion. After the moulding is made, it is set-out like a screw, as indicated by the auxiliary constructions in figs. 13 17. Leaves or pearls sometimes lie in the hollows and follow the thread of the screw (Plate 98. 17). BANDS 153 The Evolute-Spiral Bund. Tlate 97. 154 MOULDINGS. o I ^isfl Plate 98. The Enrichment of the Bead Moulding. The Enrichment of the Astragal, the Torus, and other Mouldings. 155 Here also must be grouped those ribbons rolled spirally round rods, such as we find in the art of the Middle Ages and the Re- nascence (fig. 18). Corners are generally covered with a small leaf. PLATE 98. THE ENRICHMENT OF THE BEAD MOULDING. 1 7. Simple enrichments, Antique. 8 12. Richer enrichments, Renascence. 13 17. Beads enriched like twisted ropes. 18. Spiral-ribbon enrichment, Louvre, Paris. THE ENRICHMENT OF THE TORUS MOULDING. (Plate 99.) Torus is the name given to those larger mouldings of semi- circular or semi-elliptic section, such as are specially used in Archi- tecture on the bases of columns and pilasters, on socles, on Mediaeval door and window arches, and on the ceiling mouldings of the Renascence and Modern times. While the smaller beads are ornamented with pearls and twisted cords, these more important mouldings are dec- orated by enrichments which resemble a bundle of rods round which ribbons are twisted at suitable places (figs. 1 and 2); by surrounding them with plaited or net work (figs. 8, 4, 7); by clothing them with foliage (figs. 6, 9, 10); or by combining the various systems (figs. 8 and 11). In modern times the Torus is enriched by bound clusters of fruit. Water -leaves, artificial leaves with serrated margins, laurel, oak, ivy, &c. are most in use for the leaf ornaments. As in the case of fruit clusters: ribbons are twined spirally at suitable placed round the fruit or foliage (figs. 5, 6 and 12). All these examples are drawn by first marking-off the divisions on the profile, as indicated on the figures. PLATE 99. THE ENRICHMENT OP THE TORUS MOULDING. 1 2. Modern. 3 4. Antique. 5 6. Antique, decorated with laurel and oak. 7. Mediaeval. 8. Mediaeval, decoration of an archivolt, Gelnhausen, 1 3th century. 9. Temple of Jupiter, Rome. 10 12. Louvre, Paris, French Renascence, (Baldus). THE ENRICHMENT OF OTHER MOULDINGS. (Plate 100.) The Egg-and-tongue enriches, in architecture, the ovolo moulding of capitals, and the lower members of cornices, &c. 156 MOULDINGS. Plate 99. The Enrichment of the Torus Moulding. MOULDINGS. 157 The rnru-hniout uf the Cymn, um! Ovolo Mouldings. Tlate 100. 158 The Enrichment of Mouldings. In these cases it harmonises the support and the weight; and has also a decorative purpose as a bordering member. The Leaf enrichment may be explained in the following way: a row of leaves, growing upwards, supports the* weight, and is bent outwards by its pressure (fig. 1). If this only occurs partially, we have the Doric form (fig. 2). If the leaves are bent -down tow- ards their lower ends (fig. 3), we obtain forms like the so-called "Lesbian cymatium." A false conception, which regarded the leaf-shape merely as a geometrical element, afterwards gave rise to the corrupt forms of the late Greek and Roman styles (figs. 5 a, 6 a, and 6b). If the simple waterleaf be replaced by more richly serrated ones like the Artificial leaf, we obtain examples 'like fig. 7. Figure 8 shows the egg pattern, from which all the more or less misunderstood varieties have, in course of time, been derived. The dart-shaped intermediate leaves have often been developed into actual darts; and the eggs or curved surfaces of the leaves have also been covered with independent ornamentation, in complete defiance of their origin (figs. 10 and 14). The corner is treated, either by freely carrying the pattern over into a pahnette anthemion (figs. 15 and 16), or by covering it with independent leaves. Further details on the subject of this chapter will be found in Botticher's Tektonik der Hellenen. PLATE 100. THE ENRICHMENT OF THE CYMA AND OVOLO MOULDINGS. 1 and 3. Drawings to illustrate the origin of the pattern. 2. Graeco-Doric, painted. 4. Leaf, Erechtheum, Athens. 5 and 6. Corrupt leaf, (Botticher). 7. Roman leaf, (Jacobsthal). 8. Greek egg-and -tongue,, Erechtheum, Athens. 9. Campana egg- and -tongue, Graeco-Italic, Campana collection. 10. Colossal egg-and-leaf, temple of Jupiter Tonans, Rome. 11. Roman egg-and-dart, Aries cathedral, (Raguenet). 12 13. Renascence egg-and-dart, (Raguenet). 14. Modern egg-and-dart, (Raguenet). B. FREE ORNAMENTS. Those ornaments, which are applied to suggest the end or finish of an object, may be classed in a group which, following an ex- pression already introduced, are termed "free ornaments", the word "free" implying not a severely-enclosed Baud or Panel, but a freely- treated Edge-ornament. The Edging may be arranged to grow .in an upward, downward, or lateral direction; the character of the ornamentation will be depen- dent on these conditions. Endings with an upward direction are most numerous; and as plants, with their natural, upward growth, an adapted for this purpose, foliated ornament is the usual decoration of Akroters, Antetixcs, Steles, Ridges, and Finials. Crosses, Knobs, Rosettes, and Pendants, are independant Free- ornaments, which aro generally geometrical in their treatment. In Tassels and Fringes, which form endings in a downward direction, the organic plant motive is, of course, excluded; while Lace (woven, pillow, c.) avails itself of both motives, either singly or combined. Crockets aro foliated excrescences which are popular in the Gothic style as an ornament of the edges, and ribs of buildings Gargoyles (as aro termed the Rain spouts winch occur so fre- quently in the architecture of the Middle Ages and the Renascence) are also Free ornaments with a lateral direction; they have often the form of figures, less often those of decorated channels. 1GO The Link Border. THE LINK BORDER. (Plates 101102.) Link Borders are so termed because the transversely growing foliage is connected together by Scrolls which serve this purpose, like the "Links" of a chain. Of this class are much decoration of cornices, crestings in architecture, and fringes in textile art. Besides these, Link borders, which may be enlarged at will, and have a de- finite direction upwards or downwards, are used in a similiar manner as Borders as edgings for carpets, plates, and panels; as borders for walls, floors, and ceilings (in which case the edging almost invariably grows outwards); on the neck, body, and feet of vessels; and fre- quently in architectural friezes. Palmetto leaves, connected by circles or by links, are adapted for edgings.. The typical form is found on Antique vessels and friezes; its forerunner is seen in the connected lily and pomegranate of the Assyrian style. The Link -border is found in every subsequent style, both flat, and in relief. It is generally composed of identical details, symmetrically re- peated. Unsymmetrical and naturalistic forms are rarer, (Plate 101, 10). PLATE 101. THE LINK BORDER. 1. Assyrian, painted bas-relief, Khorsabud. 2. External margin, Greek kylix, (Lau). 3. Greek hydria, (I/art pour tous). 4. Greek, cyma. 5. Mosaic ornament, San Marco, Venice, By/ant ine, (Musteronia- mente). 6. Medieval, mural painting, Swedish church, (Rncinet) 7. Old embroidery, Eisloben, (Vorbildor fiir Fabrikanten und Hand- werker). 8. Painted, Cathedral, Brandenburg, (Vorbilder fiir Fabrikanlen und Handwerkor). 9. Illumination of a Koran, tomb of the Sultan El-Ghury, IGlh con- tury, (Prisso d'Avennes). 10. Majolica dish, Germanisches Museum, Nuremberg. 11. Majolica dish, 16th century, (Kunsthandwerk). 12. Modern, (Gewerbehalle). PLATE 102. THE LINK BOUDEU. 1. Greek, carved frieze, Erechtheum, Athens. 2. Roman, frieze, (Fragments do 1'architecturo antique). 3. Romanesque, frieze, 13th century, (Musterornamente). The Link Border. on Mouldings. The Cresting 181 4. Arabic, mosque of tbo Sultan Hassan, Cairo, 14th century. 5. Italian Renascence, Marble frieze, tomb of the Conte Ugone, Badia, Florence, (Weissbach und Lottermoser). 6. Italian Renascence, Intarsia frieze, (Meurer). 7. Modern decoration, (Kolb und Hogg, Vorbilder ftir das Orna- mentenzeichnen). THE LINK BORDER ON MOULDINGS. (Plate 103.). The cyma in architecture is the topmost or concluding member of a cornice. It is frequently used as a gutter. The section is some- times a concave or convex quadrant, but in most cases consists of two arcs curving inwards and outwards respectively, (fig. 3). The ornamentation was merely painted in the earlier periods; but afterwards received a plastic form. It is chiefly composed of palmetto leaves, either unconnected (fig. 1 and 2) or connected (figs. 8, 5 and 6), with Lily cups between. Artificial leaves, pointing up- wards and lying close on the profile with calices or water-leaves peep- ing out between them (fig. 4) are also used. The Middle Ages used both systems, especially the latter, with the latter, with the modifications required by the changed forma of the leaves, (figs. 7 and 8). Both the Renascence and Modern art follow the tradition of the Antique; but give the Palmetto ornament a richer form, (figs. 8 12). PLATE 103. THE LINK-BORDER ENRICHMENT OF MOULDINGS. 1 4. Antique, (Botticher). 5. Roman altar. 6. Graeco-Italic terracotta ornament, (Liovre). 7. Romanesque cornice, house, Met'/, 12th century, (Raguenet). 8. Cornice, Notro Damo, Paris, 13th century, (Musteroruameuto). 9 10. Cornice, Louvre, Paris, French Renisceuce. 11. Marble frieze, tomb in Sta. Maria sopra Minerva, Rome, Italian Renascence. 12. Modern, (Arch. Skizzenbuch). TUB CRESTING BORDER. (Phite 104.) Crostings nro intended to ornament the ridge or top of the roof. Such ornaments have been especially popular in France from Gothic Meyer, Unndbook of Oriiarmnt. 162 FREE ORNAMENTS. Plate 101. The Link Border. FREE ORNAMENTS. 163 Yt*^*VM \i\L\' r- vT ' 7-^ I 4^ ^rr*^- x. V^ ' . i \f > . -^ "_ . . Ssr The Link Border. IMate 102. 11* 164 FEEE ORNAMENTS. Plate 103. The Liuk-Lorder Enrichment of Mouldings. FREE ORNAMENTS. 165 The Cresting Border. Plate 104. 166 The Cresting. The Akroter, &c. times to the present day. They are mostly of perforated work, ami the top has usually a varied mass-shape. The materials used are stone, lead, wrought-iron, and, in modern times, zinc. Similar ornaments are also found as Finals of entablatures and attics, as well as on the Balaustrades of galleries. Cresting ornaments appear on Gothic Altars, Shrines, Chim- neypieces, &c., and in cast-iron on our modern Stoves, Railings, Ac. The Antique made no use of this form, although similar forms occur, as, for example, on the entablature of the well-known monu- ment of Lysikrates. On the other hand, we must mention those. Valence-like borders which are seen on* the terracotta reliefs of the Campana collection, represented on figs. 6 and 7. In most cases, these latter ornaments, if reversed, may be used as crestings. PLATE 104. THE CRESTING BORDER 1. Gothic, (Jacobsthal). 2. Modern Gothic, cast-iron. 3. Modern French, castle Of Pierrefonds, restored by Viollet-le Due, (Raguenet). 4. Modern French, Cour de Cassation, Paris, (Raguenet). 5. Modern German, by Gropius of Berlin, (Arch. Skizzenbuch). 6 7. Graeco-Italic borders, downward growth. THE AKROTER, &c. (Plates 105106.) The Akroter is the feature which serves as on ornamental finish to the apex of a gable. Antique temples bear this decoration in a great variety of materials: stone, terracotta, painted, plastic, and cast in metal. Groups of figures, griffins, &c., were sometimes used for this purpose; but the usual features were slabs of Marble, bearing a palmette ornament, the central decoration of which is sometimes a mask, (Plate 105. 5). Smaller ornaments of a similar kind are found ranged along the lower roof line, in front of the Imbrices; and these arc termed Antefixes. The Middle Ages and the Renascence make no general use of the Antcfix, but it occurs on Modern monumental buildings in the Antique style. The corner Akroter which isusually found at the lower ends of the gable lines, consists of half the motive of the central one, (Plate 105. 6). PLATE 105. THE AKROTER, AND THE ANTEFIX. 1. Greek Akroter, painted, temple of Wingless Victory, Athens. 2. Greek Akroter, painted, Acropolis, Athens. The Akroter. The Stele Crest. 167 3. Greek Antefix, Parthenon, Athens. 4. Greek sepulchral Stele-crest, in the form of an Akroter. 5. Graeco-Italic Akroter, terracotta, Museum, Perugia. 6 7. Front and side view of a corner Akroter, (Bo'tticher). PLATE 106. THE AKROTER, &c. 1. Greek Antefix, Propylaea, Athens, (Raguenet). 2. Roman Antefix, temple of Jupiter Stator, Rome. 3. Modern French Antefix, Theatre des Celestines, Lyons, Archi- tect Renaud, (Raguenet). 4. Modern French Akroter, house in Pans, Architect Renaud, (Raguenet). 5. Modern French Akroter, Orleans railway station, Paris, Archi- tect Renaud, (Raguenet). 6 7. Akroter and Corner- akroter, fountain in the Certosa near Flo- rence, Italian Renascence. THE STELE CREST. (Plate 107.) The Stele is the Greek tomb-stone. It usually takes the form of an upright tablet, sometimes tapering towards the top; and bears an inscription. It is sometimes decorated with rosettes, garlands and figures. At the top is a plain cornice, on which an ornament, similar to the Akroter, forms the crowning finish. Although the Akroter and the Stele-crest often have a perfectly identical form (Plate 105. 4 shows a crest which might just as well have been an Antefix) , still the style of the crest is as a rule more severe; and it is characteristic of a great number of Steles that they have not the striking palm- ette Centre, which the Akroter always possesses, (figs. 2 and 8). Very often, too, the crest is so designed that the sides are extended, to make a larger feature, (figs. 1 and 4). These Monuments, dedicated to the memory of the dead, show better than almost anything else the special individuality and beauty of Greek ornament. PLATE 107. THE STELE-CREST. 1. Stele-crest, (Stuart and Revett, Vulliamy, Jacobsthal). 2. (Jacobsthal). 3. ("L'art pour tous"). 4. (Lievre). 168 FREE ORNAMENTS. Tlatc 105. The Akroter, and the Antefix. FREE ORNAMENTS. isy The Akroter, &c. Plate 106. 170 FREE ORNAMENTS. EYTYXGS H ? I N H n Plate 107 S The Stele Crest. FREE ORNAMENTS. 171 The 1'erforated Cresting. Plate 103. 172 The Perforated Cresting. The Cross. THE PERFORATED CRESTING. (Plate 108.) In modern wood buldings, the dressings, intended to form an ornamental finish to the construction, are often perforated. The Gable is decorated by a Finial,; smaller corner -ornaments are attached to the lower ends of the lines of the gable; the pro- jecting ends of the gable - rafters are also provided with Br.rge -boards, both for decorative effect, and also, no doubt, to serve as a protection against the weather. The Finials are fashioned as Knobs of varied profile, with a direction downwards. The oblique lines of the Gable and the horizontal lines of the Roof are also covered with Barge- boards. The material requires a special treatment; as the ornamentation must be large and broad, and have as many points of connection in itself as possible. Wooden ornaments of this kind are found on Pavilions, watchmen's Huts, Farm-houses of richer construction; country Villas in the Swiss cottage style, &c. Among architectural works which deal with wood buildings and especially with the decoration of them: we may mention the works of H. Bethke (Details fur dekorativen Holzbau), from which the majority of the figures on Plate 108 have been taken. PLATE 108. THE PERFORATED CRESTING. 1. Top ornament of a gable, by the architect Eisenlohr, of Carls- ruhe. 2 7. Various Barge-boards, (Bethke). THE CROSS. (Plate 109.) The Cross (Latin crux, French croix) is the most important symbol of Christian art. It symbolises the person of Christ, Christ- ianity and Sacrifice. Its decorative applications are innumerable, and of great variety. Various fundamental forms of the cross have been distinguished and are known by different names. The Greek (or St. George's) cross consists of two arms of equal length, bisecting each -other at right angles. In the Latin cross the lower limb is lengthened. These two forms are those most often used. In the St. Andrew's cross the arms cross each -other diagonally. St. Anthony's (the Egyptian or Old Testament Cross) is a Latin Cross without the upper limb. Omitting from consideration the Crucifix, which represents the crucifixion of Christ, we shall find the Cross in the utmost variety FREE ORNAMENTS. 173 The Cross. Plate 109. 174 FREE ORNAMENTS. Plate 110. The Cross. The Cross. The Finial. 175 of form on Utensils and Vessels, on Robes and Garments, on Carpets aod Banners dedicated to religious uses; in Heraldry, and as a Freo ornament to form the upper ornamental finial of Architecture. In Christian architecture: the Cross is used as a Bnial on Steeples and Gables, on Tombs, Pulpits, &c. Often it is employed alone, as a monument, (Tomb, wayside and votive crosses). PLATE 109. THE CROSS: IN STONE. 1. Modern French, Charterhouse Glandier, (Raguenet). 2. Modern. 3. Modern French, with the Monogram of Christ, Genouilleux, (Ra- guenet). 4. Gable of a church, St. Urban's, Unterlimburg, Schwabisch-Hall. 5. Tomb, churchyard, Baret, llth century. 6. Modern French, Pere-Lachaise, Paris, (Raguenet). 7. Steeple, St. Pierre, Montrouge, Paris, (Raguenet). 8. Tomb, St. Lazare, Montpellier, (Raguenet). 9. Granite, Tomb, Becon, (Raguenet). TIIE CROSS IN METAL. (Plate 110.) Wrought-iron, and, in late years, cast-iron and zinc, are sometimes used as a material for steeple and gable Crosses, as well as for monu- mental Crosses. The ductile nature of wrought-iron admits of a rich, delicate execution of these objects. The German Renascence, in parti- ticular, offers a wealth of forms in this respect. The framework usually consists of strong bar-iron; the orna- mental decoration is in flat or round iron, fastened to the frame by clamps or rivets. Hammered foliage is sometimes added. In many cases the point of the steeple Cross is decorated with a Cock as weather-vane. The centre of monumental Crosses is often occupied by a plate of metal, to contain the Inscription. PLATE 110. THE CROSS: IN METAL. 1 3. Mediaeval steeple Crosses, Franconia, (Gewerbehalle). 4. Modern steeple Cross, (Bad. Gowerbezoitung). 5. Steeple Cross, St. Ambroise, Paris, Architect Ballu, (Raguonet). 6 7. Wrought-iroa tomb Crosses, Thiengen, 18th ceutury. THE FINIAL. (Plato 111.) While the ordinary Cross rises as a Free-ornament in a vertical plane, the final makes a Cross, in plan. It extends its arms not only 175 The Fiuial iu Stone, and in Metal. sideways, but also regularly to the front and back. Crocket-like ad- ditions (comp. plate 116) clothe the stem, which usually takes the form of an elongated four or eight-sided shaft. There may be one or more tiers of crockets. The Finial serves to decorate Spires, Pinnacles, Baldachins, Tombs, &c., and is a specifically Gothic ornament. The most beautiful forms are furnished by French Gothic, from which most of the il- lustrations of our plate are taken. PLATE 111. THE FINIAL: IN STONE. 1. Modern Gothic. 2. Early Gothic, (Jacobsthal). 3. French Gothic, (Viollet-le-Duc). 4. Early Gothic, cathedral, Chartres, 13th century, (Musterorna- inente). 5- 6. Modern, (Viollet-le-Duc). 7. Modern, (Bosc). THE FINIAL IN METAL. (Plate 112.) In the artistic wrought-iron work of the Middle Ages, the .Re- nascence, and Modern times, we find charming Fiuials in tho shape of idealised flowers. These decorations are found on the tops of Balaustrades, on the Gables over Doors, on Brackets and Chandeliers, on the supports of Rain -spouts, on Wall -anchors, &c. Leaves, volute-like spirals, bell-flowers, and ears, are arranged round a central axis of iron; in many cases the centre is /ormed by spindle-shaped spirals of wire. PLATE 112. THE FINIAL: IN METAL. 1. Corner of a Mediaeval Grill, (Viollet-le-Duc). 2. Part of a Grill, Toulouse cathedral, 15th century, (Viollet-lo-Duc). 3. Termination of a Fountain, Cluny museum, Paris, 15th century, (L'art pour tous). 4. Part of a Spanish Trellis Gate, 14th century, (L'art pour tous). 5. Part of a Chancel Screen, minster, Freiburg, 16th century, (Schau- insland). 6. Wrought-iron, 16th century, (Guichard). 7. Terminal, Bruges, 17th century, (Ysendyck, Documents classes de 1'art). 8. Modern, wrought-iron, Ihne & Stegmuller, Berlin. 9. Modern, Post, by Ende & Boeckmann, Berlin, (Gewerbehalle). 10. Wrought-iron Coronal, Limburg on the Lahn, 17th century, (Kachel, Kunstgewerbliche Vorbilder). 11. Coronal, modern Gate, C. Zaar, Berlin. FUEK ORNAMENTS. 177 The Finial. Mfyer, Handbook of Ornamcut. Plate 111. 12 178 FREE ORNAMENTS. Plate 112. The Finial, &c. The Finial Knob, and Vase. The Pendant Knob. 179 THE FINIAL KNOB, AND VASE. (Plate 113.) Knob is the term applied to ornamental terminations in the form of profiled bodies of revolution, naturalistic buds, fir-cones, &c. Knobs are small features used as the terminations in architecture and furniture. They are also used on Flag-staffs, Bosses of Shields, Centre-pieces of rosettes, fc^i&CT W Plate 120. The Lace Border. The Lace Border. 193 Lace belongs in most cases to the Free -ornaments. More rarely it is manufactured as an Insertion, with the character of a ribbon, or for independent use as a Shawl or Wrap. Compared with Fringe, the applications of Lace are freer and more varied, and by no means con fined to the character of a pendant termination. The reader may be assumed to be acquainted with the various uses of lace. If we exclude the allied Crochet-work as not strictly belonging to this section, we shall find that the manufacture of Lace may be divided into two groups: (1) sewed or Point lace; and (2) bobbin or Pillow lace. The former method has chiefly been practised in Italy, Spain, Ireland, and France; the latter in England, France, the Nether- lands, Schleswig, Switzerland, -and Saxony. The chief centres of the lace industry were and to some extent still are: Venice, Genoa, Milan, Ragusa, Devonshire, Buckinghamshire, Ireland, AlonQon, Valenciennes, Brussels, Mechlin, Binche, Tondern, Annaberg, &c. As in other branches, the cheap Machine-made article has nowa- days reduced the manufacture of the dearer but far more valuable Hand-made lace to very modest limits. See Reports on Lace, by Alan S. Cole (Department of Science and Art). Among the numerous kinds of Lace for which no generally re- cognised terminology as yet exists, we have selected some, principally of older date, among which the best patterns are to be found: Point coup6 (punto tagliato). The linen ground is cut-out and the edges worked with thfl needle. Point tir6 (punto a maglia quadra). Single compartments of a quadrangular knotted or woven net are filled -up. Point tir6 (punto tirato). The threads of the linen fabric are partially pulled-out, the others connected together and sewed round. Point coupe", (punto a reticella). Groups of threads stretched lengthwise and crosswise like a net, are spun round and connected. Point noue (punto a groppo). Produced by plaiting and knotting the threads. Point lace. The threads are sewed together, following the pattern, and joined together by "brides". This is almost the only kind of lace which can now be found on ladies' work-tables. PLATE 120. THE LACE BORDER. 1. Venetian guipure, old pattern-book. 2. Point noue, end of the 15th century. 34. Old, point 5 8. Modern, pillow, old patterns. 9. Modern, knotted, with fringe, (Macrame lace). Moyr, Handbook of Ornament. 194 a SUPPORTS. All those elements of ornamental art which express the idea oi supporting or bearing, are here gathered into a special group to which is given the name "Supports". Supports, in the strict sense of the word, are piers or columns. But it does not fall within the scope of this work to treat these forms from the architectural point of view, or to enter into the details and proportions of the so-called "Orders of Architecture". All that is required on this point may be gained from the works of architectural specialists: Bo'tticher, Tektonik der Hellenen; Mauch and Lohde, Die Architektonischen Ordnungen; E. Phene" Spiers, The Orders of Archi- tecture; Vignola; Durm and others. We will therefore disregard the undecorated forms, and discuss only the decorative details of these supports. Like a tvee which consists of root, trunk, and crown, Piers and Columns necessarily have a base, a shaft, and a capital. (The Doric Column is an exception as it has no base.) The natural model for the Pier and the Column is the trunk of a tree hewn into a cylindrical or prismatic form. The motive of the channellings and flutings of the shaft of a support is to be found in the channels and flutings of Endogeneous Plants. Supports which, like piers and columns, are intended to bear a considerable weight, usually have a strong cylindrical or prismatic structure, generally tapering towards the top; the fundamental forms of tlie Candelabrum, which is meant to bear only an inconsiderable weight, like Lamps, &c., are freer, have more variety, and offer a wider field for decoration than the forms of the former group. The Candelabrum is also divided into foot, shaft, and crown. The shaft, Supports. The Foliated Shaft. 195 again, is frequently composed of several distinct parts. The cande- labrum as a whole will receive a more detailed consideration in Division III, (Utensils). Small Pillars, shaped like a pier, column, or candelabrum, are also used for the construction of balaustrades; in which case they have to support only a Rail. The small Pillars have thick, compact forms; Balausters, on the contrary, are slender bodies of revolution, with great variety in the profile. Very peculiar forms of support are the antique Trapezophors or table-legs; the Legs of modern furniture bear more resemblance to balauster pillars. Terminus is the name given to supports which widen out in an upward direction like an inverted Obelisk, and terminate in a bust or capital. Beside the geometrical and plant elements, the human form is also used as a motive of supports. Male forms thus used are termed Atlantes; and female forms Caryatids. The various forms of Consoles are included in the group of Supports, THE FOLIATED SHAFT. (Plato 121.) We have already mentioned that the Plant-world furnishes the motive for the forms of Supports. Reeds, Canes, Tree-trunks with knots, &c., were copied in the Antique. The mural paintings of Pompeii show lofty airy constructions with extremely slender, foliated supports. The bronze Candelabra and Lampadaria, intended to hold lamps, are often direct imitations of plant stems, while the Roman State-Candelabra are often decorated- with Artificial foliage. Later epochs have made little change in this respect; it may be said in general that, as regards delicacy of fooling, and moderation in the application of natural forms, they have seldom reached and still more seldom surpassed the Antique models. PLATE 121. TUB FOLIATED SHAFT. 1. Finial of the choragic monument of Lysikrates, Athens, (in- tended for the reception of a bronze tripod), Greek. 2. Part of the shaft of a Roman State -candelabrum, marble, Vatican museum, Rome. 3 4. Supports, mural paintings, Pompeii, (Jacobsthal). 5. Graeco-Italic, Lamp-stand, bronze. 6. Upper part of shaft, Graeco-Italic candelabrum, Brondsted collec- tion, (Vulliamy). 196 SUPPORTS. Plate 121. The Foliated Shaft. The Flutc.l Shaft. The Base. 197 TIIE FLUTED SHAFT. (Plato 122.) Columns, Piers, Candelabra, and similar Supports frequently have channellings or flutings. The object of these is to give animation to the smooth shaft, and to emphasize the expression of the principle of weight-bearing. This latter is specially true of the channellings. In the Doric style theFlutiugs are shallow without any interval, only divided from each other by a sharp edge, (figs. 1 and 2). The Ionic and Corinthian shafts, have deeper flutiugs (figs. 3 and 4), separated from each other by fillets formed of the untouched surface of the shaft. The channellings terminate upwards like small niches, with semicircular or elliptical heads, (fig. 5). Leaf-like terminations, like that on fig. 13 are rarer- The termination downwards is similar to those shown on figs. 6 8. The number of channellings on a shaft varies, from 18 to 24 On smaller constructions, such as Furniture, Balausters, &c., the number is reduced; but seldom less than 8. The Channellings taper proportionately with the shaft. Pilasters are also channelled to match the Columns. In strict Architecture, rich and composite channellings and flutings are rather injurious - than otherwise (figs. 7 11); but on Candelabra, and Mouldings they often produce a good effect. When applied to the Torus and the Cavetto: the former (convex) should be decorated by Nurls; and the latter (concave) should have Flutes. FIXATE 122. TIIE FLUTED SHAFT. 1 2. Sections of Doric Fluting. 3 4. Sections of Ionic and Corinthian Fluting. 5 6. Construction of the terminations of Fluting on cylindrical shafts. 7 11. Composite Fluting, with sections, and terminations. 12. Part of an Antique Candelabrum, with tapered Fluting. 13. Termination of the Fluting, monument of Lysikrates, Athens. (The construction is clearly indicated on the drawings.) THE BASE. (Plate 123124.) It is unquestionably more beautiful when something in the ehape of a Base is interposed between the shaft of a column and the substructure on which it rests, than when, as in the Doric style, the column rises without any such base. Bases suggested by the radical leaves of plants, are common in Oriental styles. Plate 124, fig. 1 gives an Egyptian example of this kind. Decorations of this sort are, however, oftener applied to the lower end of the shaft than 198 SUPPORTS. Plate 122. The Fluted Shaft. The Base. 199 to the Base itself. This natural method of decoration is also met- with on richly decorated examples of Roman style, where a row of Artificial leaves encircle the shaft, (Plate 123. 3). Antique Bases are composed of a square foundation slab (the plinth); and some mouldings which follow the circular plan of the shaft. The well-known and oft-used Attic Base, consists, beginning from below, of a plinth, a great torus, fillet, scotia, fillet, upper torus, fillet and apophyge. The last, as a quarter-hollow forms the transition between fillet and shaft. When the plinth is decorated, which is the case only in very rich examples, the motive is either a band or a scroll. The tori are de- corated with braided work, as shown on Plate 99, the hollow or "scotia" is sometimes decorated with leaves, the smaller tori may be treated as astragals; and so on. Plate 128 shows three rich Roman examples. Others will be found in Bb'tticher's Tektonik der Hellenen. The Byzantine and Romanesque periods follow the Antique in the treatment of Bases. The spaces which remain on the upper sur- face of the square plinth are, however, filled up with ornament (Plate 124. 8, 7, 8, 10), or with small animal figures, (Plate 124. 9). In the later Gothic style the torus overlaps the sides of the plinth, which reduces these spaces; the corners of the plinth are also some- times finished as shown on Plate 124. 6. The Gothic period prefers geometrical to organic form; and se- cures good effects by a variety of profiles placed high up on com- posite clustered columns, (plate 124. 11) gives an example of this. Remark the similarity with the Chinese example, fig. 2, which would seem to have been suggested by a cluster of juxtaposed shafts. The Renascence and modern styles resort to direct copying from the Antique; but, as a rule, do not use ornamented mouldings. The treatment of the Bases of piers and pilasters is usually identical with that of columns; so that there is no necessity for dealing with these separately. PLATE 123. THE BASE: ROMAN. 1. Capitoline Museum, Rome, (De Vico). 2. Temple of Concord, Rome, (De Vico). 8. Baptistery of Constantino, Rome, (Vorbilder fiir Fabrikanten und Handworker). Pi ATE 124. THE BASE: ROMANESQUE, &c. 1. Egyptian, Temple of Tutmes III, Karnak, (Raguenct). 2. Chinese, (Raguenet). 3. Romanesque, coupled, Schwarzach. 4 6. Mediaeval. 7. Romanesque. 200 SUPPORTS. Plate 123. The Base. SUPPORTS. 201 The Base. Plate 124. 202 The Base. The Ornamented Shaft. 8. Romanesque, St. Remy, Reims, (Raguenet). 9. Romanesque, Cistercian monastery, Maulbronn. 10. Romanesque, Abbey "des Dames", Caen, (Raguenet). 11. Gothic, church, Brou-Asn, (Raguenet). THE ORNAMENTED SHAFT. (Plates 125 126.) The simplest, most natural and perhaps the most beautiful de- coration of a Shaft is fluting, beyond which the Antique very seldom goes. Where it does: it clothes the stem in naturalistic fashion with plant-forms, (Plate 125. 4). In the Byzantine, Romanesque, and Scandinavian styles: we often find the shaft covered with a geometrical network, and ornamented in a corresponding style, (Plate 125. 2 3). The Gothic style prefers to leave the slender shafts smooth. The Renascence is not satisfied with the simple flute especially on small architectural work like Altars, Monuments, &c. The craving to give the Column a decoration commensurate with that of the other parts of the architecture became irresistible. It is raised on a pedestal; the shaft is banded, being divided into parts by projecting Cinctures, generally two, the' lower at about one-third, the upper at about two- thirds of the height. On the lower part are suspended festoons, weapons, trophies, cartouches, &c., the upper part is channelled or decorated with Artificial foliage (Plate 125. 1); finally, festoons of fruit or drapery are suspended from the capital. Where the Columns are not large, especially in Furniture, the cylindrical shaft is replaced by the richer profiling of a more candelabrum- like form, (Plate 126. 5). Flat ornamentation is also used, as well as plastic decoration, by means of painting, incrustation, or inlaying, (Plate 125. 5). All these methods of application are more or less in agreement with the object and principle of construction of the Column, but the same cannot be said of the Renascence and the following styles of the Decadence, which huild up their Columns of large and small drums, alternately ornamented and plain, or even give the Shaft a spiral twist and decorate it with spiral flutings. PLATE 125. THE DECORATED SHAFT. 1. Italian Renascence, Tomb in Sta. Maria del Popolo, Rome, by Sansovino. 2. Romanesque. 3. Shaft, church, Tournus, (Raguenet). 4. Roman, marble. 5. Column, with intarsia decoration, German Renascence, (Hirth). SUPPORTS. 203 The Decorated S 1'laio 204 SUPPOKTS. Plate 126. The Profiled Shaft. The Ornamented Shaft. The Capital. 205 PLATE 126. THE PROFILED SHAFT. 1. Candelabrum-like column, tester-bed, French Renascence. 2. Lower part of a column, Mayence cathedral. 3. Lower part of column, Palais du Commerce, Lyons, (Raguenet). 4. Column, diploma, Modern. 5. Column, Modern, (Gerlach). THE CAPITAL. (Plates 127180.) The upper termination of the column is the Capital. The Capital forms the transition from the supporting Shaft to the superincumbent Weight. This transition may assume either geometrical or organic forms. Very frequently both systems are combined; so that, strictly speaking, we can only say that one system or the other predominates. The Egyptian -capital is suggested by the cinctured bundle of Papyrus stems with buds (Plate 127. 4, 5), or with opened Papyrus or Lotus flowers, (Plate 127. 2, 8). Abnormal capitals are found in the Old Persian style. Plate 127. 1, gives an example from Persepolis, composed of the fore-parts of Bulls. As examples of Oriental forms: two Moorish capitals from the Alhambra in Granada are given on figs. 6 and 7 of the same plate. Antique art adopts three general types of Capitals: Doric, Ionic and Corinthian. The Doric Capital consists of the abacus, which is square in plan, and the echinos, which is circular. The transition to the shaft is effec- ted by hollow mouldings and astragals. The Graeco-Doric Capital was painted. Where the sides of the abacus are decorated: a Fret pattern is employed (Plate 127. 8). The echinos is a member of conflict, and is ornamented accordingly. In the Roman and Renascence styles plastic ornamentation takes the place of painting. The band of leaves becomes an egg-and-dart ornament (Plato 127. 10). Leaves pointing upward are sometimes used (Plate 127. 9). At the top of the abacus a small moulding is used. A necking, generally decorated with rosettes, is interposed between Capital and Shaft. Similar rosettes decorate the spaces on the under side of the abacus (Plate 127. 910). The lonrc Capital replaces the square abacus by a scroll rolled- in on both sides, in great volut.es. The intervals, between the egg band and the scroll, are marked by palmettos. A neck may bo added as in the Doric Capital, and it is frequently decorated with a pal- metto ornament (Plate 128. 45). The- side view of tho scroll shows plain profilings as on Plato 128. 1, decorated with leaves or scales r the richer examples. The. Ionic Capital has two faces, and 206 The Capital. two sides. For this reason it is of only limited application, as, when the capital is applied to the corner column of two adjacent sides of a building, it is impossible to avoid a bad effect from the two reentering volutes on the inner faces. The fundamental form of the Corinthian Capital is the calix. The decoration may be designed on two methods. Firstly a row of leaves, or two rows arranged alternately one above the other, clothe the lower cylindrical part of the capital, and plain broad waterleaves form the transition to the square abacus. To this class belongs the capital of the Tower of the Winds in Athens, and a capital found on the island of Melos, which is shown on Plate 128. 7. Or, secondly: volutes rise from the rows of leaves and unite in pairs under the corners of the abacus, which are then extended, so that the sides are rendered concave in plan. The centre of each sides of the abacus is decorated with a palmetto or rosette (Plate 128. 8 9). The fusion of the Ionic and Corinthian capitals produced the Composite capita) ; whose appearance is more interesting than beautiful (Plate 128. 10). Early Christian, and, to a certain extent, Byzantine and Roma- nesque art, models the forms of capital on those of the Antique. The Corinthian Capital is the one mostly followed. The details are made correspondingly simpler and ruder (Plate 129. 6 11). But along side of these reminiscences of the Antique, new and independent forms appear. The antagonism between the cylindrical under part and the square upper termination is adjusted by geometrical construc- tions. Thus originated the Cushion and the Trapeziform Capital. The Cushion capital is specifically Romanesque. A half sphere is cut by planes below and on the four sides. Its simplest form is given on Plate 129. 1. The decoration is sometimes geometrical (Plate 129. 2 and 12), and sometimes contains foliage and figures (Plate 129. 5). The Double-cushion Capital is a variant of the Cushion capital (Plate 129. 4). The Trapeziform capital is specifically Byzantine. In this style: the cylindrical shaft is continued to the square abacus, which causes each side of the Capital to assume a Trapeziform shape (Plate 129. 3). Very often these Capitals are richly decorated with figures. The arrangement of clustered-shafts, so popular in the Middle Ages, led to the Coupled- capital, which appears sometimes as con- joined capitals (Plate 129. 10), and sometimes as the juxtaposition of two ordinary capitals with a conjoined abacus. In the Gothic style, particularly in its later period, the abacus becomes octagonal. Crocket-like knots of leaves are loosely attached to the calix-formed core. The vigourous projections of these leaf ornaments give the Capital the appearance of an inverted bell (bell capitals, Plate 129. 1314). The Renascence adopts the Doric and Ionic Capitals, and more The Capital. 207 usually the Corinthian Capital directly borrowed from the Antique; but the forms become freer and more varied; and, compared with the overcharged Roman examples, simpler. The volutes at the corners develope into independent forms, and are often replaced by dolphins, cornucopias, and other fantastic forms, scattered instances of which may, however, be found even in the Antique. Modern architecture, like the Renascence, also follows these traditions. PLATE 127. TOE CAPITAL. 1. Ancient Persian, Persepolis. 2. Egyptian, Kdm-Ombo. 3. , Philae. 4. , Memnonium Thebes. 6. Luxor, (Owen Jones). 6 7. Moorish capitals, Aihambra, Hall of the two sisters, (Raguenet). 8. Graeco-Doric. 9. Roman-Doric, thermae of Diocletian, (Mauch and Lohde). 10. Doric, Italian Renascence, by Barozzi da Vignola. PLATE 128. THE CAPITAL. 1. Graeco-Ionic, (Jacobsthal). 2. Tonic, Bassae, (Cockerell). 3. Ionic, Pompeii. 4. Roman-Ionic, (Musterornamente). 5. Graeco-Ionic, Erechtheum, Athens. 6. Ionic, Louvre, Paris. 7. Antique Corinthian, found in Melos, (Vorbilder fur Fabrikanten und Handwerker). 8. Greek-Corinthian, monument of Lysikrates, Athens. 9. Roman-Corinthian, palaces of the emperors Rome. 10. Roman Composite, Louvre, Paris. PLATE 129. THE CAPITAL. 1. Romanesque Cushion-capital, St. Gereon, Cologne, (Otte). 2. , , , the abbey church, Laach, (Otte). 3. Byzantine, Sta. Sofia, Constantinople. 4. Romanesque Double-cushion-capital, Rosheim church, XI. cen- tury. 5. Romanesque Double-cushion-capital. 6. Romanesque Cushion-capital, Freiburg. 7 9. Romanesque, former cloisters of the church, Schwarzacb. 10. Romanesque Coupled-capital. 11. Romanesque. 208 SUPPORTS. irnTUrrrrif Plate 127. The Capital. SUPPORTS. 209 Meyer, Hamlbo-ik of Or The Capital. Plate 128. 14 210 SUPPORTS. Plate 129. The Capital. SUPPORTS. 211 The Capital. Plate 130. 14* 212 SUPPORTS. LJLJ ffisK. m ' T ^^T^"S Vf" 2>)' sl Plate 131. The Pilaster Panel. The Capital. * The Pilaster Panel. 213 12. Romanesque Cushion-capital, monastery, Lippoldsberg. 13 14. Late Gothic, triforium of the choir, minster Freiburg. PLATE 130. THE CAPITAL. 1. Renascence, drawing by Holbein, (Guichard). 2 3. Renascence, designs by Heinrich Voigtherr, (Hirth). 4. Composite, Italian. 5. Renascence, Palazzo Scrofa, Ferrara, Italian. 6. Renascence, Tomb in Sta. Maria del Popolo, Rome, by San- so vino. 7. Renascence, Italian, Palazzo Zorzi, Venice. 8. Modern, municipal baths, Carlsruho, Architect Durm. 9. Modern French, Vaudeville theatre, Paris, Architect Magne. THE PILASTER PANEL. (Plate 131.) In many cases the Pilaster or wall-pier shaft is devoid of orna- ment. Unlike the column, the Pilaster does not, as a rule, taper up- vards; and if the Pilaster is ornamented with fluting the tapering is never permissible. The Pilaster frequently has cinctures, generally two, the lower at '/j, the upper at 2 / 3 of its height. The ornamental decoration, when present, takes the form of an elongated, sunk panel bordered by a moulding. The ornamentation may be of three kinds: firstly : an ascending plant motive may be used, rising symmetrically or in the form of a wavy line from calices, vases, &c., animal and human figures being not infrequent accessories; secondly, the decora- tion may consist of festoons of flowers, fruits, trophies, shields, &c., varied by knots and ribbons, the points of suspension being rosettes, rings, lion heads, &c.; thirdly, the panel may be decorated with flat strap work, as in the Elizabethan manner. Of. these three kinds of decoration the first is the most used; and the most suitable. Few Antique examples have come down to us; the Middle Ages make scarcely any use of the Pilaster; but the Renascence is much richer in such examples. Stalls, Altars, Sepulchral monuments are scarcely to be found without Pilasters. Plate 131 offers a small selection from the copious material; all the panels show the first of the three kinds of decoration. PLATE 181. THE PILASTER PANEL 1. Italian Renascence. 2 5. Italian Renascence, Sta. Maria dei Miracoli, Venice. 6 7. Italian Renascence, by Benedetto da Majano. 8 9. Modern Panels, in the style of the Italian Renascence. 214 The Pilaster' Capital. THE PILASTER CAPITAL. (Plates 132134.) Generally speaking, the structure of the Capital of the pilaster follows that of the Column; and, to a certain extent, translates the forms of the latter from the round to the flat; This observation is true in the Renascence period; but not in the Antique. In Pilaster-capitals in the Doric style one or more leaf or egg- and-dart mouldings run under the abacus, and are covered at the corners with palmettos or leaves. Beneath this proper part of the Capital a neck more or less high is usually found, decorated with rosettes or with other ornaments (Plate 182. 1). On mpdern Capitals of this class the neck may even be fluted (Plate 134. 7); not infre- quently the centre of the Capital is still further decorated by the addition of masks, symbols, &c. (Plate 134. 7 and 8). While the Renascence adopted the form of the Ionic Capital with scarcely any change for its pilasters (Plate 134. 4), the Antique possessed a special form of pilaster Capital of this order (Plate 132. 2). The most numerous, varied' and beautiful Capitals of pilasters are in the Corinthian order. The profile and general arrangement are the same as with the columns; generally, however, the pilaster is broader in proportion to its height. The lower part is encircled by Artificial leaves which sometimes dwindle to the two corner leaves supporting the volutes. The volutes are of the most varied descrip- tions, sometimes replaced by cornucopias, dolphins, chimeras, and other figures (Plates 132. 8 and 133. 5). Leaf- ornaments, vases, garlands, calices of flowers, &c., are arranged at the centres (Plate 132. 4 8), also masks (Plate 133, 4, 5 and 8). Neckings are rare on Corinthian capitals (Plate 133. 7). The egg -and -dart mouldings, which run along the bottom of Antique examples (Plate 132. 4 5), are reminiscences of the Doric style, so that these forms may also be regarded as a kind of transition Capital. PLATE 132. THE PILASTER CAPITAL. 1. Greek-Doric anta, Erechtheum, Athens. 2. Greek -Ionic anta. 3. Greek-Corinthian. 4 6. Roman-Corinthian, (BOtticher). 7. Roman -Corinthian, Pantheon, Rome. 8. Roman- Corinthian, Temple of Mars Ultor, Rome, (De Vico). PLATE 133. THE PILASTER CAPITAL. 1. Corinthian, Italian Renascence, Court of the Scala dei Giganti, Venice, (Wiener Bauhiitte). SUPPORTS. 215 The Pilaster Cajiital. Plate 132. 216 SUPPORTS Plate 13:5. The riluster Capital. SUPPORTS. 217 The Pilaster Capital. Plate 134. 218 The Pilaster Capital The Candelabra Base. 2. Corinthian, Italian Renascence, Sta. Maria dei Miracoli, Venice. 8. Corinthian, Italian Renascence, Certosa, Florence. 4. Corinthian, Italian Renascence, Scuola di San Marco, Venice, by Pietro Lombardo; 5 6. Corinthian, Italian Renascence, Chapel of the Palazzo Vecchio, Florence, (Musterornamente). 7 Corinthian, Italian Renascence. 8. Corinthian, French Renascence', Tomb of Louis XII, St. Denis. PLATE 134. THE PILASTER CAPITAL. 1. Corinthian, Italian Renascence, Portal of San Michele, Venice. 2 3. Corinthian, Italian Renascence, Palace of the Doges, Venice. 4. Ionic, French Renascence, (Lievre). 5. Wrought-iron, castle at Athis-Mons, French, 17th century. 6. Wrought-iron, by Jean Berain, French, 17th century, (Raguenet). 7. Modern Doric, Architects Kayser and v. Grossheim. 8. Modern Doric, new Opera House, Paris, Architect Gamier. 9. Modern Ionic, Rue Dieu, Paris, Architect Sedille. 10. Modern Corinthian, atelier of a painter, Paris, Sculptor Bloche. THE CANDELABRUM FOOT. (Plate 135.) For lighting, the Candelabrum played an important part in the domestic and religious life of the Ancients. In the House, they mostly employed slender, delicate bronze Candelebra; and for Religion, the great State -candelabra of marble. The Candelabrum, like the column, consists of three parts: the base, the shaft, and the capital. To afford the necessary steadiness, the base of the Candelabrum is planned on a comparatively large scale, and divided into three legs, which stretch-out, towards the points of an equilateral triangle. For the foot, the claw of an animal, and in particular the claw of the Lion, is used. Not infrequently the claws rest on balls or discs (Plate 135. 6). The transition to the shaft is designed with a double calii, the upper leaves of which rise and encircle the shaft, and the lower leaves descend and mask the junction of the three legs (Plate 135. 1 and 5). A delicate arithemion may be perceived between each pair of feet on richer examples (Plate 135. 2 and 3). In exceptional cases the leg appears to grow from the mouth of an animal (Plate 135. 6). Occasionally a circular, profiled and decorated disc is used instead of the double calyx and anthemion. Sometimes, too, the shaft is prolonged downwards beneath the disc in the form of a knob, but does not touch the ground. The Candelabrum Base, & Shaft. 219 It is obvious that the delicate forms and the division into legs, whicn was so suitable for a material like bronze, could not be trans- ferred directly to the construction in marble; but reminiscences of it may be seen in the retention of the triangular ground-plan, the re- duced claws, the double calyx, &c. (Plate 135. 8). PLATE 135. THE CANDELABRUM BASE. 1. Antique, bronze, Museum, Naples, (Botticher). 2. (BOtticher). 3. Studj publici, Florence, (Weissbach and Letter- moser). 4 5. Antique, bronze, Museum, Naples. 6 7. Legs from antique candelabra: the former found in the ruins of Paestum; the other in the Museum, Naples. 8. Roman, State- candelabrum. 9. Renascence candelabrum, Collection of drawings, Uffizi, Florence. THE CANDELABRUM SHAFT. (Plate 136.) The decoration of the Shaft of the antique bronze domestic Candelabrum is simple; and consists of flutings or channellings, some- times of naturalistic buds and leaves. Far richer is the ornamentation of the Antique State-candelab- rum. It is divided into zones (Plate 136. 2), or the shaft swells and diminishes alternately, giving a richer profile (Plate 136. 1). Smooth "and fluted parts with contrast with foliage and figure; and the ascending decoration is varied by trophies and festoons. The effect depends on the propriety of the division. The repetition of similar masses or similar forms becomes tedious. The Antique and also the Renascence, particularly in Italy, has transmitted to us a number of standard forms of Candelabra; of which a few examples are reproduced Plate 186. PLATE 136. THE CANDELABRUM SHAFT. 1. Roman, marble. 2. Roman, marble. 3. Antique, (Botticher). 4. Mast -socket, Piazza of S. Mark, Venice, bronze, Italian Renas- cence. 5. Candelabrum-like foot of a holy water-stoup, Pisa cathedral, Italian Renascence. 6. Italian Renascence, Badia near Florence. 220 SUPPORTS. Plate 135. The Candelabrum Base. SUPPORTS. 221 The Candelabrum Shaft. Plate 130. 222 The Candelabrum Capital. The Balauster. THE CANDELABRUM CAPITAL. (Plate 137.) The Capital of a Candelabrum has a plate or cup -like form, according as it is destined to receive a lamp, or a candle. The tops of the Antique bronze Candelabra, as a rule, are profiled like the so-called Krater (figs. 1 5). The profiles, and ornamentation already given, may be re- garded as standards. The insertion of real capitals, or of figures, as bearers (fig. 6) is rarer. The marble Candelabra of the Antique usually terminate in a plate or table (fig. 7); and this is also tho case with tho Renascence Candelabra intended to receive candles. These were not placed in a cylindrical socket but stuck on a co- nical pricket. On the decoration of Candelabra the reader may compare the plates dealing with this subject in Division III, (Group of Utensils). PLATE 187. THE CANDELABRUM CAPITAL. 1 6. Antique, Museum, Naples. 7. Roman. 8. Renascence, drawing in the Uffizi, Florence. THE BALAUSTER. (Plate 138.) Balausters are small squat columns of circular or square plan. Sometimes they are only symmetrical around their axis, .sometimes however they are also symmetrical in an upward and downward direc- tion. In most cases their construction is that of the candelabrum. They may be divided into base, shaft, and capital. Ranged side-by-side in a row, balausters are employed by the Renascence and modern art in Parapets, Balconies, Attics, and Stair- cases. When the Balausters are placed on a Stair-case: the bases and capitals are either slanting, or tho horizontals of the Balausters follow the slanting lines of tho stair-case. The latter method was adopted in the Decadence of the Renascence, but is unjustifiable; and can, in any case, only be adopted with Balausters of a square or oblong plan. A rich variety may be obtained by the use of square and cylindrical forms in the same Balauster (fig. 5). The Balauster is occasionally used as a support for Stalls, and on Furniture. Ra- guenet's "Documents et Materiaux" contains a large number of 13a- lausters; from wbich we have selected some examples. SUPPORTS. 223 The Candelabiuiu Capital. Plate I.' 224 SUPPORTS. Plate 138. The Balauster. The li.il.ujster. The Toiminus. 225 PLATE 138. THE BALAUSTFR. 1. Square plan, Italian Renascence, Sta. Maria de.lla Salute, Venice. V 2. A system of square Halauslers, Palazzo Pesaro, Venice. 8. Circular plan, Modcru Italian. 4. Wood, Italian Renascence, stalls in Sta. Maria Novella, Flo- rence. ' 5. Modern French, Architect Roux, Paris. 6 7. Square wooden, (Bothko: _"Der decorative Holzbauer"). 8 9. Modern, terracotta. THE TKKMINUS. (Plate 139.) The Terminus is a pilaster- like support, tho fundamental form of which is characterized by tapering downwards in a manner re- calling an inverted Obelisk. The name is derived from the fact that Miuiliar constructions wore used in the Antique as milestones and to mark the Terminations of fields, &c. The Terminus consists of the profiled base, not infrequently supported on a special pedestal (figs. 3 and 7); the shaft tapering downwards and usually ornamented with festoons (figs. 3, 4, 5, 10); and tho capital, which is often re- placed by a bust or half -figure (figs. 4, 5, 9). In this latter case, it assumes the appearance of a caryatid; and, as the bust is that of Hermes (the God of letters), this application is often termed a "Hermes". Standing isolated, it serves as a Pedestal for busts and lamps, as a Post for railings, and in gardens and terraces. The last was exceedingly popular in tho Rococo period. Joined to the wall, the Terminus often takes the place of tho pilaster. This is especially true of the furniture and small architectural constructions of the Renascence period. It is also not uncommon on Utensils, e. g. tri pods, handles of pokers, seals, &c~. PLATE 139. THE TKUMINUS. 1. Upper part, antique, silver treasure of Hildesheim, Berlin Museum, (obviously from a Roman tripod). 2. Stone Terminus bust, Italian Renascence, Villa Massimi, Rome, (Raguenet). 3. Stone Terminus bust, German Renascence, mantel -piece, town- hall, Liibeck. 4. Stone Terminus bust, German Renascence, Otto Heinrich build- ing, Heidelberg Castle. 5. Stone Terminus bust, German Renascence, monument, church of the castle, Pforzheim. Meyer. Handbook of Ornament 15 226 SUPPORTS. Plate 139. The Termiuus. The Terminus. The Parapet The Railing Post. 227 6 8. Wooden Terminus, Renascence. 9. Small Terminus figure, German Renascence, National Museum, Munich. 10. Terminus with mask, modern chimney-piece, (Gewerbehalle). THE PARAPET. (Plate HO.) Besides the Parapets which are formed by rows of balausters, there are others which are arrangements of pierced or perforated tsone or wood, and cast or wrought iron. The Gothic style prefers Tracery, the Renascence prefers Scrolls for stone parapets (figs. 1 and S). Parapets of perforated wood, which are typical of Swiss architecture, are composed of strips of boards, with shapes more or less rich, care being taken that the intervening spaces also form pleasing shapes. To construct Parapets in the form of bi -axial trellises, was a popular custom of the Renaseence; and it has continued so to the present day. But the function of the supports is only fully shown when the pattern has an upward direction. This, however, does not ex- clude the use of other treatments, e. g. panels. Raguenet has nume- rous examples. PLATE 140. THE PARAPET. 1. Modern Gothic, stone, Viollet-le-Duc, (Raguenet). 2. Modern Gothic, stone, Viollet-le-Duc, Castle of Pierrefonds, (Raguenet). 3. Stone, German Renascence, ^Dagobert tower, new Castle, Baden- Baden. 45. Trellis, Schinkel, (Vorb. f. Fabr. u. Handw). 6. Modern French, Hotel Mirabeau, Paris, Architect Magne, (Raguenet). 7. Trellis, Barocco, wrought-iron, French. RAILING POST. (Plate 141.) Staircase railings, are formed of rows of upright Posts. These are of slender, delicate form; and take the place of the stouter balauster. The usual materials for balausters are stone, terracotta, and wood; the Railings, on the other hand, are of metal, or, in their simpler forms, of wood, in the last decades, cast-iron was the ma- 228 SUPPORTS. Plate 140. The Parapet. SUPPORTS. 229 The Railing Post. Plate 141. 230 The Hailing Post. The Furniture Leg. terial most often used; but lately a return has been made to the more plastic wrought - iron. The ornamentation depends on the material selected. Wrought - ir*on Posts are decorated with scrolls and tendrils, while cast-iron uprights are decorated in bas-relief. If the Railing-post has to stand on a horizontal plane, it is ad- visable to construct the foot in the manner -shown in figs. 8, 4, and 5 ; if it is to be affixed to the sides of the treads of a staircase, arrangements similar to those in figs. 2, 7, and 8, are necessary. Where the upper end has to support the hand-rail, independent terminations, like figs. 2 and 5, may be adopted. Spherical heads may be applied to all angles (fig. 4). PLATE 141. THJE RAILING POST. 1. Modern Post, cast -metal, Architect y. Leins, Stuttgart, (Ge- werbehalle). 2. Modern Post, cast-metal, Architect v. Hoven, Frankfurt, (Ge- werbehalle). 3. Modern Post, wrought-iron, (Gewerbehalle). 4. cast-metal. 5. architects Gropius and Schmieden. 6. Plain wooden Post. 7 8. Modern Posts, cast-metal, Architect v. Hoven, Frankfurt THE FURNITURE LEG. (Plate 142.) The Legs of wood furniture may be divided into two classes according to their height. Tables and chairs have high Legs; low Legs or Feet serve as supports for all kinds of cabinet and box-like articles. The general plan is that of a balauster-like body of revolution as turned on the lathe. Angular forms, however, are also used. High Legs are frequently decorated with carved ornaments; low Legs are usually left plain; and this would seem to be in accordance with their character. Metal Feet are sometimes used for small pieces of furniture like caskets. Where the Legs have to stand on the floor: it is advisable to taper them downwards (figs. 5 10); where they have to stand on raised platforms and seldom require to be moved: it is better to furnish them with a pedestal (fig. 1). It has lately become fashion- able to apply metal casters to pianos, heavy chairs, couches, &c. The Furniture [.<\j. The Traj>ezoj>liorl 11. Mediaeval, church, Athis, France. PLATE 147 THE CONSOLE. 1. Romanesque, Noyon cathedral, 12th century, (Raguenet). 2. Gothic, St. Pierre sous Vezelay, (Gewerbehalle). 3. Renascence, French, castle, Blois. 4. 5. Renascence, German, now Castle, Baden-Baden, (Gmelin). 6. Renascence, German, Heidelberg castle. 7. Renascence, Triglyph- console, Late French. 8. Modern, French, library, Louvre, 'Architect Lefucl, (Raguenet). 9. Modern, French, (Raguenet). 10. Modern, French, New casino, Lyons, Architect Porte, (Raguenet). THE BRACKET. (Plate 148.) A special class of Supports is formed by those wrought-iron bearers which the Middle Ages, tho Renascence, and Modern times, have produced in the shape of Brackets. The uses of Brackets are very various, e. g. in supporting Shop-signs, Conduit- pipes, Gargoyles, Candles, Lamps, Hats, Coats, &c. In form, they vary with the stylo and richness of the work manship. Square, flat and round iron, enriched by chasing mid other methods of decoration, are used. They are frequently fastened to the wall by the aid of ribbon like strips of metal, which may themselves be decorated with scrolls and curls. Tho plato shows a number of such supports, of ancient and mo- dern date, destined for a. variety of puri'n.os. M.-ynr, Tlnnilhook of Ornament "' 242 The Bracket. The Caryatid, and the Atlante. PLATE 148. THE BRACKET. 1 2. Part of Heading-desk, S. Benedetto, near Mantua, Italian Re- nascence, (Gewerbehalle). 8. Wrought-iron, Sign, Regensburg, German Renascence, (Muster- ornamente). 4. Wrought-iron bearer of conduit-pipe, Kloster Lichtenthal near. Baden, German Renascence, (Gmelin). 5. Wrought-iron bearer of water-stoup, sepulchral cross in ceme- tery, Kirchzarten, German Renascence, (Schauinsland). 6 7. Wrought-iron supports, for Gargoyles, German Renascence. 8. Wrought-iron, Sign, Modern, Architect Crecelius, Mainz. 9. Modern wrought-iron bracket, (Badische Gewerbezeitung). THE CARYATID, AND THE ATLANTE. (Plates 149 and 150.) The freest and the richest motive for supports, is the Human figure. As early as Egyptian and Persian architecture, we find human figures as bearers of beams and roofs. The Greek and Roman styles also make use of this motive. The modern names for such supports are derived from the Antique. Accord- ing to Greek mythology, Atlas supports the vault of heaven at the ends of tho earth. Hence is derived the name "Atlantes" for these male supporters. They are also sometimes termed "Telamons". The name "Caryatids", for female supporting figures, is derived from the town of CarysB in the Peloponnesus. According to another version the Caryatids are imitations of the virgins who danced in the temple at Caryse at the feast of Diana. According to Vitruvius, their intro- duction into architecture is owing to the fact that ladies of Caryae, as a punishment for the support they rendered to the Persians, were carried into captivity and compelled to serve as carriers of burdens. The Caryatids are termed "Canephorae" (basket bearers), when capitals in shape like a basket are interposed between their heads and the superincumbent burden. Among well-known examples in the Antique are the Atlantes in the temple of Jupiter at Agrigentum, and the Caryatids of the Erechtheum at Athens. The Middle Ages made little use of Atlantes and Caryatids; the Renascence and the following stylos, on the contrary, used them freely. Atlantes and Caryatids occur isolated, and connected with walls; and in both high and bas-relief. Sometimes the whole length of the figure is employed, sometimes only the upper half in conjunction with a Console (Plate 149. 4 7), or with terminus-like bases (Plate 150. 4 5). Composite bearers in the form of double Caryatids are also a popular motive, as shown by the example on Plate 150, from the Louvre at Paris. SUPPORTS. 243 The Caryatid, the Atlante, &c. Plate 149. 16* 244 SUPPORTS. Plate 150. The Caryatid, &c. The Caryatid, the Atlante, &c. 245 PLATE 149. THE CARYATID, THE ATLANTE, Ac. 1. Greek Caryatid, Erechtheum, Athens, (Vorbilder for Fabrikanten und Handworker). 2. Antique Caryatid, Villa Mattei, after Piranesi, (Vorbilder fiir Fabrikanten und Handworker). 8 Modern French Atlante, house in Paris, Sculptor Caillo, (Ea- guenet). 4 7 Modern, Front and side views of Half- figure Consoles, Ziegler and Weber, Carlsruhe. PLATE 150. THE CARYATID, &c. 1. Modern, Double Caryatid, Louvre, Paris, (Baldus). 2 8 Modern, Caryatids, Conservatoire des arts et metiers, Paris. Sculptor E. Kobert, (Kaguenet). 4 5. Modern, Caryatids, Director C. Hammer, Nuremberg. 6 7. Modern, Caryatids, Director C. Hammer, Nuremberg. 246 D. ENCLOSED ORNAMENT. (PANELS.) Tbat Method of treatment, which has for its object to decorate a plane surface, and to cover it with ornament, &c., by means of painting, inlaying, engraving, etching, &c., we term flat decoration. This falls into two classes. Firstly the ornament may be de- signed for a definite, bounded space, such as an oblong, according to artistic rules, so that it fits exactly into this space alone: in which case it is a discontinuous or "Panel" ornament Or, secondly, the ornament may extend itself in every direction, repeating its details without regard to any definite boundary: in which case it is a con- tinuous or "Diaper" ornament, such as a wall-paper. Turning our attention first to discontinuous or Panel-ornament: we shall find, in addition to objects whose boundaries are arbitrary and to be fixed at will, that we have principally to consider the following shapes: tho Square, the other regular polygons, the Circle, the Oblong, the Ellipse, the Lunette, the various forms of the Span- rail, the Lozenge and the Triangle. Geometrical, natural, and artificial elements, either singly or combined, are used. The character of the ornament may be Natura listic, or it may be Artificial, and adapted to some pre-arranged leading-lines of tho Shape. This booi does not. treat of examples of the former character. Those of the latter character, i. e. Artificial oinarnent, will depend on tho nttitndo of the Panel with regard to the Horizon. Enclosed Ornament The Square Panel. 247 When the panel is inon-axial, i. e. it is symmetrical on both sides of one axis: then the panel-ornament is suitable to a vertical surface. When it is developed regularly in all directions from the centre of the figure, and is symmetrical to two or more axes: then the panel-ornament is suitable to a horizontal surface. The central feature of a horizontal panel is not infrequently emphasized by a rosette ornament, while the decoration of the remaining surface is kept in low-relief. Trifling variations, from absolute symmetry and regularity, are often met-with; but they are confined to the details, the impression of symmetry and regularity being preserved in the general effect. These remarks, as well as some further relations arising out of the nature of the subject, we now proceed to illustrate in detail in the following chapters and plates. For the most part we shall con- fine ourselves to the best known and most frequent figures; and shall only offer some few examples of abnormal panels. THE SQUARE PANEL. (Plates 151 155.) The lines, on which the decoration of the Square may naturally be based, are the two Diagonals, and the two Diameters which join the centre of the opposite sides. These lines cut each -other in a common point, the centre of the shape; and form an eight-rayed star with rays of alternately unequal lengths. They divide the figure into 8 equal spaces, which are usually decorated with repeated orna- ment, and are therefore suitable to the horizontal attitude, (compare Plate 151, figs. 2 6 and others). Numerically this mode of deco- ration is predominant. Rarer are the cases in which the angle is once more bisected and the square consequently divided into 16 tri- angles, (compare Plate 154, fig. 7). The simplest decoration is the many-rayed star, which is termed the Uraniscus, in the coffers 01 Greek ceilings (comp. Plate 151, fig. 1). The centre of the figure is generally accentuated by -the addition of a rosette, and the direction of growth, like plant-motives, is from the centre outwards (Plate 151, fig. 2, 8, 5, 6 and others); or alternately from the centre outwards and inwards (comp. Plate 151. 4). Slight variations from strict symmetry and regularity are partly caused by the use of the geo- metrical interlaced band (Plate 153. 3 and 4), and are partly the deliberate result of artistic freedom of conception (Plate 152. 2. and 151. 7). The latter example is highly remarkable in this respect; and its originality may serve as a model. The example is also one of the rare cases in .which the ornamentation is symmetrical to the Diagonals, and not to the Diameters. 248 The Square Panel Another kind of Square decoration is that in which it is sub- divided into separate spaces, each of which receives an independent ornamentation. Plates 9 and 10 of the Handbook give a number of such divisions of Squares; a similar mode of decoration will be found on Plate 151, fig. 8, Plate 153, figs. 6 and 7, and elsewhere. The decoration of the Square in an upright attitude, with symmetry to one axis, belongs to the same category as the Oblong; and we may therefore refer to what will be said below with reference to this latter figure. Square panel are to be found in all styles; we have taken some striking examples from the coffer - ceilings of the Antique and the Renascence, from the pavement-tiles of the Middle Ages, and from the metal-work of the Renascence and Modern times. PLATE 151. THE SQUARE PANEL. 1. Greek, Uraniscus, coffer of ceiling, Propylaea, Athens. 2. Roman, bas-relief, found during the rectification of the Tiber near the Farnesina, Rome, in 1879, Museo Tiberino. 8. - Assyrian pavement, Kouyunjik, (Owen Jones). 4 5. Greek, Coffers of ceilings, Propylaea, Athens. 6. , Athens. 7. , Parthenon. 8. Roman, mosaic pavement, Pompeii, (Owen Jones). 9. Byzantine, bas-relief, San Marco, Venice, (Owen Jones). PLATE 152. THE SQUARE PANEL 1. Decoration, of a book, 10th century, Library of the Duke of Devonshire, (Racinet). 2. Scandinavian bas-relief, Celtic stone cross, churchyard, Meigle, Angus, (Owen Jones). 3. Bas-relief, tomb of "Pierre Is Venerable", Cluny museum, 12th century, (L'art pour tous). 4 7 Mediaeval, tiles, (Owen Jones, Racinet &c.). 8. Tiles, Cistercian monastery, Bebenhausen. 9. Moorish Tiles. 10. Gothic, tiles, Bloxham church, England, 15th century. PLATE 153. THE SQUARE PANEL. 1 and 3. Inlaid work, 14th or 15th century, Sauvageot collection, (Racinet). 2. Arabian mosaic, (Prisse d'Avennes). 4. Moorish, Alhatnbra, 14th century. 5. Arabian, wood door, 16th century, (L'art pour tous). The Square Panel. The Star-shape Panel. 249 6. Renascence, Intarsia, German (Hirth, Formenschatz). 7. Modern. 8 9. Renascence, Intarsia, Sta. Maria gloriosa ai Frari, Venice, 15th century, (Musterornamente). PLATE 154. THE SQUARE PANEL. 1. Renascence, Motive from a Robe in the Sacristy, Sta. Croco, Florence, Italian. 2. Renascence, Tiles, Collection of the Count d'Yvon, (Racinet). 8. Renascence, Motive after Peter Flotner, German. 4. Renascence, Mosaic flooring, cathedral, Spoleto, (Jacobsthal; the centre altered). 5. Renascence, Intarsia, stalls, Certosa near Pavia, Italian. 6. Renascence, Majolica Tiles, Sta. Caterina, Siena, Italian. 7. Renascence, Intarsia, door of the Cambio, Perugia, by Antonio Mercatello, 1500, Italian. 8 10. Renascence, Door of the Madonna di Galliera, Bologna, Italian, (Musterornamente). PLATE 155. THE SQUARE PANEL. 1 and 8. Wrought-iron, French, 17th century, (L'art poor tons). 2 and 4. Wrought-iron, German Renascence, (Hirth, Formenschatz). 5. Wronght-iron, Oxford, 1713, (L'art pour tous). 6 7 Wrought-iron, Modern. 8 and 10. Wrought-iron, Modern, cemetery, Carlsruhe. 9. Wrought-iron, by Georg Klain, Salzburg, 17th century. THE STAR -SHAPE PANEL. (Plate 156.) The decoration of polygonal Stars is generally based on radiat- ing axes. Exceptions, in favor of symmetry to one or two axes, are comparatively scarce (fig. 3). Where there is no Sub-division into independent panels, accord- ing to Plates 11 and 12 of the Handbook (fig. 7): the ornament follows the natural lines of division furnished by the diagonals, in this case the number of the single, similar triangles of division depends on the number of sides (fig. 6). Decorated Star-shaped panels are extremely common in the Arabian and Moorish styles, where tho ornament is often of such a character that it would very well suit a simple polygon, and ouly fills cut accidentally (so to speak) the star angles (figs. 4, and 5). 250 ENCLOSED ORNAMENT. Plate 151. The Square Panel. ENCLOSED ORNAMENT. 2.11 o /* The Square Panel. Plate 152. 252 ENCLOSED ORNAMENT. Plate U)3- The Square Panel. ENCLOSED ORNAMENT. 253 The Square Panel. Plate 154. 254 ENCLOSED ORNAMENT. Plato 155. The Square Panel. ENCLOSED ORNAMENT. 255 The Star-shape Panel. Plate 156. 256 The Star-shape Panel. The Circular Panel PLATE 156. THE STAR-SHAPE PANEL. 1. Mural painting, S. Francesco, Assisi, (Hessemer). 2. Decoration of Arabic koran, 17th century, (Prisse d'Avennes). 8. Arabian architecture, (Prisse d'Avennes). 4 5. Arabian ceiling paintings, (Prisse d'Avennes). 6. Etched ornament, armour, National Museum, Munich, 16th cen- tury, (Gewerbehalle). 7 8. Arabian ceiling paintings, 18th century, (Prisse d'Avennes). THE CIRCULAR PANEL. (Plates 157160.) The Circle may be regarded as a polygon of an infinite number of sides. As it is impossible to take this infinite number into account, it is usual, when working on radial axes to divide the Circle into 3, 4, 5, 6, 8, 10, 12, or 16, similar parts, as indicated in the figures. Another principle of frequent application is that of division into Zones; each ring-like band being ornamented .independently. Thia principle predominates in the so-called archaic styles, e. g. on Etruscan and Assyrian shields (Plate 157. 2, 4, and 5). This principle is ex- cellently adapted to the decoration .of dishes and plates, the profiling of which naturally points to a zonal division. The centre of the Circle, which is sometimes decorated by a rosette, may also be filled by some feature which is symmetrical to one axis or is unsym- metrical (Plate 157. 4). The latter mode of decoration has also been adopted, although in comparatively rarer cases, for the decoration of the Circle as a whole. Geometrical sub-division of the circle, by the insertion of poly- gons, or arcs, is common, not only in Gothic tracery, which is specially dependent on these processes, but in every other style (comp. the tracery panels 7 and 8 on Plate 158, and the niello ornaments 7 and 8 on Plate 159). In many cases, the circular panel is decorated by an ornament which is merely an enlarged Rosette or Cieling- fiower, so that no clear line can be drawn between the two classes, (compare what has been said of the Eosette on p. 191). PLATE 157. THE CIRCULAR PANEL. 1. Assyrian, pavement, Nimrud, (Owen Jones). 2. Assyrian shield, Khorsabad, (Owen Jones). 8. Old Frankish panel, Sacramentarium, Rheimg. 4 5. Greek, paintings on Vases, (Lau). The Circular Panel. 257 G. Celtic stone cross, Churchyard, St. Vigeans, Angus, (Owen Jones). 7 8. Paintings on Greek, Vases, (Lau). PLATE 158 THE CIRCULAR PA.XEL. 1. Romanesque, manuscript, 12th century, (Racinet). 2. Modern, Early Gothic, (Ungewitter, Stadt- und Land kirchen). 3. Byzantine, Sta. Sofia, Constantinople, 6th century. 4. Mediaeval stone slab, 14th century, Museum, Rouen, (Racinet). 5. Ditto, Laon cathedral, (Racinet). C. Ditto, wrought-iron key-handle. 7 Gothic Boss, 16th century, St. Benoit, Paris, (Racinet). 8 Gothic, old cabinet, United collections, Carlsruhe. 9 and 1 1 Gothic, Chip-carving, old cabinet, (GoWerbehalle). 10. Mediaeval glass-painting, Soissons cathedral, (Racinet). PLATE 159 Tire CIRCULAR PANEL. 1. Arabian flat ornament, Mosque Kaonam -ed -din, (Prisse d'Avennes). 2. Romanesque, minster, Basel 3 Arabian bas relief, door, Cairo, 14th century, (Prisse d' Avenues). 4. As No 1 5. Arabian bas-relief, IGth century, (I/art pour tous) G. Arabian, Sunk decoration, metal plaque, (Prisse d'Avennes). 7 8 Niello, Baltasar Silvius, IGth century, (Ysendyck). 9 Marble mosaic, floor, S. Vitale, Ravenna, (Hessemer). 10 Romanesque, portal, S. Laurence, Segovia, 12t.li century. 11. Arabian, Decoration of koran, IGth century, (Prisse d'Avennes). PLATE 100 TELE CIRCULAR PANEL. 1 Renascence, Bas relief, VendrammJ tomb, SS. Giovanni e Paolo, Venice, Italian, (Meurer). 2 and 4 Renascence, Majolica Tiles, Sta. Caterina, Siena, Italian. 3. Renascence, Wrought iron panel, San Salvator, Prague, German, (Gewerbehalle). 5. Renascence, Church, Kamcuz, German, (Gewerbehalle). G. Renascence, Peter Flotiier, German. 7. Modern, Centre of a Silver plaque, by Ihne and Stegmuller of Berlin, (Gewerbehalle). 8. Modern, ceiling of staircase, villa Croissy, Seine et Oise. French, (Cesar Daly). Meyer, Handbook of Ornament 258 ENCLOSED ORNAMENT. Plate 157. The Circular Panel. ENCLOSED ORNAMENT. 259 The Circular Panel. Plate 158. 17* 260 ENCLOSED ORNAMENT. Plate 159. The Circul Panel. ENCLOSED ORNAMENT. 261 The Circular Panel. I'hitc ICO. 262 The Oblong Panel. THE OBLONG PANEL. (Plates 161 164.) The shape of the Oblong is particularly adapted to receive both a bi- axial and a mon-axial treatment; and as it is by far the most fre- quently-used shape: numerous examples of the two treatments are to i;e found in all styles. When the Oblong is not sub-divided (as shown on Plates 13 to 1C.), the natural axes, around -. which the ornament is grouped are, for the bi-axial treatment, the two diameters, which join the centres of the opposite sides. These lines divide the figure into 4 smaller oblongs, each of which receives an identical decoration (com]). Plate 161, figs. 13, and Plate 162, figs. 15). To use the diagonals as lines of symmetry, as is the rule with the square, pro- duces an unfavourable effect; because the 8 triangles thus formed, although similar to each other, do not present the same angle to the centre (comp. Plate 161. 4). This panel differs from the usual rule, as the organic growth of the ornament is not from the centre out- wards, but from the 4 angles inwards. The strict Greek pahnette ornamentation, which has such nn excellent effect in the Square, is less suitable for the Oblong (Plate 161, figs. 1 and 2) than the freer decorations of the Roman period (Plate 161. 3) and the Renascence (Plate 162. 15). On vertical surfaces: the attitude of the Oblong panel may be either "figure-.wise", or "landscape-wise". Examples of the former attitude are figs. 2 and 3; and of the latter are, figs. 1 and 5 on Plate 164. The vertical line through the centre is the axis of these. The ornament is seldom geometrical; organic or artificial motives are mostly used. The mon-axial treatment is most properly employed where it is applied in a really vertical plane, e. g. on Pilasters- (comp. p. 225, shafts of pilasters), on Walls, Doors, &c. The poly-axial treat- ment is best adapted for the decoration of horizontal planes, such as Floors, Ceilings, &c. Copious material is furnished by the inlaid-work, bas-reliefs, and metal-work, of the Renascence. PLATE 161. TILE OBLONG PANEL. 1 2. Greek, Painted coffers of ceilings, Propylaea, Athens, ^-(Gwen Jones). 8. Roman. 4. Roman, under-side of the architrave, Temple of Vesparian, Rome. 5. Renascence, Church, Kamenz, German, (Gcwerbehalle). PLATE 162. THE OBLONG PANEL. 1. Renascence, Intnrsia, Cabinet, Perugia, Italian, (Jacobsthal). 2. Renascence, Palazzo vecchio, Mantua, Italian, (Jacobsthal). ENCLOSED ORNAMENT. 263 The Oblong Panel. Plate 161. 264 ENCLOSED ORNAMENT. Plate 162. The Oblong Panel. ENCLOSED ORNAMENT. 20- The Oblong Panel. Plate 163. 266 ENCLOSED ORNAMENT. Plate 164. The Oblong Panel. The Oblong Panel. The Elliptic Panel. 267 8. Renascence, Marzuppini tomb, Sta. Croce, Florence, (Jacobsthal). 4. Renascence, Tomb, Stiftskirche, Stuttgart, German, (Musterornamente). 5. Renascence, S. Michael's, Schwabisch-Hall, German, (Musterorna- mente). PLATE 163. THE OBLOXO PANEL. 1. Renascence, Wrought-iron Grill, Italian, (Gewerbehalle). 2. Wrought-iron Grill, Choir of S. Blasius, Miiblhausen, Thuringia, 17th century, (Musterornamente). 3 4. Ivory inlays, by Hans Schieferstcin, 16th century, Museum, Dresden. 5. Wrought-iron, house, Freiburg, Switzerland, 17th century, (I/art pour tous). 6. Ornament, over picture of saint, by Barthel Beham, Carlsruhe, German Renascence. 7 8. Stalls of the Laurentian Library, Florence, Italian Renascence. PLATE 164. THE OBLONG PANEL. 1. Grill, Schlettstadt, 1649, (Gewerbehalle). 2 3. Intarsia, S. Petronio, Bologna, 1495, (Musterornamente). 4. Wrought-iron balaustrade, 18th century. 5. Wrought-iron, French, 18th century. 6. Wrought-iron, Stift Strahov, Prague, German, Renascence. THE ELLIPTIC PANEL. (Plate 165.) As regards the principle of decoration, the Ellipse bears the same relation to the Circle that the Oblong does to the Square. When not sub-divided (see Plate 20, fig. 15), it is treated either mon-axially, with the ornament symmetrical to ono of the axes (fig. 1); or it is treated bi-axially, with the ornament symmetrical to both (figs. 2 to 8). The Elliptic panel was not often used in decoration during the best periods. In the 17th and 18th centuries, it was used as the form for snuff-boxes, sweet-boxes, simplest of these. The Sphere is altered, by equally flattening or extending, to tho Spheroid, or the Ellipsoid. If these bodies bo cut-away at both ends: we have the erect, and the recumbent vessel. Unequal flattening and extending produce forms which wo may term Echinus, Cake, Egg, and Top forms; or, if the length much exceeds the breadth: Wedge, Spindle, and Drop forms. If only tho top bo cut-iuto: we have either the Dish, or the Cup form. Conical, Bag, and Canopus forms may be derived from the Cylinder. In a similar way the Hyperboloid also leads to new forms. If the height of tho vessel be a high multiple of the diameter, we get slender, tapering _ forms: in the reverse case, we have dishes and plates. The Egg is the commonest form in Pottery. Cylindrical and Conical forms, i. e. such bodies as have a developible surface, are best adapted for Sheet- metal work. Mathematical curves, e. g. arcs of circles, are not strictly ad- hered-to in the profiles. Vessels, which are not made on the wheel, often exhibit arbitrary forms which cannot be grouped in the scheme of the Plate. In the Chinese and Japanese styles, for example, pris- matic forms are very common (compare Plate 187. 1); human and animal shapes are found in the Antique, as forms of vessels, (com- pare Plate 194. 12). The Various junctions, of the Body with the Neck, or the Foot, will produce a series of new forms. The use of Double-curvature in the profile will also produce new forms, the simplest of which are the Bell, and the Pear. The so-called "Gourd-pots", the Pilgrim-bottles, &c., also form special and rarer groups of forms. Here too, may be mentioned duplex vessels formed by the juxtaposition of two vessels on a common foot, or by uniting them with a common handle. These forms are found sporadically in Prehistoric and all subsequent periods. As regards the Feet of vessels: we have first to remark that in the earliest times footless and three-footed vessels are by no means, rare. The former were sunk in the earth, the latter would stand on an uneven surface. The usual form of foot presupposes a level stand- ing surface and therefore some degree of civilisation. Intermediate, between the absence of a foot and the high foot, is the Ring-foot, a 302 Fundamental Vase-Forms. torus or profiled circular ring, forming the lower end of the vessel. It evidently arose from the early custom of placing footless vessels in hyperboloid Rings, which were afterwards incorporated with the vessel itself. The decoration of the foot is generally subordinate to that of the body; and consists of simple motives, channellings, &c. The Neck receives a cylindrical, conical, or hyperboloid form, according to the object of the vessel. As experience showed that pouring-out is best done through a narrow opening, and filling through a wide one: funnel-shaped necks, intended to meet both requirements, arose. A good decoration of the neck is to surround it at its narro- west part with a neutral band, from which the motive of decoration may be developed upwards and downwards. The upper margin or Mouth is either bent outwards or inwards, or is straight; the latter especially when the vessel was intended to be closed by a Stopper. Pouring-out is facilitated if the vessel be provided with a Spout, or curved Lip, as is the case with some mugs and cans. 1 The decoration of the Mouth, when round, is usually a beading or row of leaves curving downwards and outwards. The curved Lip depends for its effect on the line of its curve, or, like the Spout, is decorated by masks, scallops, &c. The Lid generally fits into, on-to, or over, the upper margin. It may be raised by means of a knob, hoop, or ring; and if it does not lie loose on the mouth, is fastened by a hinge, or by cords and chains (Censer). Antique lids have sometimes the form of little vessels, or dishes. The Handle varies in size, position, and number, according to the use and size of the vessel. The points of attachment of the vertical handle lie in a vertical plane; those of the horizontal handle are in a horizontal plane side by side; and those of the hoop handle are opposite each other in a vertical plane. The vertical handle is most used. The horizontal handle is specially intended for lifting; the ver- tical for tilting the vessel when pouring-out. Vertical handles are most suitable for tall vessels; and horizontal handles for flat ones. Other forms are produced by combination, as when a vertical handle is added to the centre of a horizontal one. As a rope was originally used instead of a handle, the latter frequently takes that form, (com- pare Plate 182. 4). If the vessel be intended for pouring-out. Ihe handle should be so attached that the pouring-out may be done with equal ease whether the vessel be full or nearly empty. Attempts have often been made to classify vessels according to their uses; but definite divisions cannot be made, as many vessels may serve for a number of purposes, which gives rise to combinations and inter- Fundamental Vase-Forms. The Amphora. 303 mediate groups. We mainly follow Semper's classification when we divide vessels into the following groups- 1. Holders; their chief object being storage and preservation. To this group belong: the Amphora, Urn, Krater, dish and salver, the Ampulla, the Alabastron, and similar small vessels, flower-vase, salt-cellar, ink-pot, snuff-box, holy-water stoup, &c. 2. Dippers; chiefly used for drawing and filling into other vessels. To this group belong: the Hydria, bucket, spoon, and Patera. 3. Pouters; for pouring-out. To these belong: the Prochoiis, Olpe, OinochS, Lekythos, mug, can, and bottle. 4. Drinking vessels. The principal representatives of this class are: the antique drinking vessels of the forms Kylix, Kantharos, Kyathos, - echinus dish -shaped recumbent f pear-shaped spheroid cake -shaped I Inverted cone top -shaped Inverted egg elllosold egg-shaped erect cask can op us bell -shaped :up- shaped wedge-shaped spindle-shaped drop-shaped Plate 181. Chart of Fundamental Vase Forms. VASES. The Amphora. Meyer, Handbook i>[ Ornament. Plate 182. JO 306 The Amphora. The Urn. high foot. With or without cover. Material: clay, more rarely glass, or other materials. Size: very variable, according to use. PLATE 182. Tins AMPHORA. 1 Egyptian, with cover, Thebes, Thutmes III. 2. Egyptian, with cover, Thebes, XX dynasty. 3. jsinall four-sided, with Latin inscription, found in Egypt, unpainted clay, United collections, Carlsruhe. 4. Assyrian, with rope handle, clay. 5. Eoman, unpainted red clay, United collections, Carlsruhe. G. Roman, unpainted yellow clay, found near Aquileia in 1877, United collections, Carlsruhe. 7. Roman, glass,' with stopper, Rouen, Museum, (Deville). 8. Roman, iridescent glass, found at Pompeii. f j. Ancient, Attic, painted clay (so-called Diota), Munich, (Lau). 10 11. Clay, painted in polychrome, with band-shaped handles, so- called Alexandrian style, (Lau and Jacobsthal). Antique, black painted clay, (Gropius). Antique state amphora, white marble, with swan handles, "Vase of the Athenian Sosibios", Louvre, Paris. 14. Modern French, state amphora, by Lienard. 15. Faun with amphora, from the painted neck oi an Antique Drinking-horn, (compare Plate 202. 5 6). THE URN. (Plate 183.) The Urn is met-with, not only in the Antique and all subsequent styles, but in early times everywhere and specially in Prehistoric styles. Apart from other purposes, the Urn was frequently used in funeral rites, as a repository for the ashes of the dead, as a coffin, and so on. It has an erect body, profiled like an inverted egg or spindle. The neck is comparatively wide and low, the mouth straight or curved outwards, usually closed by a cover. Either without feet, or with a low round foot. Without handles, or with two small hori- zontal handles, attached to the greatest prominence of the body. Material: clay. Generally of considerable size. PLATE 183. THE URN. 1. Egyptian, rubbing an Urn, (M^nard et Sauvageot). 2. Prehistoric, Gallic, (Bosc). 3. Grey clay, ornamentation in relief, United collections, Carlsruha 4 5. Greek, painted clay, Munich. 6. Majolica, 15th century, Italian. The Uru. IMate 183, 20* 308 The Urn. The Krater. The Basin, and Dish. 7 8. Slavic, found in the district of the Elbe and Oder. 9. Modern Faience, Bombay, (Gewerbehalle). 10. Majolica, 16th century, Italian, (Storck). 11. German, cut crystal, small with high foot, 16th century, Na tional Museum, Munich, (Kunsthandwerk). THE KRATER (Plate 184.) The Krater is an Antique vase, chiefly used for mixing water and wine (wine was not drunk unmixed); and perhaps also for ablu- tions. Although we meet with it as early as Egyptian times, it is not found in Antique Keramic art until its later periods. As a state vessel, the Krater has probably been more highly developed than any other form. Modern art employs the Krater preferentially as a garden vase for plants. A characteristic of the Krater is its great width at the top. The body is either a hemispherical dish (fig. 9), or has a wide, cup - shaped neck, (figs. 7 and 8). Where the junction is formed without a shoulder: we have the bell-shaped Krater (figs. 3 and 4). The Foot is frequently small; and so arranged that it stands on an independent base (fig. 10). Two, sometimes four, or more, horizontal or vertical handles, or hints of them. The principal materials were clay, marble, and metal. Kraters are usually of con- siderable size. PLATE 184. THE KRATER. 1. Egyptian, with lotus cups. 2. Egyptian, Thebes, XVIII dynasty. 3 4. Greek, Munich, (Lau). 5. Greek, with columnar handles, Munich, (Lau). 6. Greek, with volute handles, (Lau). 7. Antique, Uffizi, Florence, (Gropius). 8. Antique, marble, with four handles, found at Ostia, evi- dently copied from a metal original. 9. Ditto, found at Tivoli, England. 10. Antique, state Vase, marble, the decoration of the neck, con- sisting of figures or rich scroll ornament, is omitted. 11. Assyrian. 12 13. Antique, for ladies' toilet, Greek vase-paintings. THE BASIN, AND DISH. (Plate 185.) Basins, and Dishes, are vessels of such common use, that they are found everywhere, and in all periods in which the Keramic art VASES. 309 The Krater. Plate 184. 310 The Basin, and Dish. has been practised. Their uses are manifold; their form is Indicated by their names: Dishes are the deeper, Plate3 the shallower vessels. They occur without foot, and with a round or high foot. The last was specially adopted for the Greek Kylix. Handles are wanting, or occur singly, or in pairs, horizontal, vertical, as hoop handles, and so on. Material, and size: various. The decoration of Dishes is generally on the exterior; and of Plates is generally on the inner or upper face. In the latter case: the border and the centre are ornamented separately, being divided from each other by a neutral, undecorated zone, (figs. 13 16). To paint the entire surface with figures, dis- regarding the division of border and centre, would be contrary to correct Style. 185. THE BASIN, AND THE DISH. 1. Egyptian Dish, with hoop handles, Metal, (Me"nard et Sauvagcot). 2. Egyptian Dish, with erect handles, Metal, (Me"nard et Sauvageot). 3. Greek Dish, yellow clay, painted brown and red, Geo- metrical style, United collections, Carlsruhe. 4. View from above, of the handles of the above. 5. Greek Dish, yellow clay, ornamented with horn - liko ex- crescences, painted red, Geometrical style, United collections, Carlsruhe. 6. Greek Dish,- with high foot (Kylix), yellow clay, decoration brown, Geometrical style, Munich, the interior is decorated with the ornament shown on Plate 157. 4. 7. Ditto. 8. Greek, -flat Dish, with ring foot, Munich, (Liu). 9. Antique footless Dish, (Jacobsthal). 10. Antique, small Dish, with low foot, silver treasure, Hildes- heim. 11. Antique, metal Dish, with high volute handles, (Menard et Sauvagcot). 12. Roman, glass Dish, with pierced handle ring, Found in Nor- mandy, (Deville). 13 14. Majolica Dish, view and section, Italian Renascence. 15115. Modern glass Plates, with scalloped border. 17. Modern Soup-tureen, with cover. 18. Modern French metal Dish, with vertical handlo and three feet, (Julienne). 19. Modern Spanish, small Dish, of variegated glazed clay, Malaga, United collections, Carlsruhe. 20. Modern Coffee-bowl, with horizontal handles. 21. Handle of No. 20, viewed from abovo. VASES. 311 The Basin, ami the Dish. Plate 185. 312 The Ampulla, Alabastron, &c. The Flower- Vase, &c. THE AMPULLA, ALABASTRON, &c. (Hate 18G.) The Ampulla is a diminutive Amphora, often in black painted clay, adorned with impressed ornament (figs. 4 6). The Phiale is a slender vessel, without handles, with elongated body, and long narrow neck, of clay or glass (figs. 1 3). The Alabastron has a bag-like or cylindrical body, no foot, a very narrow neck with a shoulder, a large plate-like mouth, and little ear-shaped handles (figs. 13 14). This vessel was intended for the reception of oils and unguents; it was made of alabaster or striped glass, whence its name. The Lachrymatory, so-called from its tear -like profile, or from its purpose, is a glass vessel, of the forms shown in figs. 11 and 12. Not less frequent are little bag forms like the handleless vessels given in figs. 6, 9, and 10. Like those already named, they were intended for toilet. or religious purposes. PLATE 186. THE AMPULLA, ALABASTRON, &c. 1. Egyptian Phiale, with cover, Thutmes III. 2. Antique Phiale, painted clay, Munich, (Lau). 3. Antique glass Phiale, (Stackelberg). 4. Antique glass Ampulla, striped bright blue and yellow. 5. Antique Ampulla, black painted clay with impressed orn aments, Athens, United collections, Carlsruhe. 6. Ditto, Athens. 7 10. Antique, Small Vessels, painted clay, United collections, Carls- ruhe. 11 12. Antique glass Lachrymatories, Museum, Nuremberg, and United collections, Carlsruhe. 1 1 . Antique Alabastron , veined glass , imitating oriental ala- baster. 14. Antique Alabastron, milk-white glass, with brown stripes, Campana collection, (L'art pour tous). 15. Vase, white iridescent glass, Campana collection, (L'art pour tous). 16. Modern Japanese, Small Vase, with mask handles, Landes- gewerbehalle, Carlsruhe. 17. Old German, Small stoneware Vase. THE FLOWER -VASE, &c. (Plate 187.) Flower- vase is the name given to vessels intended to receive and support bouquets of living or dried flowers. Various as the forms of these vessels may be in other respects, their purpose requires that they VASES. The Ampulla, the Alabastron, &c. Plate 186. 814 VASES. Plate 187. The Flower-Vase, &c. The Flower- Vase, &c. Vase-forms for Various Purposes. 315 should have a funnel-shaped mouth. Japan and China, which have been especially prolific in this group, use cylindrical and prismatic forms. Such vessels do not possess a cover; handles, which are equally super- fluous, are also generally wanting; the decoration should avoid any attempt to imitate natural plant motives. Glass, clay, and porcelain are the predominant materials. A special example of these vessels is the so-called "Hyacinth-glass" intended for forcing bulbs in water. As it is desirable that the root should be visible, recourse must be had to some transparent material. Decoration is excluded in the case of the ordinary Flower- pot, which must admit air and moisture. This has led to the use of the Decorated Flower-pot, an example of which is given in fig. 12. The suspended Flower- vase, like suspended vases in general, must be furnished with three or more handles to which the cords and chains may be attached; but it need not have a foot unless it intended to stand also. PLATE 187. THE FLOWER- VASE, &c. 1. Chinese, with cloison enamel, (Li&vre). 2. Modern English, in oriental style, blue glazed clay, with black ornament, Landesgewerbehalle, Carlsruhe. 3. Modern, glazed clay, with decoration in colours. 4. Modern Italian majolica, Landesgewerbehalle, Carlsruhe. 5. Modern, coloured stoneware, (Gewerbehalle). 6. Glass, 17th century. 7 9. Modern, glass. 10 11. Modern, Hyacinth-glasses, (No. 10 is patented: the upper part is made to lift out for greater convenience of pouviiig- in water). 12. Modern, decorated Flower-pot, green glazed clay. 13. Arabian suspended Lamp, enamelled glass, conventional form, (part of the ornamentation is omitted). 14 15. Modern suspended Flower-vases, of glazed clay. VASE-FORMS FOR VARIOUS PURPOSES. (Plate 188.) This plate exhibits a number of receptacles for salt and other spices, vinegar, oil, ink, &c. The name "cellar" and "stand" have little connection with the form of these vessels, which may be very various. Receptacles for oil and vinegar are often called "Cruets". Vessels belonging to this group have not been preserved to us from the Antique; but we may not conclude, from this, that salt, oil, &c., were not preserved in vessels in those days: on the contrary, some small vessels in the silver treasure at Hildesheim, have been supposed 316 Vase-forms for Various Purposes. to be Salt-cellars, though we have no definite evidence that this was so. The Salt-cellar usually takes the form of a dish or bowl, some- times of a little trough or tub. The material is glazed clay, glass, porcelain, metal, &c. The Renascence period created Salt-cellars of rich design: the most celebrated is the famous one by Cellini. With the increased use of writing, the Inkstand has undergone an immense number of changes of form. The wooden Inkstand, with glass lining, was in use, for a long time, till it was rendered obsolete by vessels of clay and glass. What is required of a good Inkstand is: it should not fall-over easily, and if it does, should not spill; the evaporation must be reduced to a minimum; the height of the contents must be easy to regulate. To fulfil all these requirements numerous inventions have been made, some of which we will notice here. In fig. 10 the centre of gravity lies in the foot, and this, with the form of the glass, prevents falling-over, or spilling. Iii fig. 12 the level of the ink can be regulated by an India-rubber stopper. The funnel- shaped tube in which the ink rises is convenient for dipping the pen; and it reduces _the evaporation. Fig. 13 shows an Inkstand with sloping bottom, and revolving cover, which may be adjusted to the varying level of the ink. The form of fig. 14 is intended to prevent falling-over, to reduce evaporation, and to maintain the level uniform for a long time; a result which is attained, notwithstanding the sim- plicity. Oil and Vinegar Cruets are usually small bottles with a shoulder. They are generally placed in pairs, in a frame (fig. 7); a direct union .of the two, as in fig. 6, is rare. The Pepper-box has of late years taken the form of the pepper mill or grinder (fig. 8), otherwise it is associated with the Salt-cellar, and receives the same form. The Inkstand and the Sand-box were also often associated together; but Blotting-paper renders the latter unnecessary. PLATE 188. VASE-FORMS FOR VARIOUS PURPOSES. 1. Salt-cellar, Renascence, (Formenschatz). 2. Salt-cellar, German, 16th century. 3. Majolica Salt-cellar, Italian Renascence, (Teirich). 4. Spice-frame, glass, 18th century. 5. Modern Cruet-frame. 6. Modern Cruets, coloured glass, Antique model. 7. Modern Cruet-frame. 8. Modern Peppermill. 9. Old Inkstand, wood. 10. Modern Inkstand. 11. Inkstand, Glazed clay. VASES. 317 Vase-forms for Various Purposes. Plate 188. 318 Vase-forms for Various Purposes. 12. Modern Inkstand, with adjustible stopper. 13. Modern glass Inkstand, with sloping bottom and revolving cover. 14. Modern glass Inkstand. 15. Old horn Inkstand, for the pocket; after unscrewing the foot- piece, the metal pin may be forced into the Table-top. 16. Modern Inkstand. 17. Modern Inkstand. THE JAR, THE CIST, &c. (Plate 189.) J.irs and Pots are small receptacles of spheroid or cylindrical form, for solid, granular, or pasty substances. The lid is either loose, or affixed by hinges; and is an essential part of the vessel. The materials are clay, porcelain, glass, wood, metal, ivory, &c. Besides the small clay Pots and Boxes which are common in the Antique: we must also mention the Cist. This is a metal vessel of cylindrical form, and considerable size, which was used for religious rites, and for the reception of jewelry, rolls, &c. The style is con- ventional: there were three claws for the feet; and the exterior of the cylinder was decorated with incised figures, and furnished with rings to which chains were attached, for the transportation of the vessel. The lid is slightly domed; and the handle usually consists of two wrestlers grasping each other by the shoulders (fig. 6). PLATE 189. THE JAR, THE CIST, &c. 1. Antique, yellow clay, painted brown and red, this is the so-called "Dodwell vase" celebrated as the first-discovered of the vasos in imitation of the Asiatic style, dug-up- near Corinth. 2. Antique, yellow clay, painted red and brown, United collections, Carlsruhe. 3. Antique, with small Kylix as lid, yellow clay, painted brown and red, imitating the Asiatic style, Munich, (Lau). 4. Antique, black clay. 5. Antique, painted clay, belongs to the later period of the red figure style, metal ring, Berlin, Museum. (5. Antique bronze Cist, Louvre, Paris, (L'art pour tous). 7. Modern Japanese, lacquered gold and black, the lid forms a disli, Landesgewerbehalle, Carlsruhe. 8. Old Persian, repousse copper, the decoration is too small to be given, (Kunsthaudwerk). 9. Modern Snuff-box, birch bark. 10. Modern Tobacco-jar, Norwegian, carved in wood, Landesgewerbe- halle, Carlsruhe. 11. Metal box, with collapsible Drinking-cup, Modern. VASES. 319 The Jar, the Cist, &c. Plate 189. 320 The Font, and the Holy-Water Stoup. The Hydria. TBE FONT, AND THE HOLY- WATER STOUP. (Plate 190.) Holy-water plays an important part in many rites of the Roman* Catholic Church. It is kept in Holy-water Stoups. These are bowls, either free, or attached to walls. In the former case, the form generally approaches that of the Krater; in the latter case, the edge projects as a half or three-quarter circle from the surface of the wall; and the stoup is supported on a pilaster, column, or console. For use in houses: the Stoup takes the form of a suspended dish, as shown by fig. 11. The decoration is mostly symbolic, e. g. crosses, monograms, cherub-heads, &c. Most of the examples are taken from the work by Raguenet, which contains a large selection of these objects. PLATE 190. 1. Romanesque, minster, Weissenburg, (Raguenet). 2. Romanesque, Church of the Crucifix, Compi^gne, (Raguenet). 3. Romanesque, church, Picardy, (Raguenet). 4. Romanesque, church, Charleville, (Raguenet). 5. 12th century, (Viollet-le-Duc). 6. 16th century, Church, Mas d'Azil, Ariege, (Raguenet). 7. 17th century, Church, Cormontreuil, (Raguenet). 8. Church, Picardy, (Raguenet). 9. Modern, church, Couthuin, Belgium, Architect Halkin, (Raguenet). 10. 16th century, Chapel of the castle, Mello, France, (Raguenet). 11. 17th century, beaten silver, Royal Museum, Stuttgart, (Kunst- handwerk). b. Dippers. THE HYDRIA. (Plate 191.) The Hydria, as its name implies, is the water-pot. It is the vessel which the maidens took to the spring; filled with water; and then bore home on their heads. It was carried, when empty in a horizontal; and when full, in a vertical attitude. Of all vases: it is the most perfect in form; its aim being so well expressed in its con- struction. It must be easy to carry, convenient to fill and empty, and to hold as much fluid as possible; it therefore has a vertical body of the shape of an inverted egg (this form places the centre of gravity at the top, which facilitates transportation in a vertical attitude); on which a funnel-shaped neck is placed. It has three handles: two are horizontal, diametrically opposite to each other at VASES. 321 The Font, and the Holy-Water Stonp. Meyer, Handbook of Ornament. Plate 190. 21 322 The Hydria. The Bucket, &c. the greatest protuberance of the body, which served to raise the vessel when full; the third is vertical, placed on one side of the neck, which served to carry the vessel when empty, to steady it when full and when pouring- out. The foot is always small. The neck has a shoulder, or blends in a curve with the body. A special kind of the latter treatment is the Kalpis (fig. 2). The smaller, slenderer Hydrius, which were not intended to be carried on the head, are termed ILand-hydrias. The material is clay. I'LATE 191. THE HYDRIA. 1. Greek. (Jacobsthal). 2. Greek, of the Kalpis form, body smooth, black, painted with red figures on the shoulder. 3. Greek, painted black, reddish brown and white on the clay ground, Campana collection,' Louvre, Paris, (I/art pour tous), the decoration is of the highest class, the shoulder is decorated by an ivy band, which is omitted in this figure, but given on Plate 32. 4. 4 5. GraecQ - Italic Hand-hydrias, unpaintcd clay, United collections, Carlsruhe. 6 8. Greek Vase-paintings, showing the mode of carrying and using the Hydria. THE BUCKET, &c. (Plate 192.) We have seen that the Hydria gives beautiful expression to tho idea of pouring-out; the Bucket, on the other hand, is distincly a dipper, and the Funnel a filler. The Bucket is of specifically Egyptian origin; with it water was drawn from the Nile; and hence the drop-like form, with the centre of gravity low down. Two such Buckets were carried on a yoke. The form serving to prevent spilling, (figs. 1 4). The Assyrian Bucket generally terminates below in a lion mask, from which the bag-shaped neck rises, (fig. 6). In the Graeco-Italic style, we find footless Buckets resembling an inverted egg (fig. 10); others with a ring foot are, however, not uncommon, (figs. 7, 8, 9 and 11). Instead of one hoop handle there were sometimes two (figs. 7 and 9). The ecclesiastical art of the Middle ages gave its portable Holy- water Stoups the form of buckets, modifying the shape of the latter to fit them for this purpose (figs. 13, 14). Sometimes the Bucket is furnished with a spout, or a nozzle (fig. 15). The Funnel, as a rule, takes the shape of an inverted cone, with or without a tubular continuation; the handle is vertical (figs. 20, 21), VASES. 323 The Hydria. Plate 191. 21* 324 The Bucket, &c. The Spoon, &c. hoop-shaped (fig. 19), or two horizontal double (fig. 18). A Water- ing pot is shown in fig. 19: the hole at the top is intended to let the water flow when opened, or to stop the flow by atmospheric pres- sure when closed by the finger. Metal, as the more durable material, is generally used for Buckets and Funnels: clay, glass, &c., are less common. PLATE 192. THE BUCKET, &c. 1. Egyptian, Thebes, Tutmes III. 2 4. Egyptian, bronze. 5. Egyptian Bucket-like Vessel, without handle. 6. Assyrian, with cord handle. 7 11. Graeco-Italic, bronze, of various forms. 12. Antique, with hoop handle, red clay, painted black, United collections in Carlsruhe, the eye in the uppermost zone, which is found in Greek Keramics, has been explained as a protective against the "evil eye". 13 14. Mediaeval, beaten copper, 15th century, (Viollet-le-Duc). 15. Modern Italian, clay, with hoop-handle and no7zle, (Gropius). 16 17. Modern Coal-vases, sheet-metal, square and round. 18. Antique clay Funnel. 19. Mediaeval Vessel, for watering the ground, clay, (Viollet-le- Duc). 20. Modern Funnel, for watering the ground, sheet-metal. 21. General form of the modern sheet-metal Funnel. THE SPOON, AND THE LADLE. (Plate 193.) Spoons and Paterae form a special class of dippers. As the Table-spoon, strictly so-called, will come up for discussion among the uteusils, we have here to consider only the larger spoon -shaped vessels and the Paterae (handled dishes) used for religious and othpr purposes. The natural model of the Spoon is the hollow hand, whence the spherical, elliptical, or oval dish-shape, with an attached handle. The latter usually lies in the plane of the rim, but it may also form an obtuse angle with it, or, as in the case of tlio antique Simpulum (fig. 11), a right- angle. Egyptian Spoons, which are richly decorated, often possess a cover rotating round a pin (compare the projections on the dish, fig. 2), the spoon then becomes a kind of pot or receptacle. A foot is of course superfluous on the ordinary Spoon; but the Patenc with handles not infrequently have a ring- foot to enable them to stand (figs. 78). The Spoon and the Paterte may also be furnished with a special spout or lip (fig. (>). VASES. 325 The Bucket, &c. Plate 192. 326 The Spoon, Ac. The Prochoiis, &c. As a rule: the Dish is plain, or is slightly decorated by engraving the interior, (fig. 6). The decoration is generally confined to the rim and the handle, or its points of junction. The material is usually wood, bone, or metal. The size varies with the use. PLATE 193. TIIE SPOON, AND THE LADLE. 1 4. Egyptian Spoons, plainly or richly finished, partly painted. 5. Assyrian spoon-like Vessel. 6, Antique bronze Patera, with lip. 7, 9, 10. Antique bronze Paterae, seen from the side, from above, and below. 8. Antique terracotta Patera. 11 12. Antique Simpula. 13. Antique spoon - like Vessel, bronza, United collections, Carlsruhe. 14. Antique cooking Vessel, like a handled dish, (Menard et Sauvageot). c. Pourers. THE PnocHOtls, THE OINQCHOE, THE OLPE, &c. (Plate 194.) We commence the series of pourers with the antique forms of the Prochoiis, Oinochofe', Olpe, &c. As the definition of these appella- tions is not yet finally settled: it will be best to leave the various intermediate forms entirely unnamed. The vessels were used partly for secular, partly for religious purposes. Thus the Prochoiis is the sacrificial vessel from which the libations of wine were poured-out, into the Patera. The OinochoS is believed to have been a secular wine jug; and the Olpe to have been a receptacle for oil, &c. All these vessels have this in common: that the mouth is wavy, elongated to a channel on one side, or pinched -in at the sides, to form a large spout and facilitate the pouring-out. The older vessels, in particular, show great boldness in thus making the form of the mouth different to the circular plan which is a result of the use of the Potter's -wheel; but in the later times there was a return to tbo simpler and more beautiful shape. The Prochous and the Oinochog generally have an upright body, in shape like an egg. The Olpe invariably has a cake or bag -shaped body, a form which is occa- sionally found in the Prochous. The vertical handle is raised above the vessel and is attached in a bold sweep to the side opposite the lip. The foot is usually ring-shaped. Bronze and clay are employed VASES. 327 The Spoon, and the Ladle. Plate 193. 328 The Prochoua, Ac. The Lekythos, &c. as materials. The Prochous and OinochoS are, generally, vessels of considerable size, while the Olpe is smaller. PLATE 194. THE PROCHOUS, THE OINOCHOE, THE OLPE, Ic. 1. Greek Prochous, archaic form und ornamentation, painted clay. 2. Greek Prochous, geometrical 'style, red clay, painted black. 3. Greek Cyprian Vessel, geometrical style, yellow clay, painted brown, Munich, (Lau). 4. Greek Oinochoe', Asiatic style, yellow, painted clay,' (Semper). 5. Antique small Vessel, yellow clay, painted black, United collections, Carlsruhe. G. Antique small Vessel, clay, painted black, engraved orna- ment, United collections, Carlsruhe. 7 9. Greek Vessels, painted clay. 10. Greek bronze Vessel, collection of Herr von Pulsky, Pesth. 11. Graeco-Italic bronze Vessel. 12. Prochous in the form of a female head, Museum, Rome. 13 14. Antique Olpe, painted clay. 15. Antique bronze Olpe, Museum Rome. THE LEKYTHOS, &c. (Plate 195.) The Lekythos is a small antique pourer, employed sometimes in the toilet as a receptacle for oils and unguents, and sometimes in funeral rites, to bo placed with the deceased in the grave. The form is generally elongated, cylindrical or spindle-shaped, more rarely bag-like or spherical. The foot is a plain ring foot, the neck long and narrow with a shoulder. The handle rises from the body up to the upper end of the neck. As regards form and decoration, these pretty vessels form special groups. The slender forms are the older, the spherical and depressed the later. Upright pahnettes, as shown in fig. 1, are a characteristic decoration. The material is clay. PLATE 195. THE LEKYTHOS, &c. 1 3. Greek, red clay, painted black, United collections, Carlsruhe. 4 6. Greek, red clay, painted black. 7. Greek, painted black and white, later period. 8. Greek, Attic style. 9. Ditto. 10- -12. Greek, red clay, painted black, United collections, Carlsruhe. 13. Greek, red clay, painted black and white, Munich, (Luu). VASES. 829 The Prochous, the Oinochoc, the Olpe, Ac. Plate 194. 330 The Lekythos. The Lip-spout Pitcher. 14. Greek Aryballos (perfume vaso), United collections, Carls- ruhe. 15. Greek Aryballos, painted black, United collections, Carlsrube. 16. Greek, Perfume - vase , with hoop handle, painted black, United collections, Carlsruhe. 17. Greek Lekytbos, later period, United collections, Carlsrohc. THE LIP- SPOUT PITCHER. (Plates 196 197) The want of some uniform nomenclature makes itself felt not only in the case of antique vessels, but also with such colloquial expressions as "pitcher", "jug", "pot", "can", "bottle", &c., which include a great variety of forms, so that what one calls pitchers and pots another calls jugs and cans. To maintain at least some kind of system in this handbook, we class all vessels with vertical handles, (unless they belong to some special category), as "Pitchers" if they have the usual mouth with a lip; and as "Pots" if they have a pipe- like spout. The material and size, of the Pitcher vary greatly, according to its purpose and period. The principal representatives are the ewers, and jugs, of glass, clay, stoneware, and metal. PLATE 196. THE LIP -SPOUT PITCHER. 1. Egyptian, with saucer, recalling our modern ewers and basins. 2. Antique iridescent glass, Germanisches Museum, Nuremberg. 3. Antique glass, found in Trouville-la-Riviere, Nornmndy, (Deville). 4. Antique glass, found near Mainz, United collections, Carlsruhe. 5. Roman, glass, from a grave at Bingerbriick, Wiesbaden Museum. 6. Antique, blue glass, Louvre, (Deville). 7. Like No. 5. 8. Antique, yellowish green glass, Germanisches Museum, Nuremberg. 9. Like No. 4. 10. Antique, glass, found in Rouen, 3d century A. D., Rouen Museum, (Deville). 11. Antique ring-shape, unpainted clay, United collections, Carlsruhe. 12. Roman - Alemannic , red clay, found in Kafertbal near Mannheim, United collections, Carlsruhe. 13. Antique (?) bronze, with cover,' found at Saumur, (Menard et Sauvageot). 14. Ancient American, grey clay, time of the Incas, excavated at Trujillo in Peru, (the round compartment of the body is fan- tastically adorned with figures), United collections, Carlsruhe. VASES. 331 The Lekythos, &c. Plate 195. 332 VASES. Plate 196. The Lip-spout Pitcher, VASES. 333 The Lip-spout Pitcher. Plate l'J7. 334 The Lip-spout Pitcher. The Pipe-spout Pot 15. Old German, Bohemian glass. 16. Modern Hungarian, gla/.ed clay, Landesgewerbehalle, Carlsruhe. PLATE 197. THE LIP -SPOUT PITCHER. 1. Italian Faience, glazed in colours, 16th century, the blue lilies on a gold ground are the coat of Julius III., Cluny Museum, Paris, (L'art pour tous). 2. German, by Hans Holbein, 16th century, (Hirth, Formea- schatz). 3. Old German, stoneware, with disc-shaped body. 4. German Renascence, pewter, (Hirth, Formenschatz). 5 6. Old German, stoneware, the decoration is omitted. 7. Modern stoneware, with tin cover, by Dir. Kachel. 8. Modern majolica, Carlsruhe. 9 10. Modern, stoneware. 11 12. Modern, green and blue glass. THE PIPE-SPOUT POT. (Plate 198.) As already remarked, we group here all those one-handled pourers which possess a separate spout or mouth. Here too, material, size, and form are very various. Distinct categories are formed by the State - jugs of metal, such as were in use at the period of the Italian Renascence (fig. 1), the Oriental metal Jugs, the Venetian small glass Jugs, milk, coffee, tea and watering Pots, &c. Where a" spout occurs: it is generally attached at the lower part or middle of the body, more rarely towards the top; and usually reaches to the level of the mouth. The Spout generally tapers in an upward direction; its orifice is some- times a mask or a widened mouth-piece; in the case of the Watering- pot it is furnished with a rose. The handle is vertical, or a hoop. Noteworthy is the long stump-handle of some modern Coffee-pots (fig. 9). The vessels of this group frequently have a lid. PLATE 198. THE PIPE -SPOUT POT. 1. Italian Renascence, State -jug, metal, design by Polidoro Caravaggio, Uffi/.i, Florence. 2. Japanese, enamelled metal, Louvre, (L'art pour tous). 3. Arabian, metal, 16th century, Cluny Museum, Paris, (L'art* pour tous). 4 5. Venetian glass, IGth century, (Tlirth, and L'art pour ions). 6. Modern Oriental, uuglazed clay, from Jerusalem, United collections, Carlsruhe. VASES. The Pipe-spout Pot. Time 198. 336 The Pipe-spout Pot. The Bottle. 7. Oriental Tea-pot, painted china. 8. Milk-ewer, painted faience, 18th century, United collections, Carlsruhe. 9. Modern Coffee-pot. 10. Modern Tea-kettle, metal, hoop handle, with woodori guard. 11 18. Modern Watering-pots, sheet metal. THE BOTTLE. (Plates 199200.) The Bottle has a spherical, elongated, or bag body; and an elongated, narrow neck, which usually expands like a funnel towards its upper extremity, and is sometimes closed by a stopper. Bottles have either a ring foot or no foot at all, high feet are exceptional. Handles are seldom attached; where this is done, they appear in pairs. In the case of Pocket -flasks, which are usually of a disc or watch shape, the handle serves to attach the flasks to a cord or belt. The material is chiefly glass; but clay and metal are also used. The Bottle form has been specially cultivated in the East, in Persia, China, Japan, &c. A natural model is frequently found in the Calabash, which is itself often used as a Vessel. PLATE 199. THE BOTTLE. 1 2. Egyptian, front and side view. 3. Antique, small watch-shaped Perfume- bottle, blue and white glass, with handles for suspension, like a hunting-flask, Cam pana collection, (L'art pour tous). 4. Antique, glass, with handles for suspension, (Deville). 5. Antique, Perfume-bottle, transparent emerald green glass. 6. Antique, Campana collection, (L'art pour tous). 7. Antique, two-handled, iridescent glass, Campana collection, (L'art pour tous). 8. Antique, iridescent glass, United collections, Carlsruhe. 9. Antique, iridescent glass, United collections, Carlsruhe. 10. Old German, glass, from the Spessart, (Friedrich, Die Alt- deutschen Glaser). 11. Modern, cut glass, Dresden, (Gewerbehalle). 12. Modern, green glass, with ring stopper. 13. Modern, yellowish green glass. 14. Modern, "Florentine flask", covered with bast. PLATE 200. TUB BOTTLE. 1. Egyptian, without foot, two rope handles for suspension. 2. Antique, red, unpainted clay, United collections, Carlsruhe. VASES The Bottle. Meyer, Handbook of Ornament. Plate 199. ,22 '338 VASES. Plate 200. The Bottle. The Bottle. Drinking Vessels. 339 Antique, hammered bronze, with cover and ring, Castellan] collection. 4. Ditto, United collections, Carlsruhe. 5 7. Japanese, bronze. 8. Persian, clay. 9 11. Modern, Egyptian, unglazed gray clay, United collections, Carlsruhe. 12. Chinese, blue porcelain, (Lievre). Persian, damaskeened metal, (I/art pour tous). 14. Wrought-iron military Flask, holding 44 pints, 15th century, Cluny Museum, Paris. 15. Modern Hungarian military Flask, colored glazed clay, Lundes- gewerbehalle, Carlsruhe. 16. Majolica, colored plastic ornamentation, Modern English, Landesgewerbehalle, Carlsruhe. 17. Modern, French, green glazed clay. d. Drinking Vessels. Plates 201 210 show drinking vessels. Drinking vessels are as ancient as drinking itself; and they are consequently found in every style. Their forms and kinds are infinitely various; especially in the Antique, the Middle Ages, and the Renascence. Semper says on this point: "Athenaeus gives us the names and descriptions of more than a hundred drinking vessels, although he confines himself to those of the precious metals, which, long before his time, had replaced earthen- ware drinking vessels among the Greeks. The same variety rules in the drinking vessels of the Middle Ages; and although, in this branch too, our poverty of invention is obvious, compared with the earlier fecundity; still, an enumeration of the different forms and kinds of drinking vessels now in common use would be fairly extensive; and would be all the more difficult inasmuch as our modern time does not adhere to typical forms; or, more correctly speaking, has lost all idea of what a type is. Nowhere is the influence of caprice, and heedless confusion of forms more conspicuous than in this class of vessels; so that any attempt to classify drinking vessels, and to enumerate the subdivisions which have existed and still exist, can meet with little success. But if wo disregard "freaks" and those anomalous forms of drinking vessels, which have been evolved more by the influence of fiishion, and caprice than by the intended use, we shall find that the distinctions which wo found to be true for the 22* 340 Drinking Vessels. The K)!LX, the Kantharos, &c. forms of vessels in geiicral, are applicable to drinking vessels in particular". Notwithstanding this, we will attempt to classify the forms of drinking vessels. This will be done, partly according to style, placing the commonest antique forms on one Plate, specifically Old German forms on another, and the drinking vessels of our own time on a third. Partly, too, we will place, on other Plates, definite groups which have either an identical fundamental form or a common object, regardless .of their belonging to the same or to different styles, e. g. Drinking horns and Rhytons, Cups and Beakers, Chalices and Goblets, State-Cups, Rummers, Mugs, and Tankards. THE KYLIX, THE KANTHAROS, '&c. (Plate 201.) Drinking vessels of clay and the precious metals, played the chief, part in Antique times, while glass, which was employed for other purposes, was only occasionally used. A very common form is the two-handled dish or Kylix, with a low or high foot. Both the form and the 'name of the later Calyx and mir Chalice are derived from Kylix. When formed of clay, the Kylix is a plain shallow dish, ornamented on the under side, some- times with figures on the inner side, and with two horizontal handles (figs. 1 2). In metal, the form becomes richer, the handles are elongated and bolder in curvature (figs. 3 4). The fundamental form of the Kantharos is that of the deep dish or Krater, with two vertical handles. The decoration is only external; the simplicity in clay (fig. 5), passes into richness when metal is em- ployed (figs. 6 7). Bacchic attributes, the vine, ivy, the thyrsos, masks, &c., from the decoration. The Kyathos, a dipper and drinking vessel at once, is a dish with the handle elongated vertically and sometimes replaced by a straight handle, which gives the vessel somewhat of the appearence of a spoon (figs. 8, 9, 10). The Skyphos is a dish with two horizontal handles (figs. 11); the Kothon (fig. 12), is the military drinking vessel, "a vessel with a broad rim bent inwards, out of which one could only drink by bending the neck right back; but it was convenient for dipping water from brooks, and the in -curved rim caught the impurities of the water so that they remained behind both in dipping and drinking", (Semper). We might further adduce the Deinos, the drinking vessel of Hercules, the amphikypellon, a double beaker mentioned by Homer, the Kalathos, and others. But the examples selected above may suffice. VA!?ES. The Kylix, the Kantharos, &c. Plate 201. 342 The Kylbc, the Kantliaros, &c. The Rhyton. PLATE 201. THE KYLJX, THE KANTIIAROS, &c. 1. Antique Kylix, painted clay, Museum, Naples. 2. The same vessel, viewed from below. 8. Greek Kylix, bronze, found in sarcophagus at Ccphalonia, (Stack el- berg). 4. Greek Kylix, bronze, found in Ithaca. 5. Antique Kantharos, black painted clay, United collections, Carls- ruhe. 6. Antique Kylix, beaten silver, Hildesheim treasure, Museum, Berlin. 7. Antique Kantharos, beaten silver, found at Berthouville near Bernay, Bibliotheque Nationale, Paris. 8. Antique Kyathos, black painted clay, United collections, Carlsruhe. 9. Antique Kyathos, painted clay, United collections, Garlsruhe. 10. Antique Skyphos, metal, (Menard et Sauvageot). 11. Antique Skypbos, painted clay. 12. Antique Kothon, painted clay, United collections, Carlsruhe. THE RHYTON. (Plate 202.) The primaeval custom, of using the Horns of animals as drinking vessels, led to the Drinking-Horn. The Antique is not alone in creating, in the Rhyton, a special kind of these vessels: in the Middle ages and in Modern times, in England and Germany, Drinking-horns are well known. In view of the varied and often complicated forms of these latter, we shall confine ourselves to presenting some Antique examples. The form of the Rhyton was that of an animal's head, with the addition of a handle. As a rule, it has no foot; and cannot be set down. Wben pierced at the lower end, it could be drunk-from in the manner shown in fig. 11. Stags, asses, swine, vultures, &c. were utilised as models, whence the special names Elaphos, Onos. Kapros, Gryps, &c. Sometimes the human head was used, (fig. 2). The vessel modelled naturalistically ; and receives a painted decoration on the neck alone. The material is clay. TLATE 202. 1. Antique, (Tvagolaphos) with a rain head. 2. Antique, with a human head. 3. Antique, (Kapros) with a swine head. 4. Antique, (Elaphos) with n. stag head. (Semper). 5 6. Antique, (Hippotragelaplios) on one "side a rain, on the other an ass lead. VASKS. The Rbyton. Plate 202. 844 VASES. Plate 203. Tlic Cup, and the Beaker. TheRhyton. The Cup, and the Beaker. The Chalice, and the Goblet 315 7. Antique, (Gryps) with vulture head. 8 9. Antique drinking-horn, with lion mask as spout. 10. Antique State Rhyton, marblo, Vatican Museum, Rome. 11. Picture from an Antique Vase, showing the manner of drink- ing from the Rhyton. THE CUP, AND THE BEAKER. (Plate 203.) Drinking vessels of these forms are of veiy general occurrence. They may be hemi- spherical, cylindrical, like an inverted cone, or of a mixed shape; without foot, with a ring foot, or supported on balls; without a handle, or with one, two, or more handles. The use of the Cup restricts it to a certain size; the material is metal, glass, clay, stoneware, &c. Richly-decorated Cups have come down to us from the Antique, and the Renascence. PLATE 203. THE CUP, AND THE BEAKER. 1. Assyrian, from a relief. 2. Assyrian, painted clay. 3. Antique, silver, parcel gilt, found on Ithaca. 4. Antique Kalathos, found in Athens. 5. Antique, clay, painted black, United collections, Carlsruhe. 6. Antique, red clay, painted black, United collections, Carlsruhe. 7. Antique, beaten silver, found in Pompeii, now in Naples. 8. Antique, originally decorated in sunk enamel, Hildesheim treasure, Berlin, Museum. 9. Antique, beaten silver, Hildesheim treasure, Berlin, Museum. 10. Antique, green glass, found in Normandy, (Devillo). 11. Antique, glass, (Deville). 12. Old German, glass. 13. Venetian, glass, British Museum. 14. Old German, stoneware. 15. Old Germau, stoneware. 16. German Renascence, Metal, with bosses and ball foot. THE CHALICE, AND THE GOBLET. (Plate 204.) These are deep vessels of the form of half an egg, without hnudle, and. with a high foot. Tho form was chiefly used in the Middle Ages, and Renascence; for both secular and religious purposes. For tlio former purpose, tho material is glass or metal, and the size is 346 VASES. Plate 204. The Chalice, and the Goblet. The Chalice, &c. The llanap. 347 various; for the lattor purpose, the chalice is invariably of metal, mostly of silver chased and gilt, enamelled, set with jewels, &c. In the Romanesque style, the cup is hemispherical and shallow; in the Gothic style and the Renascence, it becomes deeper. PLATE 204. Tim CHALICE, AND TUB GOBLET. 1. Egyptian, Thebes. 2. Antique, red clay, United collections, Carlsruhe. 3. Antique, clay, painted black. 4. Romanesque Chalice, chased silver set with jewels, Villingen church. 5. Gothic Chalice, chased silver, Wertheim church. 6. Silver State-Goblet, German, 16th century; this goblet, along with two others, is said to have been the model for the master- pieces of the goldsmiths; and is usually attributed to the Nurem- berg goldsmith Jamni-tzer, although this has lately been doubted; the bossed outline is copied from the flower of the columbine (Aquilegia vulgaris), Municipal collection, Nuremberg. 7. Crystal Goblet, with cut ornaments, 17 th century, National Museum, Munich, 8. Venetian glass Goblet, 17th century, British Museum, (L'art pour tous). 9. Modern Champagne-glass, Lanclosgewerbehalle, Carlsruho. 10. Old German glass Goblet, 17th century. 11. Old German glass Goblet, 17th century. THE HANAP. (Plate 205.) The same blending of forms which the reader will have ob- served in the treatment of cups and goblets occurs in the case of Hanaps. Ordinary colloquial language makes no definite distinction between them. A State-cup presupposes a considerable richness of decoration, it is usually a cup or goblet- shaped product of the gold- smith's art, provided with a cover, or it may even bo a richly finished glass of similar form. PLATE 205. THE- HANAP. 1. Design, by Hans Holbein, German, 16th century, (Formen- schatz). 2. Design, German, IGth century, (Formenschatz). 3. Design, 2nd half of the IGth century, the cover makes an in- dependent Cup, (Musterornamonte). 348 Plate 205. The IT.inap. The Hanap. The RSmer or Rummer. 349 4 5. German, 16th and 17th centuries, chased silver, treasure of Regensburg, (Musterornamente). 6 8. Old German, glass, 17th century. THE HOMER OR RUMMER. (Plate 206.) The Rummer, the glass par excellence for Rhenish wine, is the most important representative of the Old German drinking glasses, and is altogether one of the handsomest forms of vessels. C. Friedrich in his work "Die Altdeutschen Glaser", the study of which we warmly recommend, states that the fragments of antique glass were worked-up again into fine glass-ware; and that this ware was called "Romanum vitrum" or "Romarium vitrum" That led to the designation "Romarii" which then became "R8mer" and "Rummer". The original form of the Rummer is somewhat cylindrical (fig. 1); instead of a foot it has a ring at the bottom. At a later period a low foot was added, upon which the body began to be divided into members (figs. 2, and 3). The high foot eventually led to the goblet form (figs. 10, and 11). Rummers, in which the contents reach to the bottom, belong to the 2nd half of the 16th century; Rummers with spun foot, the wine reaching to the middle -piece, are to be ascribed to the 17th century; while Rummers with an independent middle-piece are the product of the 18th century. All three forms have been revived in late years. The colour of the Rummer is green or yellowish-brown; for aesthetic reasons, and not because it was impossible to manufacture clear glass. The middle-piece is often divided from the cup by a ribbed band and ornamented with bosses. In later times the cup was decorated with cut or painted ornament (figs. 5, and 6). Such modern examples, as Rummers with white feet and pink cups, are aberrations of taste. The Rummer is generally of moderate size; but examples of large size are sometimes met-with. PLATE 206. THE RUMMER. 1 4. Older forms, (Friedrich). 5 6. White and light-green, engraved ornaments, Bavarian Ge- werbemuseum, Nuremberg, (Friedrich). 7 :8. Modern copies. 9. Old form, without foot, (Friedrich). 10 11. Modern forms. 12. Wooden vessel resembling a Rummer, lacquered black, from Borneo, United collections, Carlsruhe. 350 VASES. I'late 206. The Komer or Hummer. VASES. 351 Various Drinking Vessels. I'late 207. 352 Various Glasses. VARIOUS GLASSES. (Plate 207.) The Plate contains a selection of other Old German drinking vessels. What manifold varieties of drinking glasses existed, in the 16th century, for instance, may be seen in Fischart's romance "Gar- gantoa and Pantagruel", which is sociologically so interesting. In tho eight chapter, entitled "a conversation on drinking", he says: "Da slacken sie eynander die Focal auff die Prust, da flogen die miihelc, da stibeten die Homercken, da raumt man die dickelbdcher, da soffen je zween und zween aus doppleten, die man von eynander briclit, ja soff aus gestifieten Kriigen, da sturzt man die Pott, da schwang man den Gutruff, da trdhet man den Angster, da riss und schdlt man den Wein aus Potten, aus Kelchen, Napffen, Gonen; Ho/fbechern: Tasscn: Trinkschalen: Pfaffenmasen: Stauffen von holien stauffen: Kitten: Kalten: Kanuten: Kb'pffen: Knartgen: ' Schlauchen: Pipen: Nussen: Fiolen: Lampeten: Kufen: Niisseln: Seydeln: Kulkesseln, Mdlterlin: Melkgelten, Spitzmasen, Zolcken, Kannen, Schndulzenmas . Schoppen- kdnnlein, Stotzen: Da klangen die Glaser, da funckelten die Krausen." We here offer a few forms, some of them named in the above descrip- tion of Fischart's. The name Angster is applied to a high narrow-necked drinking bottle (from the Latin angustus, narrow). The neck, which rises out of a spherical, bulbous body, often consisted of 2, 8, or more tubes wound round one another, frequently bent to one side and broadening at the top into a cup -like mouth (fig. 8). These glasses belong to tho category of Puzzle-glasses, to extract the wine from which was a matter of "anguish". Semper's observation is very true for such puzzle-glasses: "it ^would really seem as if fashion and the toper's humor of the competitors, in drinking-bouts with obstacles, had spe- cially invented forms of vessels which demanded a most uncomfortable and ingenious mode of drinking." The Gutrolf (gutterer, kutrof, perhaps from the Latin gutturnium), seems to have been a similar glass with a straight neck (figs. 6 and 9). The Spechter (presumably from Spessart) is a tall, narrow, cy- lindrical glass with a low foot, decorated with bosses, scrolls, &c. (figs. 4, 5). The Passglas (peg-tankard) resembles the spechter, but is divided by rings into equal divisions which served as a scale in drinking bouts. It often bears painted figures, inscriptions &c., (figs. 2, 3). The form of the cabbage-stalk glass in sufficiently indicated by the name (fig. 1). The Tummler and Handtummler (tumbler) are glasses without feet, which totter when set down; and if laid on their side at once Various Glasses. Tho Mug. 353 resume a vertical position (figs. 14, 15); as also glasses like that shown in fig. 13, which must first be drunk empty be lore they can be sot down. To those times also belonged: Pur/.le-glasses from which the liquor had to bo sucked - out at the end of the handle (fig. 10); vessels in the shape of ladies (figs. 11 12), and of fantastic animals. It would carry us too far to enter upon the details of inanu- facture: we therefore refer the reader ouco more to C. Friedrich's 'Altdcutsche Glascr". PLATE 207. VARIOUS DRINKING VESSELS. 1. Green cabbage-stalk Glass, Germanisches Museum, Nuremberg. 2 3. Old German Peg-tankards, painted. 4 5. Old German Speehters. G. Kutrolf (Angster), IGth century, Bavarian Gewerbemuseum, Nuremberg. 7 8. Old German Angsters, No. 8 in the Bavarian Gewcrbe- museum, Nuremberg. 9. Kutrolf (Angster) with winding neck. 10. Puzzle -mug, (Friedrich). 11 12. Old German Glasses, in the form of ladies, No. 12 in tho Bavarian Gewerbemuseum, Nuremberg. 13. Large Tumbler, 18th century, with metal handle; in the original a figure of Mercury stands on tho ball, Bavarian Gewerbemuseum, Nuremberg. 1 4. Painted glass Tumbler, (Friedrich). 14. Hungarian coronation Glass, painted. TOE MUG. (Plate 208.) In accordance with its purpose, the form of the Mng is essen- tially different from that of other drinking vessels. The body usually has a cylindrical form, and is without a foot, or witli only a ring foot. A movable lid of metal, mostly tin, is attached by a hingo to the vertical handle, in order to keep the liquid as fresh as possible, in view of the great surface of evaporation. For the same reason the material is preferably stoneware. That glass has of late years been preferred to stoneware, is due to tho fact that the liquid is visible and more easily investigated in glass vessels; and that these are more easily cleaned. Compared with the wine-glass, the Mug will always have a greater circumference, and show a more robust treatment. The hinge must be so attached that when the lid is wide open, it forms an obtuse angle with the rim. Meyer, Handbook of Ornament. 354 VASES. Plate 208. The Mug. The Mug. The Tankard Modern Drinking Glauses. 355 PLATE 208. THE MUG. 1. Renascence Mug (schnelle), stoneware, German. 2. Renascence Mug, chased silver, Regensburg treasure, (Ge- werbehalle). 8. Old German Beormug, brown glass, painted, Bavarian Ge- werbemuseum, Nuremberg. 4, 6, 7. Old German stoneware Beermugs. 5. Old German glass beermug. 8. Renascence Mug, amber, mounted with silver, G runes Ge- wolbe, Dresden. 9 10. Modern stoneware Beermugs, from old patterns. 1 1. Modern Beermug, brown glass, with green bosses. THE TANKARD. (Plate 209.) The Tankard is a drinking vessel, more or less coarse in shape like a cylinder or an inverted cone; and made of glass, stone- ware, &c. The name is also given to vessels of more architectural pretensions, like that in fig. 9. The Tankard is less for individual than for social use; and is intended chiefly for beer, hence its size and robust form. Of special importance are the eagle, imperial, electoral, and guild Tankards of the Renascence period. PLATE 209. THE TANKARD. 1. Roman Glass, of tankard form, found in Pompeii, (Doville). 2. Ditto, (Ditto). 3. Old German groen glass Tankard, (compare this form with that of the Rummer on Plate 206). 4. Ditto. 5 6. Old German glass Tankards. 7. Old German armorial Tankard, (Friedrich). 8. Modern brown glass Tankard. 9. Modern brown glass Tankard, painted, (Keller-Leuzinger). MODKRN DRINKING GLASSES. (Plate 210.) Great laxity is apparent in the forms of modern drinking vessels. Alongside coarse forms in transparent blown and cast glass: delicate glasses, cut and etched, appear in the market. Of late years old examples of coloured glass have been frequently copied, with 856 VASES. Plate 209. The Tankard. VASES. 357 Modern Drinking Glasses. Plate 210. 358 Modern Drinking Glasses. more or less skill and intelligence. It is to be hoped that the general revival of Applied Art will lead to the attainment of high- class results in this branch also. PLATE 210. MODERN DRINKING GLASSES. 1 11. Various modern Glasses for water, wine, and beer, of white and coloured glass. Plates 191 210 present some 50 different classes of vessels in nearly 600 specimens. But even this copious material was far from permitting .every form to be taken into consideration. The first place was accorded to definite groups and to conventional, ever-recurring shapes; while the arbitrary, sporadic, accidental, and barocco, were excluded. Still, it is possible that we have not succeeded in giving a general view of the group of pottery and vessels. Readers who desire to pursue their studies further are referred to the special works and periodicals dealing with this subject. 359 B. METAL OBJECTS. (UTENSILS.) Utensils are very various; and an exhaustive treatment of them is quite impossible within the scope of this Handbook. Beside this, decoration is quite excluded in many cases. Still, definite divisions of this group have been created by the fact, that their representatives in certain periods have received artistic treatment; and hence they may be reduced to a system. Although, on the one hand, a number of utensils have found no place on the Plates devoted to this group: we have, on the other hand, been able to form a number of subsidiary divisions, each com- plete in itself. Thus, for example: chapterr 211 220 will deal with the interesting subject of utonsils for Illumination, chapters 221 225 with the utensils of Ritual, chapters 226230 with the utensils of War and Hunting, chapters 231 235 with those of the Table, and chapters 236 240 with a variety of Household and Toilet utensils, Tools, Renascence, and Modern-times. It is distinguished from the Cande- labrum/ if a distinction can -be made at all where the forms thus blend with each other j by its smaller dimensions and simpler forms- and it is chiefly used for secular purposes. The principal materials beside brass, iron, copper, tin, &c., are clay, porcelain, and glass. In the Middle Ages; it was usual to stick the candle on a conical pricket; our Modern times prefer the cylindrical socket. The design includes base (often tripartite), shaft, and socket, as in the case of the Candelabrum. The upper end is furnished with a saucer or bowl, to catch the droppings. The saucer is sometimes loose, so that it may easely be taken-off and cleansed, in which case it is termed a "save-all". Often the upper part is furnished with ,a number of arms to receive several candles.- As regards decorations: the principles laid down for the Candelabrum, in the chapter on Supports, hold good. The Seven-branched-candlestiek, of the Temple at Jerusalem, is histo- rically celebrated; fig. 1 of Plate 215 reproduces this from the repre- sentation of it on the triumphal arch of Titus. The fundamental form of it has been retained, to this day, in Jewish ritual. High Candlesticks, of simple form, made of wrought-iron, are not rare in the Middle Ages (Plate 215. 2). Richly - finished examples, in wrought-iron and bronze,- were created in the Renascence, (Plate 214. 5, and 21-5. 3). The Japanese and Chinese bronze candlesticks The Candlestick. The Hand-Candlestick. 367 have a certain similarity to the Romanesque ecclesiastical candlesticks of the same material, (Plate 214. 1 ~4). Modern productions in clay, glass and porcelain have scarcely any artistic importance; all the more must we praise modern art for recurring to the old models in metal work; and thus producing very gratifying results, (Plate 214. 6, 7, 8, and Plate 215. 4 and 5). PLATE 214. THE CANDLESTICK. 1. Romanesque, bronze, llth century, Dugu6 collection, (Viollet-le- Due). 2. Romanesque, bronze, Cathedral, Hildesheim. 3. Romanesque, bronze. 4. Ancient Chinese, bronze. 5. Brass, 17th century. 6. Modern, bronze, (Gewerbehalle). 7. Modern, bronze, Gewerbehalle, Carlsruhe. 8. Modern, bronze, by Prof. Schick, Carlsruhe, (Gewerbehalle). PLATE 215. THE CANDLESTICK. 1. The Seven- branched-caudlestick of the Temple at Jerusalem, Arch of Titus, Rome. 2. Wrought-iron, S. Peter's, Tarrosa, Spain, 14th century, (L'art pour tous). 3. Wrought-iron, for 3 candles, 17th century. 4. Wrought-irou, Modern. 5. Wrought-iroii, with several arms, by C. Zaar, (Gewcrbe,halle). THE HAND-CANDLESTICK. (Plate 2 1C.) The term Hand-candlestick includes any kind of portable can- dlestick; and it assumes the existence of some kind of handle to hold and carry it. The Hand-candlestick is always of modest dimensions; and it is generally low in height, as in our flat candlesticks. It may be constructed on an immense variety of plans, so that a number of difl't-rent forms occur. Candlesticks frequently recur of the form shown in fig. 2, in which a screw thread enables the height of the socket to be adjusted. The Middle Ages and the Renascence exhibited groat ingenuity in the invention of such arrangements (% I)- As the Hand -candlestick is liable to gutter: the "save-all" has here undergone a special developement, so that in a certain class of 368 METAL OBJECTS. Plate 214. The Candlestick. METAL OBJECTS. 369 The Candlestick. Meyer, Handbook of Ornament. Plate 215. 24 370 The Hand-Candlestick. The Candle-Bracket candlestick it consists of a broad dish out of' which rises a shaft with a socket- bowl at the end (figs. 216. 6, 7, 8). Often an Extinguisher is combinet with the Candlestick, especially when the latter i's of wrought-iron; as shown by the original example, fig. 4; of late years Match- holders have also been included. The material is the same as for other candlesticks.' There is nothing special to say as regards the decoration. PATE 216. THE HAND -CANDLESTICK. 1 3. Wrought-iron, 17th century. 4 5. Modern, wrought iron. 6. Modern, ^by P. Faure of Paris, (Gewerbehalha). 7. Modern, brass. 8. Modern, brass. THE CANDLE-BRACKET. (Plate 217.) Candle-Brackets are fixed or movable bearers attached to vertical surfaces, e. g. columns, pilasters, &c. In the Middle Ages and the Renascence they were chiefly used for Torches and Candles; at the present time they are employed for Candles and Gas. Their form naturally differs from that of the upright Candlestick. Curved scroll-work and consoles of metal (for this material is the one almost exclusively used) bear on their free end the prickets, or the sockets., or the burners and globes, which last are employed to diffuse the glaring light and soften the sharp shadows. A primitive method of connecting the bracket with the wall is by hook and eye (fig. 1); in articles of better finish this is done by means of rosettes or wall -plates and car- touches (figs. 6, 7, 8, 9). The Bracket may be used for one or more lights. In the latter case: several prickets or sockets are placed on a common disc (fig. 2); or, which is artistically better, the main branch divides into a number of subsidiary arms (fig. 3). The Bracket on a large scale, is used for Street-lighting, for Churches, Theatres, Halls, Mansions, Palaces, Restaurants, &c.; and on a smaller scale, for Pianofortes, &c. In designing Brackets for gas: care must be taken to provide for the Gas-pipe. The modern adjustible Brackets, being mostly without decoration, need not be considered. PLATE 217. THE CANDLE-BRACKET. 1 2. German, Renascence, wrought-iron, National Museum, Munich. 3. Rococo, for 3 candles, bronze gilt, Milan Museum, (Raguenet). 4 5. Modern, by M. Weinholdt, Munich, (Gewerbehalle). 67. Wall-plates, to 4, and 5. METAL OBJECTS. 371 The Haud-Candlestick. Plate 216. 24* 372 METAL OBJECTS. Plate 217. The Candle-Bracket. The Candle-Bracket The Pendant-Lamp. The Chandelier. 373 8. Modern, (Gewerbehalle). 9. Modern, wrought-iron. THE PENDANT-LAMP. (Plate 218.) Both aesthetic reasons, and the danger of being knocked-over to which upright candlesticks are subject, led in early times to the con- struction of Pendant-lamps. In addition to the small bronze lamps", which could be used both standing or hanging, the Antique offers us Lamps which could be used only for suspension. The latter form is still com- mon in the East (compare Plate 187. 13), ahd in the West in Christian and Jewish ritual. The introduction, of Paraffin, Gas, and the Electric light, has afforded plentiful opportunities of giving an artistic form to Hanging-lamps. The spherical globes of ground glass lend them- selves especially to such treatment, (figs. 4, 5, 6). Box-shaped huld- ors, either open or closed by panes of glass, are termed Lanterns. Modern lanterns, for illumination in the open air, are generally devoid of any really artistic decoration; but the Middle Ages and the Re- nascence created many objects of perfect form in this branch. The most suitable material for Lanterns is wrought-iron (figs. 2 and 3). It is self-evident that Lanterns must be so arranged that they c;in be opened for cleaning, &c. PLATE 218. THE PENDANT-LAMP. 1. Old Moorish, iron, United collections, Carlsruho. 2. Mediaeval, wrought-iron, for several candles, German, (Fonncn- schatz). French, Hotel Vogue, Dijon, 17tli century, (L'art pour tons). Modern, for Electric glow-light, by Peter, of Esslingon, (Ge- werbehalle). 5 G. Modern, (Gewerbehalle). THE CHANDELIER. (Plate 219.) The arrangement, of a considerable number of lights in circular form on a framework intended for suspension, led to the construction of the Chandelier. In the Middle Ages: the lights were all placed m the same plane so that they formed a ring (fig. 2); the Re- nascence secured greater richness and variety of -design by a number ot rings, an arrangement which has usually been retained in our modern Chandeliers (fig. 3 and 4). Further variety is attained by the alternation of the lights in the different rings. Wrought iron METAL OBJECTS. Plate 218. The Pendant-Lamp. The Chandelier. The Modern Lamp. 375 and bronze, along with glass (Venetian chandeliers), and of late years cheap cast-iron, and zinc, are the chief materials. Original and uni- que in design is the mermaid chandelier consisting of female half- figures terminating in fish-tails, and furnished with antlers to carry the candles (fig. 1). The slender chains by which these mer- maids, and other lamps and lanterns, were suspended, are replaced in modern chandeliers by a tube which also serves as a gas-pipe. In the former case the chain was carried over pulleys so that the light could be shifted higher or lower; in modern chandeliers the adjust- ment is effected by means of a stuffing-box with balance weights (fig. 7). Very frequently the lower end of the Chandelier terminates in a ring, to facilitate the change in height. In addition to the globes round the flames, guards are often placed over them, to protect the ceiling from heat and soot. Each burner must be connected with the main gas-pipe by means of a separate pipe. Where the Chandelier is intended for Electric lights; the latter may be bent downwards instead of upwards, so that the frames for the globes will cast no shadow. The Plate gives a number of ancient and mddern Chande- liers, partly in half profile, the foreshortened arms, which interfere with the drawing, having been omitted. A regular arrangement, of 4, 5 or 6 arms, is the rule: more or fewer arms occur more rarely. In the case of Chandeliers with a great number of lights: each arm is arranged after the fashion of a bracket with several candles. PLATE 219. THJE CHANDELIEK. 1. Modern, stylo of the German Kenaseence. 2. German, Renascence, Hemispherical, for 8 candles. 3 6. Modern, bronze and wrought-iron. 7. Modern, French, by the sculptor Villominot, (L'art pour tous) THE MODERN LAMP. (Plate 220.) The principal value, of the modern Lamp, lies in the technical completeness, and adaptation to its purpose. There is, it is truo, no such wealth of artistic fancy as is shown by Antique Lamps; but still some good examples may be found among the two or three fundamental forms of the Paraffin-lamp, with which we have mostly to do. Metal, glass, porcelain, and majolica, again appear as materials. As a general rule we have a profiled foot, on which the oil-receiver rests, from which latter the burner, chimney, and globe rise, (figs. 1 and 2). More richly finished examples have a masked receiver, the latter being enclosed by a vase (figs. 3, and 4). Attempts have lately b<>en 376 METAL OBJECTS. Plate 219. The Candelier. METAL OBJECTS. 377 The Modem Lamp. Plate 220. 378 The Modem Lamp. The Altar. made to replace these conventional forms by more original designs. An example of this is the "vestal lamp" (fig. 5), which must be admitted to be successful. This form admits of adjustment of height; can be easily filled and cleaned; and allows of a combination of several burn- ers (fig. 6). PLATE 220. THE MODERN LAMP. 1 2. Paraffin lamps, with visible oil receiver. 3. Oil Lamp, with concealed receiver, by the sculptor Fiat of Paris, (L'art pour tous). 4. Paraffin Lamp, with concealed receiver, by Paul Stotz, of Stutt- gart, Bronze, (Gewerbehalle). 5. Paraffin Lamp, "Vestal lamp", Berlin 6. Paraffin Lamp, with 3 burners, by the architect Bohringur, of Stuttgart, (Gewerbehalle). b. Religious Utensils. Notwithstanding the varied character of Religions Utensils: we* devote only five Plates to them, principally because many have been already dealt-with in other groups. We cannot attempt to give a complete view of the apparatus of ritual; but must confine our selection to objects taken, partly from Heathen, and partly from Christian examples. THE ALTAR. (Plate 221.) The original form of the Altar (from alia ara) was no doubt extremely simple. Blocks of rock and stones, piled-up beneath the blue sky or under trees, were probably the earliest. With the evolu- tion of art, and especially of architecture, the Altar entered into tho service of the Temple; and received a more artistic finish. The plan of the Antique Altar is usually triangular, quadrangular, or circular. The material is generally marble. Its top is a table-like Slab, gene- rally with a hollow to contain tbe sacrificial -'fire. The decoration was of symbolic character. Skulls of animals, Festoons of fruit, votive Wreaths, Figures of the Gods, Genii, and similar creations, were used almost always. The triangular Altar was often used as the base of the Antique State-candelabrum; e. g. the altar represented on fig. 5, which is the base of a Candelabrum. The so-called "Altars" of the Christian religion have nothing in The Altar. The Tripod. 379 common with those of the Antique; and they do not full within the scope of our work. PLATE 221. THE AXTAR. 1. Assyrian, triangular sacrificial stone. 2. Assyrian, round sacrificial stone. 3. Assyrian, sacrificial slab, from a relief in the British Museum, 4. Roman, three-sided Altar, like a number of examples, differing little from one-another, in the museums in London, Paris, Ac. 5. Roman, three-sided Altar, used as the base of a Candelabrum. 6 9. Roman,- various altars, fig. 9 with the masks of 12 Deities, and the signs' of the Zodiac, (Menard et Sauvageot). THE TRIPOD. (Plate 222.) The name Tripod is applied to any three-legged support, what- ever the use to which it may be j>ut. More accurately, the Tripod is a construction in three parts: the top part being a bowl, dish, or slab. The Antique Tripod played an important part both in religious rites and in daily life. Originally an article of practical use, for cooking, &c., its form is simple; when it was elevated to an utensil of Religion, to bear the sacrificial pans and the consecrated offerings for the Deities, or to be the Prize of Victory in tn3 games: it assu- med conventional forms, and received an artistic finish. The material was generally bronze, except for the great, monumental State-tripods, which were of marble. - The Greek, Roman, and Etruscan Tripods differ characteristically from each -.other, in their detail; but have this in com- mon, that they are supported by three smooth, rod-like legs, which are terminated at their lower end in animals' claws; and are connected together by rings (fig. 3), or struts (figs. 1 and 2); and at the top are either connected directly with the dish (figs. 1 and 2), or with a ring intended for" the reception of a loose dish (fig. 3). For the sake of greater convenience, handles are sometimes attached to the dish (fig. 1); the legs may be adjusted to different heights (figs. 1 and 2); or the Tripod may be so arranged that it can be taken to pieces. These antique Tripods, of which some of the simpler examples are given on the Plate, afford us, better than a.ny thing else, an insight into the Antique art of bronze-working. The Middle Ages and the Renascenoe have also transmitted to us numerous Tripods. Their principal, use is in households as stands for washing-basins, &c.; and they are geserally of wrought-iron (figs. 4, 5, 6). After the art of working in wrought-iron had been revived in modern times, we find them as Stands for washing- apparatus, Trays for visiting-cards, Stands for wiae-coolers, (fig. 7). &c. METAL OBJECTS. Plate 221. The Altar. METAL OBJECTS. 381 The Tripod, Plate 222. 382 The Tripod. The Censer. PLATE 222. THE TRIPOD. 1. Antique, bronze, found in Pompeii, about Museum, Naples. 28 ins. high. 2. Romanesque, bronze, (M6nard et Sauvageot). 3. Etruscan, bronze, Berlin Museum. 4. Mediaeval, bronze, Pierrefonds castle, (Viollet-le-Duc). 5 6. Italian, 17th century, wrought-iron , about 4 ft. high, (L'art pour tous). 7. Modern, wrought-iron, for,, wine -cooler, by the architect Zaur, (Gewerbehalle). THE CENSER. (Plate 223.) One of the oldest ecclesiastical utensils is the Censer or Thu rible, in tbe use of which the rising clouds of incense are a sym- bolical representation of prayer ascending to heaven. The material is silver, bronze, iron, copper, or brass. The lower part consists of a dish with foot, containing the fire-pan. The pierced cover is kept in its place by means of the three chains which pass through the three holes made for the purpose. These three chains hang from a small plate with a ring. The cover is fastened to a fourth chain, which also terminates in a chain and may be drawn up through a hole in the plate (fig. 7). The decoration is frequently symbolic, and In- scriptions are also used. The Romanesque and Gothic Censers often exhibit an architectonic design of domes and towers (figs. 2, 4, 6). The Renascence prefers the strict form of a vessel (figs. -8, and 9). Modern art avails itself of Ancient models, without having anything independent to show. An appendage of the Censer, in a certain sense, is the Censer-boat, or incense-holder, usually an elliptical dish with a partition and two hinged covers. The incense is conveyed from the Incense-boat to the Censer by means of a Spoon. PLATE 223. THE CENSER. 1 2. Romanesque, bronze, 6th and 12th centuries, each 7 '/., ins. high, Collection of antiquities, Grand-ducal Court, Mannheim. 8. Romanesque, bronze, French, beginning of the 13th century, 5 3 / 4 ins. high, (Viollet-le-Duc). 4 5. Gothic, from stone statues, Cathedral, Chartres, 13th century, (L'art pour tous). 6. Gothic, with tower shaped cover. 7 8. Renascence. 9. Renascence, South Kensington Museum, London. METAL OBJECTS. 383 The Censer. Plate 223. 384 The Censer. The Crucifiz. THE CRUCIFIX. (Plate 224.) The Crucifix (from crucifixus = nailed to the cross) does not appear in Christian ritual until after the abolition of the shameful punish- ment of Crucifixion. The oldest Crucifixes may be dated about the 6th century. In the course of the following styles: it underwent a. variety of transformations. The older examples often represent the crucified Christ as clothed (fig. 3), while in later times the body is more frequently nude, with the clothing restricted to the cloth round the loins. The older renderings of Christ show a straight stiff atti tude, and a calm expression; while later periods exhibit a more life- like conception, and the expression of pain. At first: each foot is pierced by a separate nail, later the two feet by one nail only; so that the four nails are reduced to three. A nimbus appears above or behind the head; and over this a roll with the letters I. N. R. I. (lesus Nazarenus Rex ludaeorum). The arms of the Latin Cross are often terminated in four quatrefoils containing symbols of the four Evangelists (figs. 2, 3). Purely ornamental terminations of the arms and decorations at their intersections are also not uncommon (fig. 1). When the Crucifix is intended to stand upright on the Communion- table: it is furnished with a candelabrum -like base (figs. 1, 2, 3). The bases are generally of similar style to the accompanying Candle- sticks. The materials are chiefly metals, wood, and ivory, the body of Christ and the Cross being often of different materials. PLATE 224. THE CRUCIFIX. 1. Italian, 1511, silver gilt, the inlaid plates of the cross are roct crystal, Poldi Pezzoli collection, Milan, (Kunsthandwerk). 2. Italian, bronze, Certosa near Pavia, 4 ft. 4 ins. high, Renascence, (Musterornamente). 3. 'Italian, Bronze, Renascence, evidently of earlier. date than the base. 4. Modern, Carved wood. THE CROZIER, AND THE MONSTRANCE. (Plate 225.) The Crozier or Pastoral-staff has been the badge of episcopal dignity since the earliest period of the Middle Ages. In the West: it had the shape of a crutch up to the 12th century; and it has re- tained this form in the East up the present day (fig. 1). Afterwards the upper end was curved spirally. The curved end and the staff itself are separated by a knob. In the Middle Ages: the curve is decorated with crockets and inscriptions; and its centre bears figures. In many cases the war of the Church against the Evil One is sym- METAL OBJECTS. 385 The Crucifix Mi-yrr, Handbook of OriKiiiicnt Plate 224. 2. r . 380 The Crozier, and the Monstrance. bolically represented by the fight with the dragon (fig. 4). In the Gothic period the knob below the curve is developed into an archi- tectonic lantern. The length of the Crozier is 5 to 6 ft. The material is wood, ivory, and metal, usually contrasting in the different parts. The Plate only reproduces the upper ends; as these alone are of importance by their decoration. The Monstrance is a utensil allied to the Ciborium and Reli- quary. It is an expository vessel in which, since the institution of the feast of Corpus Christi by Urban IV in 1264, the consecrated wafer is shown and carried in processions in Roman Catholic churches. It possesses great varieties both of style and size, the height varying from 1 ft. to 5 ft. It usually has a slender hexagonal or octagonal foot, and a knob. From the foot rises a tower-like receptacle (turri- cula), or a "Glory" with a disc-shaped glass box in which the wafer rests on the so-called eye. The material is gold, silver, or brass. The Plate gives one of the numerous examples which have been preserved. PLATE 225. THE CROZIER, AND THE MONSTRANCE. 1. Romanesque, Bishop Gerard of Limoges, f 1022. 2 3. Romanesque. 4. Transition period from Romanesque to Gothic, French, (L'art pour tous). 5. Gothic, Martin Schongauer, end of 15th century, (Wessely). 6. Rococo, ivory. 7. Monstrance, gilt brass, 23 ins. high, Hotzendorf. c. Utensils of War and Hunting; Weapons. Utensils of war and hunting, in their most primitive forms at least, are as old as mankind itself. Savages of the earliest as well as of modern times, show great skill, and a certain originality in the decoration of these utensils, as we may see in our ethnological collections. So long as these utensils continued to be made of horn, bone, and such materials: and also so long as they belong to the so- called "Stone age", they are comparatively simple. They do not assume a richer form and finish till the introduction of bronze and iron. The great revolution which ensued on the transition from the "Stone" to the "Bronze age" finds a not less imposing parallel in the revolution wrought by the invention of Gunpowder. Utensils of War and Hunting may be divided into two great sections: weapons of Defense and weapons of Offense. To the former belong Shields, Helmets and Armour. The kinds and number of METAL OBJECTS. 3S7 The Crozier, and the Monstrance. Plate 225. 25* 388 The Shield. weapons of offense are far more manifold. Swords, Daggers, Spears, Pikes, Lances, Axes, Maces, Arrows, Rifles, and 'Pistols, are the principal. It is unfortunately impossible, in this work, to give due consideration to every single form; still the chief representatives have been included, with the exception of Firearms and Armour, in which only the engraved or chased details are of decorative importance. The most striking examples, in our Armouries and Museums, have lately been published, in numerous works; so that it is not difficult to obtain a general view of this section; monographs on Wea- pons have also been published, among which we may specially men- tion Boeheim's Waffenkunde (E. A. Seemann, Leipzig). THE SHIELD. (Plate 226.) The Shield, which from the earliest times has been the visual weapon of defense against blows and thrusts, is generally a domed disc, the form of which has varied considerably. Circular, elliptical, semi-circular, and kite-shapes, are found alongside others of richer out- line. The materials are wood, plaited osiers, leather, metal, and combinations of these.' The Shield is held in the left band by a handle, or slung on the arm by a strap. The size varies from 20 ins. to 5 ft. The Antique Shield was circular; and frequently ornamented with a boss in the centre. Among the ancient Teutons, the form was large and square; in the Middle Ages, it was triangular. The Standing -shields or Pavises, of the 14th and 15th centuries, were very large, and provided with feet, so that they would stand upon the ground, without being held. The Tilting-shield had a hole cut- away in which the lance was laid. With the introductions of fire -arms the Shield became worthless, and disappears as an article of practical use; but it has continued to be employed for State -purposes down to the present time; and, from a decorative standpoint, these State- shields are" of high interest. They offer to metal-workers an except- ionally favourable field for the display of their art. The simple zonal divisions of the Antique Shield have given place to freer divisions and a richer decoration with figures and ornaments. PLATE 22G. THE SHIELD. 1. Roman, with boss, bronze partly-silvered, found near Mainz, Wies- baden, Museum. 2. Etruscan, brouze, Campana collection, (L'art pour tous). 3. Mediaeval, time of the Crusades, (Viollet-le-Dui;). 4-. Renascence, time of Henry II of France, hammered metal. METAL OBJKCTri. The Shield. Plate 2-20. 390 The Shield. The Helmet. 5. Renascence, clecorated in the centre with a rosette and pointed knob, Turin. 6. Renascence, with rich decoration of figures, in hammered metal. 7. Renascence, hammered silver, by P. van Vianen. THE HELMET. (Plate 227.) The armour for the defense of the head is the Helmet. It was probably originally made of leather; at a later date it was of metal; and. in Modern times it again consists of leather with metal accessories. Its form has suffered many transformations in the course of the cent- uries, arising sometimes from practical, sometimes from aesthetic reasons. The greatest perfection of form is found in the Greek helmet, which, like Antique armour in general, fits very closely to the human body. We need only remind the reader of the plain but beautiful Helmets in which Pallas Athene is shown on Antique gems. The Medusa head and Sphinxes are popular motives of decoration. The decoration is most prominent on the front, and on the m'oveable cheek-pieces. Fig. 1 shows a Greek Helmet with a crest which is similar to the form of the Phrygian cap. The Etruscan Helmet (fig. 2) is similar to the Greek. The Roman Helmet is simpler. Helmets were often decorated with plumes of feathers or horse-hair; and were provided with sockets for fixing these accessories. The Roman gladiators' helmets, with their rich, florid, often overdone de- coration, and their large face-guard and heavy crest, have something awkward, without becoming ugly. Very manifold, although of no great importance decoratively, are the Helmets of the Middle Ages. Leaving out of account the less important transitional forms, we will here give the names of the principal classes in order of historical succession. They are the Heaume (fig. 8), the Salade or sallet (fig. 7), the Tilting-helmet (fig. 9), the Armet (fig. 10), and the Helmet with barred Vizor (fig. 11). The section on Heraldry may also be consulted. The Helmets of the Renascence, especially the State - helmets, are richly, sometimes too richly, decorated. To the forms received, from the Middle ages, were added the Burganet (fig. 13), and the Morion (fig. 12). Some of these State-helmets are also copied from the Antique, as may be seen in fig. 14. The Modern creations in this section are of no artistic importance. PLATE 227. THE HELMET. 1. Greek, bronze, Campana collection, (I/art pour tous). 2. Etruscan, bronze, Campana collection, (L'art pour tous). METAL OBJECTS. 391 The Helmet. Plate 227 392 The Helmet. The Sword. The Dagger. 3. Roman, bronze, Louvre, Paris, (Menard et Sauvageot). 4 6. Roman, bronze, for gladiators, different views, (Menard et Sauvageot). 7. Mediaeval Salade, iron. 8. Mediaeval Heaume, iron, the chain was hooked into the cross- shaped slit. 9. Mediaeval Tilting-helmet, iron. 10. Mediaeval Armet, iron. 11. Mediaeval, iron, with barred vizor. 12. Renascence, Morion, etched iron. 13. Renascence Burganet, German. 14. State-helmet, 16th century, (L'art pour tous). THE SWORD. (Plate 228.) The Sword is the most universally used of the offensive weapons. Much as these weapons for cutting and thrusting differ from each other in size and finish; they generally consist of three principal parts: the Blade, single or double-edged, tapering more or less towards the point, generally straight, but sometimes curved or waved, also sometimes fluted to save weight, only decorated by means of engraving, etching, damaskeening, &c.; the Handle, with or without pommel, cup, or basket; and the Scabbard or sheath, with' or without a hanger. The two latter, the handle and scabbard, offer the most scope for decoration. The material of these is, in addition to iron, 'the other metals and alloys, wood, bone, leather, coloured stones, &c. Here, also, from an artistic point of view L we have to consider less the practical than the State-swords, on which the Renascence, the following styles, and Modern art, have found ample opportunity to exercise their artistic skill. Plate 228 offers a small selection from the copious material in our armouries and collections of weapons. PLATE 228. THE SWORD, AND rra SCABBARD. 1 3. Assyrian, from reliefs. 4 and 6. Egyptian. 5. Prehistoric, bronze, found in Switzerland. 7 9. Mediaeval, and Renascence. 10 12. Renascence. 13 15. Renascence, Pommel, guard, and chape, by Hans Holbein the Younger, (Formenschatz). The Sword, and its Scabbard. Plate 228. 394 The Dagger. The Halberd. THE DAGGER. (Plate 229.) The Dagger is a Sword in miniature, 'in which the guard is either omitted or reduced in size. What has been said of the Sword will apply to the Dagger. The greatest artists of the Renascence: Holbein, Diirer, Cellini, and others, did not disdain, as the plate shows, to devote their artistic genius to this weapon, which was often worn more for fashion than for practical purposes. The "Dance of Death" (fig. 5} is a .very popular motive in the decoration of the scabbards of Daggers. Considering the object of the weapon, a more pregnant and appro- priate decoration can scarcely be imagined. PLATE 229. THE DAGGER, AND ITS SCABBARD. 1. Egyptian, blade of white bronze, handle of cedar wood, plated with gold and silver, tomb of Queen Aah-Hotep, Qurnah ,near Thebes (1800 B. "C.), Bulak, Museum. 2. Egyptian, blade of gold, handle of cedar wood plated with gold and incrusted with red and blue enamel, (as No. 1). 3. Renascence, handle, end of 15th century, Basel, (Kunst im Hause). 4. Renascence, handle, end of 15th century, Basel, (Viollet-le-Duc). 5. Renascence, German, Basel, (Kunst im Hause). 6 8. Designs, by Hans Holbein the Younger, (1497 1543), (Formenschatz). 9. Designs, by Albrecht Durer, (Formenschatz). 10. Renascence. German, blackened iron parcel-gilt, Collection of Napoleon III, (L'art pour tous). 11. Creese, from Sumatra, wooden handle and sheath, United collections, Carlsruhe. THE HALBERD. (Plate 230.) Among the multifarious utensils of war of the Middle Ages and the Renascence: we may specially mention the following: - The Lance and the Pike, wooden shafts with a leaf or awl- shaped iron spike. (Fig. 11 shows a Pike-head of complicate shape). A. small flag was often attached to the Lance just below the head. The Partizan is a Pike with a flat blade and symmetrical lateral points (figs. 1, 4, and 5). War -scythes and War-forks: the shapes of which are indicated by their names (figs. 3, and 7). The Battle-axe, and Martel, are axe and hammer-shaped weapons, METAL OBJECTS. 395 The Dagger, and its Scabbard. Plate 229. 396 The Halberd. The Spoon. with one side terminating in an axe or a hammer, and the other in a point (fig. 9). The Halberd is a combination of the Pike or Partizan with the Battle-axe (figs. 2 and 8). The Mace is a handle with a knob of various forms; when it is set with spikes, it is called a "Morning-star", and when set with radiating blades, it is termed a Quadrelle (fig. 10). The War-flail is distinguished from the Mace by the knob being fastened to the handle by a chain. And so on, in endless variety. So far as decoration is concerned: the first place is due to Halberds and Partizans; not only because the shape of the blade is frequently very varied and handsome, but also because the union with the shaft, by means of bands, nails, tassels, &c., gives an oppor- tunity for rich colour. The blades, elso, are often decorated by damaskeening, engraving, gilding, etc. PLATE 230. THE HALBERD, 8. Renascence, Museo Medio Evo e Rinascimento, Rome, (Ge- werbehalle). METAL OBJECTS. 411 The Kev. Plate 412 The Hand-Mirror. The Fan. 9. Renascence, (Guichard). 10. Renascence, South Kensington Museum, London. 11 12. Renascence, German. 1314. Bows, 18th century, (Wessely). 15 19. Modern, by the architect Otto Girard, Berlin, (Gewerbehalle). THE HAND- MIRROR. (Plate 238.) The first place in the series of ladies' toilet requisites belongs to the Hand-mirror. Its history falls into two periods. In Antiquity and in the earlier years of the Middle Ages: mirrors were made of polished metal, either bronze or silver. About the 13th century, glass begins to be used, the reflecting surface being backed with metal foil. The Antique, and .particulary the Etruscan mirrors, of which a large number have been preserved to us, show engraved ornaments and figures from mythology and daily life, mostly of primitive, but sometimes of excellent, workmanship. Glass mirrors are, generally, flat. The fundamental" shape of the Antique mirror is circular or spatulate (figs. 1 6); and that of the glass mirror is circular or elliptical (figs. 8 and 9). The plastic decoration of Antique mirrors is confined to the handle, and the frame. The handle and frame may be of a great variety of materials, wood, ivory, or metal. Here, too, it is the Renascence which shows the richest dacoration. Where the decoration consists of figures, these are in keeping with the object; and show Amorini and Aphroditic personages. With the increasing use of wall or plate-glass mirrors, the Hand-mirror aas lost much of its former importance; so that modern art no longer devotes much atten tiori to it. PLATE 238. THE HAND-MIRROR. 1. Egyptian, bronze, United collections, Carlsruhe. 2. Egyptian, bronze, handle of carved wood, British Museum, London. 3 4. Greek, bronze. 5. Pompeian. 6 7. Etruscan, engraved figures, handles lost. 8. Renascence, (Kunst und Gewerbe). 9. Renascence, by Etienne de Laulne (1549 to 1583), (Wessely). THE FAN. (Plate 239.) The Fan is undoubtedly the most interesting of all toilet requisites. Its history can be traced back uninterruptedly for 3000 years, although METAL OBJECTS 418 The Hand-Mirror. i'latc 238. 414 The Fan. it did not enjoy the same measure of popularity in every period. It alone would almost suffice to furnish a historical picture of the artistic and technical developement of industrial art through all periods. The object of the Fan is twofold. Firstly, it is used to direct a current of cool air to the face; and secondly, to keep off f}ies and other insects. From its first use it derives its Latin name of "flabcllum" (from flare == to blow, French "event ail"}; from its second use its Latin name "muscarium" (from musca = a fly, French "esmouchoir"). Fans of this latter class are usually called "Fly-flappers". Occasion- ally, the fan is used to blow the fire (as in ancient Persia, where the blowing of the fire with the lips was forbidden for religious reasons); and as a Symbol of dignity in ecclesiastical and court cere- monies. A consideration of its purpose renders it obvious that it is chiefly employed in the hotter countries of the globe. The manifold forms of the fan may bo reduced to 5 different principal types: 1. The Fixed Fan: a leaf immovably attached to a handle (figs. 69). 2. The Pennon Fan: attached to the side of the handle, and movable round it in a horizontal direction (figs. 10 and 11). The forms and materials of the fixed and the pennon fan are of the utmost variety. 3. The Radial Fan: a rectangle of paper, silk or some other material, fastened to a handle in such a manner that it may be folded together and spread out in the form of a circle (fig. 12). 4. The Lamellar fan: pieces of stiff material e. g. slips of ivory, are connected together at one end by a pin, which serves as the axis. They are collapsible into a narrow shape, and may be opened-out to a semi-circle. They are held-together by a ribbon drawn through them (fig. 13). 5. The Folding fan: distinguished from the preceding by the lamellae being covered by a sheet of paper, silk, &c., which is folded - together or spread-out by the opening of the sticks which compose the frame (fig. 14). It appears from this that the Fixed, the Pennon, and the Radial fans have handles, while the Lamellar and the Folding fans have not. The Radial fan, being a folding fan with a handle, is a kind of inter- mediate form. The size of the fan varies according to fashion and the purpose for which it is intended, regard being usually paid to convenience of handling; as a general rule, it may be said that the firmer, stiffer and more impervious to air the fan is: the smaller it may be. Fans for cooling should have a short, broad form, Fly- flappers require a longer, narrower shape. METAL OBJECTS. 415 The Fan. Plate 239. 416 The Fan. On the subject of history and style, the following may be said: The Fixed fan is the oldest and most primitive. Its natural model is a leaf on a stalk, just as savages at the present time make their fans of dried palm -leaves or of plaited work .in the form of leaves (fig. 4). The feather may also be regarded as a natural model, and hence its frequent application to fans of every kind. The Pennon fan is the least practical, its domain is the Middle Ages and the early Eenascence, together with certain parts of the East (India, Turkey, Morocco, Tunis, &c.). The Radial fan was also in use in the Middle ages (with a long handle), and down to the present time in certain parts of Italy, Persia, China, and Japan. The Lamellar and the Folding fan are of later date. Their introduction is contemporaneous with the general use of the fan in Europe (15th century). After the period of the lamellar fan in the 17th century, follows the golden age of the folding fan in the Rococo period. The Folding fan is also the predominant form in Modern times. Egyptian mural paintings and Assyrian reliefs frequently show Fan - bearers, with larger or smaller Fly -flappers, in the retinue of. the kings. The most common Egyptian forms are giveu in figs. 1 and 2, the Assyrian in fig. 3. Scarcely any vestige has been pre- served of Antique Fans. Judging by the pictures on vases, &c., the Greek Fan consisted of a leaf, cut to a palmette - shape, on a long handle. The Roman ladies were somewhat luxurious in the matter of fans, which they either managed themselves or had carried by slaves; and under the Emperors the men were also. In the Middle Ages, the fan entered into the service of the church; deacons and ministrans kept-off flies from the consecrated host by means of the flabella, which often took the form of six-winged seraphs. When the fan became popular for secular purposes, its use was given up in churches. As already observed, the Renascence passed from the Fixed, to the Lamellar and Folding fan. The Lamellar fan offered numerous opportunities for carved and pierced work in ivory, horn, tortoiseshell, filigree, and enamel work. The Folding fan offered an unlimited field for decoration by painting; and painters, like Boucher, Watteau, and others, devoted themselves to fan -painting (pastoral scenes &c.). During this period the "Puzzle-fan" was invented, which shows differ- ent pictures according to the way it is folded. Lace fans, fans with mirrors, monograms, and autographs, and the bespangled Empire-fans, complete the category. The Modern ball-room fan is a large Folding fan generally decorated with naturalistic paintings of flowers. But all possible forms ara occasionally used. France, China, and Japan supply the fan market. Heinrich Frauberger, who has written a most valuable monograph on the Fan*, maintains that the latter countries * H. Frauberger: "Dio Geschichto des Fachers." Leipzig: K. Scholtze- The Fan. Various Tools. -H7 alone manufacture between them about 8 / 4 of the 400 million fans which are annually made on the globe. Finally we may briefly enumerate the materials which are prin- cipally used in the manufacture of fans. They are: bamboo, palm- leaves, wood, bone, horn, ivory, tortoise-shell, mother-of-pearl, metal, paper, straw and other plaited material, silk, lace, gelatine, mica, leather, feathers, &c. PLATE 239. THE FAX 1. Egyptian, Fly-flapper, feathers, handle omitted. 2. Egyptian, feather-fan. 3. Assyrian, Fly-flapper, from a relief, British Museum. 4. Modern, Fly-flapper, plaited palm-leaves, South Caroline Is- lands, (Frauberger). 5. Modern, Fly-flapper, plaited palm-leaves, United collections, Carlsruhe. 6. Modern, palm-leaf, cut and bound at the edge. 7 8. Modern, Japanese, bamboo and paper. 9. Modern, printed paper with silk fringe and gilt wooden handle. 10. Modern, Siamese, handle of whipped wood, centre of paste- board, decorated with rosettes and bordered with peacock feathers, United collections, Carlsruhe. 1 1. Modern, Hindu, handle of wood, centre of pasteboard covered with silk, braid, and butterfly wings, bordered with peacock feathers, (Frauberger). 12. Mediaeval, Radial-fan, French, (Viollet-le-Duc). 13. Modern, Folding-fan, wood and grouse feathers. 14. Modern, Folding-fan, wood, painted silk, and gold. VARIOUS TOOLS. (Plate 240.) Among the Tools and Instruments which only occasionally or accidentally receive an artistic finish we may mention: Hammers, Tongs, Compasses, Cocks, Pestles, Hour-glasses, and Clocks, along with many other things. No attempt can be made here to treat these articles in detail. But it may be said that, in general, the highly-decorated examples have been specially made for State-occasions, 9. g. the Hammer (tig. 1), with which Pope Julius III inaugurated the Jubilee year (1550) by knocking three times on the walled-up main- portal of S. Peter's, as a sign that it should be opened. Plate 240 exhibits a number of such objects. Mejex, Handbook of Ornament. -1 418 METAL OBJECTS. Plate 240. Various Tools. Various Tools. 419 PLATE 240. VARIOUS Tooi-s. 1. Ceremonial - Hammer, silver gilt, Italian, IGth century, pre- sented by Gregory XIII to Duke Ernest of Bavaria, beneath the enamelled armorial bearings is the inscription: "Julius III Pont. Max. Jubilaeum VIII condidit feliciter MCCCCCL.; the relief on the reverse shows Moses striking water from the rock, with the words: i'orcussit petram et fluxerunt aquae", National Museum, Munich; (Kunsthandwerk). Tongs, iron, German, Geruianisehes Museum, Nuremberg. Snullers, brass, German, Renascence, Gerinanisches Museum, Nuremberg. 4 5. Compasses, bronze, chased, engraved, and gilt, German, 16th century, half the size of the original. 6. Cock, brass, cast and chased, German, 16th century, H 3 / 4 inc. long, (Vorbilder fur die Kleinkuust in Bronze). 7. Match-holder, bronze, Modern. 27* 420 c. FURNITURE. Furniture, in its btoader sense, is a collective name for all kinds of household goods and chattels. It is more strictly confined to such objects as Chairs, Tables, Wardrobes, &c. But even in this narrower sense the examples of Furniture are so numerous that it is not possible to give a detailed description and discussion of each indivi- dual article on the 20 Plates which are devoted to this group. And it .is the less necessary to do this as our object is only to give a view of the application of decoration to furniture in general. We show a series of the more important articles, while others, such as Pianos, and Wardrobes, have been omitted. They have been so grouped that Plates 241 to 250 contain the different varieties of Chairs, while the following 10 Plates are devoted to Tables, Cabinets, Bed- steads, Cradles, &c. The examples have been chiefly taken from the; Antique, the Renascence, and Modern times; while the Middle Ages, the Barocco- and Rococo periods have only occasionally been taken into account. That particular attention has been paid to the German Renascence, is based on the fact, that this period is specially distinguished for its achievements in the field of richly-decorated furniture. This chapter might seem to offer an inducement to give a historical account of the development of tectonic form in the different periods of art. But to do this, with any thoroughness, would also require us to abandon the conciseness we have hitherto maintained; and Furniture. 421 we will therefore only refer the reader to the details in Semper: "Der Stil'\ and to the highly -interesting work by Georg Hirth: "Das Deutsche Zimmer der Gothik und Renaissance, des Barock-, Rokoko-, und Zopfstils" (G. Hirth, 'Munich and Leipzig). The necessary in- formation about the furniture of the Egyptians, Assyrians, Greeks, and Romans will be found in Menard et Sauvageot: "La Vie Prive'e des Anciens"; and about the Middle ages in Viollet-le-Duc: "Die- tionnaire Raisonne' du Mobilier Frangais"; from both of which works we have taken numerous examples for our Plates. Besides these, there is such a number of cyclopaedic works on this subject that it is impossible even to name them all here. a. Seats. As regards Seats: the fundamental form has generally been depen- dent on the special purpose, and on the ever- varying mode of life; while the details have been influenced by the artistic taste of the time, and by the material used. Definite fundamental types often recur by the side of new and arbitrary special forms; and we hive attempted a classification according to these fundamental forms. The simplest and most primitive form, although for many pur- poses the least comfortable, is that of the Taboret or Ottoman, which is without a back. The Chair is more comfortable because of the addition of the back; and it becomes still more so, when arms are added. To this group belongs the Throne, which in view of its pur- pose is more monumental in form, and richer in material. Revolving, folding, and rocking Chairs meet the demand for special purposes. The Stall, and the "Prie-dieu" also have peculiar accessories, due to their being used for other purposes than sitting. The Bench and the Couch offer a seat or repose for several persons simultaneously. In spite of the variety of forms, one feature is common to nearly all, namely, the height of the seat. In order to sit comfortably, the feet should just reach the ground, and the height of the seat is there- fore from 15 ins. to 18 ins. The depth of the seat shows greater va- riations, from 12 ins. to 24 ins. The height of the back varies from 30 ins. and more; the fact having to be taken into consideration that the. head, when it is leant back, should have a proper support The upper surface of the arms should be about 12 ins. above that of the seat. Straight, upright backs are less comfortable than curved lines adapted to the vertebral curve. Similarly: flat, horizontal seats are not so suitable as those which slope downwards towards the back. The principal materials are wood, cane, and metal; stone, terra- cotta, &c., are rarer. As it is unpleasant to rest against a hard 422 The Chair. material for any length of time, recourse is had to cane, or flexible seats, skins, cushions, and upholstering. In course of time, chairs have become more comfortable with the progress of comfort in general. It may be specially emphasized that the handsomest and most richly- decorated seats are not usually the most' practical; further remarks are reserved for the discussion of the different forms. ' THE CHAIR. (Plates 241243.) The Chair is a stool with a back to it. The most usual form has four legs. Sometimes the legs are connected-together by braces or ties, which are called Foot-rails. The seat generally has the shape of an oblong, a square, or a trapezium. Circular and polygonal seats are less common. Hexagonal and octagonal Seats, with a corresponding number of legs, begin to appear in the 13th century; and certain wooden chairs of the Renascence have seats in the form of regular or semi -regular polygons (Plate 242. 3, 5, 6). The legs are prismatic or turned, frequently with claw feet, while the top of the back terminates in knobs, animal-heads, or masks (Plates 241. 1; 242. 1; 243. 4, 5, 6). Instead of legs, the seats of the wooden chairs of the Renascence are sometimes supported by perforated and carved boards, either at the two sides or in front and behind (Plate 242. 3, 5, 6). Where the back is carved out of a single piece, as is the case with many Renascence and Modern chairs, the two hinder legs have the same form and height as the front legs (Plates 242. 7, 8; 243. 1). Very often the back is treated as a frame (Plate 241. 5, 8, 10), or is bent into a cylindrical plan, as in the Greek "klismos" (Plate 241. 6, 7), and its imitation, the Empire chair (Plate 241.11). Openings for the hand are made in carved wooden backs for convenience in moving (Plate 242. 1 . 8, 9). Where the top of the back is hori- zontal, it is often crowned with a cornico or an ornament (Plates 242. 6; 243. 9). Where the seat, alone or in conjunction with the back, is of woven cane -work or padded, the Chair is termed a "cane" or an "upholstered" chair. Sometimes not only the padding but also the entire structure of the chair is upholstered in some material, just as, on the other hand, chairs may be made entirely of cane or rushes. The seats and backs of upholstered chairs are covered with leather, or textiles (Plate 243. 6). The 'overlaying of wood with metal occurs in the Assyrian style, and occasionally in later periods; the State- chairs of the Middle Ages, especially the Byzantine , % are not infre- quently decorated with coloured stones; a similar treatment may be observed in the Renascence example (Plate 242 figs. 5, and 6). In addition to the decoration by carving (which will always be the chief FURNITURE. The Chair. Plate 241. 424 FURNITURE. Plate 242. The Chair. The Chair. The Throne, and the Arm-chair. 425 material of common frames), we find inlays of bone, (the socalJed "Certosina work" of the 15th century), metal, &c. PLATE 241. THE CHAIR. 1 2. Egyptian, (Menard et Sauvageot). Egyptian, mural painting, tomb of Ramses III, Thebes, (Menaid et Sauvageot). 4. Egyptian, upholstered with patterned material, British Museum. 5. Egyptian, British Museum. G 7. Greek, draped with skin, "Klismos" form, (Me'nard et Sauvageot). Antique, with cushions and foot-stool, Pompeian, (Me'nard et Sauvageot). 9. Greek, vase, painting. 10. Antique, with statue of Jupiter, (M6nard et Sauvageot). 11. French Empire period, (Gallien). PLATE 242. THE CIIAIK. 1. German, Renascence, wood, Moroau collection, "(I/art pour tons). 2. Flemish, wood, 17th century, (L'art pour tous). 3. Italian, wood, 16th century, (L'art pour tous). 4. ' Dutch, upholstered in leather, (Crispin van don Passe, 1642). r> 6. German, decorated with stones, Renascence, Museum, Dresden. 7 8. German, 17th century, (Gewerbehalle). 9. German, 17th century, Germanisches Museum, Nuremberg. PLATE 243. THE CHAIR. 1. Modern, "Inn-chair", by Dir. Kachcl, (Gewerbehallu). 2 3. Modern, cane, (Gewerbchalle). 4 7. Modern, (Gewerbehalle). 8. Renascence, (Raguenet). 9. Modern, (Gewerbehalle). THE THRONE, AND THE ARM-CHAIR. (Plates 214 24'5.) Thrones and Arm-chairs have been grouped-together, because the former almost always have the same form as the latter, and there if no essential difference since the time of the Renascence. The Throne being the Seat -of -honour, has naturally, from the earliest periods,' received more attention and decoration. It is planned on a larger and more monumental scale than the ordinary Chair. For this reason, and also because it does not require to be so often moved as common 426 FURNITURE Plate 243. The Chair. The Throne, and the Arm-chair. 427 Chairs, it is often made of marble, metal, &c. Very often it is raised on a Dais, with steps, or a Foot- stool is placed in front of it;' not infrequently it is covered by a Baldacchino or canopy, with Hangings, or a Cornice. This is especially the case with those for royal per- sonages and bishops in the Middle Ages. As regards the decoration: figures and symbols may be added to the* other decorations of the frame. The Arm-chair, in its simplest form, is distinguished from the ordinary Chair by the addition of arms, which are generally supported from the fore-legs, and connected with the back, whereas in the case of the throne, when the material is stone, the arms are made in one solid piece with the whole. Compared with the ordinary Chair, the Arm-chair is larger, and more conducive to repose. Where it is in- tended to serve as the Seat-of-honour for the head of the family, or a chairman, it corresponds in style to other Chairs of the set, and only differs from them in its size and its richer finish. The furni- ture of our modern drawing-rooms generally consists of 4 or 6 chairs, witb 2 easy-chairs, &c. In addition to the Egyptian and Assyrian thrones, and the Roman State -chair, the "Sella Curulis": we may mention as belonging to this group, the Norwegian stall of the 12th century (Plate 245, 1), .and the polygonal chair enclosed by a lattice, as shown by fig. 5 of the same Plate. PLATE 244. THE THRONE, AND THE ARM-CHAIR. 1. Egyptian Throne, with lotus ornament, the arms formed by the wings of the sacred hawk, (Teirich). > 2. Ancient Persian Throne, bas-relief, Persepolis, the decoration represents a king sitting on his throne borne-up by slaves, (Menard et Sauvageot). 3. Assyrian Throne, relief, (Menard et Sauvageot). 4. Greek Priest's -chair, marble, by the door of the temple of The- mis, Athens, (Raguenet). 5. Greek Judge's-chair (proSdra), marble, found on the site of the Prytaneum, Athens. 6. Antique Bath -chair, (sella balnearis), the openings served to admit the vapour, (M6nard et Sauvageot). 7. Greek Arm-chair, relief of a tomb, representing the deceased on the thronos. 8. Greek Throne, Harpy Monument, from Xanthos in Lycia, British Museum. 9. Roman Arm-chair, with decoration symbolic of Ceres, (Menard et Sauvageot). 428 The Throne, and the Arm-chair. The Stall. 10. Roman Arm-chair, found in Herculaneum, Museum at Portici, (Raguenet). 1 1. Antique terracotta, representing an Arm-chair in the form of tbe hollowed -out body of a sphinx, (L'art pour tous). 12. Chair of S. Peter, wood with ivory reliefs iilustrating the story of Hercules, S. Peter's at Rome, (M6nard et Sauvageot). PLATE 245. THE THEONE, AND THE ARM-CHAIR. 1. Norwegian Stall, 12th century, from Bo, Telemark. 2. Mediaeval Arm-chair, with foot-stool and draped back, (Viollet- le-Duc). 3. King David's Arm-chair, 13th century, from relief, portal of cathedral, Auxerre, (Viollet-le-Duc). 4. Frame of Mediaeval arm-chair, iron, the drapery omitted, (Viollet- le-Duc). 5. Mediaeval polygonal chair, painting, chapel in Toulouse, (Viollet- le-Duc). 6. Mediaeval Arm-chair, metal, the drapery omitted, 13th century, (Viollet-le-Duc). 7. Mediaeval Arm-chair, decorated with fringe, end of the 15th cen- tury, bas-relief, stalls, Amiens, (Viollet-le-Duc). 8. English Arm-chair, 16th century, wood, upholstered. 9. Arm-chair, Louis XVI style, wood carved and gilded, (Williamson). 10. Modern Arm-chair. 11. Modern Arm-chair. (Raguenet). THE STALL. (Plate 240.) The rows of seats along the north, west, and south sides or the Choir in chapels, etc., are termed Stalls. They have a peculiar con- struction corresponding to their special use. In the earliest period of the Middle Ages tbe single seats to the right and left of the bishop's chair were built into the wall of the chancel, at a later period they were replaced by moveable seats; and these again, from about the 13th century onwards, were replaced by Stalls, strictly so-called; the seats being united in a continuous row, with an architectonic character and construction. There are generally two rows, one behind the. other, and the hinder row is a little elevated. Partitions divide the seats from one another; and serve as arms. Between the partitions are the seats. These are either fixed or arranged to fold back. In the latter case a console-like projection is attached to the underside of the seat, to serve as a kind of rest when the seat is folded-back; thus, out of pity for the aged monks, rendering it possible to rest FURNITURE. 429 The Throne, and the Arm-chair. Plate 244. 430 FURNITURE. Plate 245. The Throne, and the Arm-chair. The Stall - Tho Stool. 431 while appearing to stand; hence the significant name of these sup- ports, "miserere" The backs of the hinder row of seats form a Screen; and are usually decorated with carving, intarsia, &c.; and are furnished with a canopy. In front of the seat, there is generally a kneeling-stool. Where there are several rows of seats, the prayer- desks of the one row serve at the same time as the backs of the next lower row. When the front rows are interrupted by passages leading to the hinder rows, the Stall- ends are richly decor.ited. A large number of magnificent Stalls of the Gothic, and still more of the Renascence period, have been preserved in England, Germany, France, Italy, and elsewhere, To enumerate them all would take too long. Enormous pains have frequently been lavished on these works. Rich ornamental and architectural motives alternate with represen- tations from Bible history and the legends of the saints; secular and satirical compositions are also no rarity; so that Stalls are altogether of high importance for the history of art as well as of civilisation. To exemplify what has been said, the Plate gives a few examples, which are far from being among the most sumptuous. PLATE 246. THE STALL. 1. Sta. Maria Novella, Florence, decorated with intarsias, by Baccio d'Agnolo, end of the 15th century, (Teirich). 2. Side-view, and section of above. 8. Laurentian Library, Florence, beginning of the 16th century, said to be by Michelangelo, (Gewerbehalle). 4. Side-view, and section of the central row, great church, Dortrecht, Dutch Renascence. 5. Modern French, Convent of Elisabeth, Fourvieres near Lyons, Ar- tect Leo, (Raguenet). THE STOOL. (Plate 247.) The simplest seat is the Taboret or Stool , which is the chair without a back. As our Plate shows, it has been in use from the earliest times. The most primitive, and at the same time the most stable, is probably the round seat with three legs; the Egyptian example, (fig. 2), may bo regarded as the prototype of the modern Cobbler's-stool. The Plasterer's-stool, which has only one leg, is in deed still simpler; and bears some resemblance to our modern Walking- stick Camp-stools. The four-legged Taboret is generally square, and possesses the same features as the lower part of a Chair. Jt is made with or without upholstery, and with or without foot -rails. Here, 432 FURNITURE. Plate 246. The Stall. FURNITURE. 433 The ^tool. Moyer, HauJbook of Ornament. I'late 247 28 434 The Stool. The Folding-Chair. too, we may group, the "Bisellium", or Roman double-stool, which was granted as a distinction, and was mostly made of metal (fig. 7). Box- stools, supported on boards instead of legs, are furnished with an opening in the seat to enable them to be moved. The, Garden-seats of burned and glazed clay, introduced from China (fig. 11) are made without backs; and, from their round or polygonal fundamental plan, are classed with the Taborets; also the upholstered and draped treatment (fig. 12), which is sometimes applied to a commode. The Revolving-stool, which is chiefly employed in an office or for performers of music, permits of lateral movement, and adjustment to different heights as required (figs. 18 and 15). This is effected by means of a screw. j PLATE 247. THE STOOL. 1. Egyptian, British Museum. 2. Egyptian, (Menard et Sauvageot). 8. Etruscan, (M6nard et Sauvageot). 4. Assyrian. 5. Greek, vase-painting. 6. Greek, vase-painting. 7. Roman Bisellium, bronze, covering of the seat omitted, Pompeii. 8. Bisellium of L. M. Faustus, tomb of Naevoleia Tyche, Pompeii. 910. Modern. 11. Chinese Garden -seat. - 12. Modern, (Gewerbehalle). 13. Modern Music-stool. 14. Modern. 15. Modern Revolving-stool. THE FOLDING-CHAIR. (Plate 248.) The idea of a Chair which could be folded-together so as to take up less room, and be more conveniently transported, is an old one. The principle is found as early as the time of Ramses Til in the Egyptian chair shown on Plate 241. 8. The Folding-chair is common in the Antique, either with four legs combined and joined- together like a saw-horse (figs. 1, 2, and 4), or with crossing struts combined to form a ribbed chair. Antique Folding-chairs of the for- mer kind (Diphros okladias) are remarkable for invariably having claw feet, sometimes turned outwards, but usually inwards. The ribbed chair, which recurs in the Middle Ages and the Renascence, scarcely admits of decoration, and is, therefore, mostly plain. FURNITURE. 435 The Folding-Chair. Plate 248. 28* 436 The Folding-Chair. The Bench. The' Folding-chair may be a Stool, a Chair, or an Ann-chair. Sometimes it can be folded-lip as it stands, like our iron Folding- chairs for use in the open air; sometimes it must be taken to pieces before it can be folded-up, like the chair shown on fig. 8. The most suitable material is metal (bronze or iron). Folding-chairs of wood are very often so constructed as not to fold at all, but are merely imitations with the purpose overlooked (fig. 10). The seat is fre- quently of bands, either textile or leather. Where the seat is not flexible, it must be arranged to be moveable by means of hinges. Thrones have been sometimes made like Folding-chairs. We may also mention: the Camp-stools for tourists, sportsmen, painters, &c. The principles of decoration are sufficiently elucidated by the figures of the Plate. PLATE 248. THE FOLDING-CHAIR. 1. Egyptian, tomb of Chambali, 18th dynasty. 2. Antique, (Diphros okladias). 3. Greek, tomb of an agonothetes, found in Krissa, (Delphi). 4. Antique. 5. Mediaeval, Nonncnberg, (Mothes). 6. Mediaeval, miniature painting, representing King Nabuchodonosor, 9th or 10th century, (Viollet-le-Duc). 7. Mediaeval, bronze gilt, Throne of Dagobert, restored. 8. Mediaeval, bronze, 12th century, (Viollet-le-Duc). 9. Renascence. 10. French Renascence, Sens cathedral, (Raguenet). THE BENCH. (Plate 249.) The Bench is an elongated seat, usually intended for several per- sons. In its simplest form, as a board with four legs, it was already known. in Antiquity. In the Middle Ages and the Renascence, it was in general use; and was employed not only as a seat, but as a table, HS is shown by such terms as "work-bench", &c. The Bench-seat was afterwards furnished with a back and arms, the back being fre- quently formed like the canopy over stalls (fig. 7). It was uphol- stered with cushions and draped with textiles. The material is gene- rally wood; but in public buildings there are also Benches made of stone. This latter material and iron, frequently combined with wood, are the- most Suitable for benches in the open air. A further variety is formed by the Double-bench, with a back in the middle; this back is moveable, as shown in the example (fig. 3). As the Bench, in most cases, is intended for every-day use, it is generally undecorated. Those of the Middle Ages are more the FURNITURE. 437 The Bench. Plate 249. 438 The Bench. The Sofa, and the Couch. work of the carpenter than that of the cabinet-maker, but the Re- nascence, especially in Italy, has created some finely-decorated examples. PLATE 249. THE BENCH. 1,2, 4 and 5. Middle ages, (Viollet-le-Duc). 3. Mediaeval, double with moveable back, for use in front of the fireplace, (Viollet-le-Duc). 6. Kenascence, with arms, (Ducerceau). 7. Eenascence, with canopied back, church at Flavigny, French, (Viollet-le-Duc). 8 9, Renascence, with podium, Italian, (Teirich). THE SOFA, AND THE COUCH. (Plate 250.) The Sofa and the Couch are among upholstered furniture what the bench is among wooden furniture. By the side of forms which are nothing more than elongated Chairs, occur others which have more the character of the Bed. The intention of these pieces of furniture is therefore to be found in their availability for both lying and sitting. According as the one or the other object becomes predo- minant, .the symmetrical form (figs. 4 7), or the unsymmetrical form with strongly marked head (figs. 1 and 8), is employed. In accordance with the double object, the arms are frequently treated as cylindrical cushions (fig. 7), or upholstered with cushions (fig. 6). Although furniture of this nature wa not unknown to the An- tique, as shown by the Roman examples (figs. 1 and 2), these articles cannot be said to have come into common use befpre the last three centuries; and now-a-days the sofa is found in every middle -class household. What enormities our Modern times have perpetrated in this direction is evidenced by-the S-shapcd Ottomans for two persons, which are sometimes to be found in our Saloons. We may here briefly mention the transitional form which is found in Waiting-rooms, and Public vehicles; and the circular Otto- man with centre-piece for flowers, which occupies the centre of tbe floor in Galleries. PLATE 250. THE SOFA, AND THE Coucn. 1. Roman bedstead (lectus cubicularis) in the form of a sofa, (M6nard et Sauvageot). 2. Ditto. 3. Mediaeval bench, with cushions and drapery, (Viollet-le-Duc). 4 7. Modern forms of the Sofa, (Gewerbch;illo, &c.\ 8. Modern Couch. FURN1TURI-:. 439 The Sofa, and the Couch. Plate 250. 440 The Table. b. Tables. THE TABLE. (Plate 251.) Next to the seat, the Table is probably the oldest and most im- portant piece of furniture. Its chief uses are as a Dining - table, Work -table, and Fancy -table on which to place vases, utensils, &c. Its principal parts are the flat Top, and the Frame. The top may be square, rectangular, circular, elliptical, semicircular, &c. The frame may be very variously constructed. There are tables with one leg, with three, four, and more legs, and sometimes tables with two legs, in which case the Top rests upon two side - supports. Where only one leg is used as a support, it is either fastened to the floor or the lower end is spread -out so that the table may stand firmly (fig. 4). The top, in such cases, is usually square or round, and is frequently united to the leg by means of a screw, so that it may be taken -off. Where three, four, or more legs are used as supports, they are often connected by means of a framework, on which the table -top then rests (fig. 8). The legs may further be rendered rigid by means of connecting rails (fig. 9). The legs are prismatic, turned, or sometimes curved. They either stand upright, or slope outwards as in fig. 9. Where the top rests upon two side-supports (fig. 5), their lower part is hollowed-out in such a way that they touch the ground at only four points. They are connected with each other by a longitudinal bar, held in position by wedges (fig. 5). Sometimes they are replaced by pillars or balausters (figs. 6 and 10), or other legs are employed iu addition (fig. 11). They may also be replaced by crossed struts forming a S. Andrew's cross, which is called the "Saw- horse table". Drawers may be accommodated in the framework of the table; and a series of shelves may be added beneath the real table-top (Whatnot). Special forms of the table are: the Console -table, which is fixed to the wall, and has .console - like supports instead of legs; the Telescope or expanding table, which may be enlarged by different kinds of mechanism; the Folding-table which may be made larger or smaller by means of flaps (chiefly used for card tables); the Occasional -table for a variety of purposes; the Writing-table, to which a special Plate will be devoted, and many more. The material is, first of all, wood; metal, stone, &c., are rarer. The decoration is specially confined to the under -frame, which is ornamented by carving and turning in the style suitable to supports. The top is frequently left uudecorated, as it is often covered with a 'able -cloth; and the objects placed upon it would not permit the The Table. 441 decoration to be properly seen. Where the top is decorated, the orna- mentation is flat, consisting of intarsia-work, incising, painting, &c. The size of the table varies according to the purpose for which it is intended; its height, on the contrary, is subject to little varia- tion, and is about 2 ft. 4 J / 2 ins. for ordinary tables. Tables, with legs which could be adjusted to varying heights, were in use in the Antique period, being required by the social life of that time; a similar arrangement may. also be seen on some modern artists' tables, which can not only bo adjusted to different heights, but also allow the top to be slanted. The following remarks are from the point of view of 'history and style. The Egyptian, Assyrian, and Persian tables, chiefly known to us from the representations of altars, have legs terminating in claws. This motive was also popular among the Greeks and Romans, with the difference that the latter nations permit the claws to rest directly on the ground, while the former support the claws upon small circular plinths. The legs of Antique Tables are frequently of bronze; they have a similar form with those of the Tripod; and like them are adjustable, as already observed" (fig. 1). The table-tops are often of stone or wood. Large rectangular tables with stone supports of rich workmanship, and round tables with three legs of marble, a considerable number of which are given on Plates 143 and 144, are well known to us from the excavations at Pompeii. They were not Dining-tables but State-tables which stood in the tablinum and atrium of Roman houses. Dining-tables of the modern form were unknown to the Antique; even in the Early Greek period, while it was 'still the custom to sit at dinner, each diner had his own separate table; and the same custom continued in the later period when meals were taken in a recumbent posture. These little tables were lower than ours. We also find them in similar forms among the Romans (fig. 3), along with larger Banqueting -tables, around three sides of which the Sofas were ranged as shown I I. The Late Roman period was one of .lavish luxury; we are told, for example, of tables with legs of silver and ivory, and with Table-tops of rare woods, &c. In- credible prices, up to 14,000, were paid for a single choice -top. The Tables of the Middle Ages were generally rectangular or semicircular, rested on posts or trestles, were plain, and rather cumbrous. It is said of Charlemagne, however, that he possessed three of silver, and one golden (?) table. Beautiful and richly-designed Tables of very different kinds have been preserved from the time of the Renascence. Of particularly frequent occurrence, are richly-carved side-trusses (fig. 7), simpler forms of which were already in uso in the Gothic period (fig. 5). In the Barocco and Rococo periods, the legs are curved, and the tops are of bold, arbitrary design (fig. 8). The Console -table is an invention of this period. It was also at this 442 FUKNITURE. Plate 251. The Table. The Table. The Writing-Table. 443 tame that the Dumb-waiter, came into general use. As far as art is concerned, our modern Tables are mostly copies of old models. Plate 251 gives a small selection from the copious material. PLATE 251. THE TABLE. 1. Antique, bronze, Museum, Naples, (Raguenet). 2. Antique, bronze, (Menard et Sauvageot). 3. Roman, (Kantharos of Ptolemy). 4. Mediaeval, Chronicle of Louis XI, (Viollet-le-Duc). 5. Late Gothic, Municipal Collection of Antiquities, Freiburg, (Schau- insland). 6. Renascence, with turned legs, French, Castle of Bussy - Rabutin, (C6te d'or). 7. Renascence, with carved side -trusses, French, (Ducerceau). 8. French, 18th century, Garde -meuble, Paris, (Raguenet). 9. Modern, Renascence style. 10. Modern. 11. Modern, French, Paris, (Raguenet). THE WRITING -TABLE. (Plate 252.) The peculiar construction of the Writing-table removes it from the category of ordinary Tables. In a certain sense it .forms the transition to the Cabinets, in the form in which it is now manu- factured. The Writing-table is a product of modern civilisation. In earlier times, when writing was the privilege of the select few, the common table evidently served the purpose. It is also true that the old caligraphers, used special writing apparatus, either desks which could be rested on the knees (fig. 1), or small tables, an example of which is given in fig. 2. But it was reserved for our much-writing Modern time to invent special furniture for business and private use. The Writing-table must not only serve for writing, but also as a receptacle for stationery, correspondence, writing-materials, &c. Hence it is furnished with cupboards, drawers, pigeon-holes, and shelves. It is often furnished with side-cupboards below the table-top having a space between them for the legs of the writer. Where the table has an upper part, which admits of a variety of constructions, as may be seen from the few examples of the Plate, it is usually of lesser depth than the surface of the table so as to leave the ne- cessary room for writing. The same end is attained by leaving a space equal to the whole depth free between it 'and the table -top, as shown by fig. 6. The table-top is often covered with some textile material or with leather, to afford a soft surface for writing -upon 444 FURNITURE. Plate 252. The Writing-Table. The Writing-Table. The Cabinet. 445 Special varieties are formed by the Double- writing -table for office use, the Cylinder-desk, which can be closed after use by letting down a cylindrical flap, the Secretaire, in which the table-top may be lifted up or locked, the Lady's-writing-table, &c. PLATE 252. THE WRITING-TABLE. 1. Mediaeval, (scriptionale) with inkhorn, intended to be placed 011 the knee, llth century, portal of the church, Vezelay, (Viollet- le-Duc). 2. Mediaeval, with double top, for raising, 15th century, Abbey of Saint-Michel-en-Mer, (Viollet-le-Duc). 8. Modern, with eight legs and side drawers, (Max Schulz). 4. Modern. 5. Modern. 6. Modern, by W. Hanau, (Gewerbehalle). c. Cabinets. THE CABINET. (Plate 203.) Cabinets were evidently a rare phenomenon in Antiquity. The Egyptians and the Greeks were probably not acquainted with them at all; the Romans seem to have possessed simple Cabinets with two doors, if we may judge from occasional paintings; in any case, however, they were of no artistic importance. Chests, of which we shall speak later on, were no doubt more frequent, and took the place of cabinets. It was the same in the early Middle Ages, in which wo certainly find Cabinets in churches and monasteries, but seldom lu private houses. Where they do occur, they show the hand of the carpenter rather than that of the skilled cabinet-maker. "The car- dinal feature of Romanesque furniture is practicability; that the slow moving, serious spirit of that time paid but little regard to elegance was only natural: men had their virtues and their vices, but they were free from affections of the nerves" (Georg Ilirth). Cabinets bo- came more common in the Gothic period; and although the matchoil- board-work and the simple carving generally give the products of this time a certain rude appearance; still the architectural disposition of the members, and the bands and mounts, are eflectivo. Later Gothic led to all kinds of extravagances, one of which is the lavish use of geometrical tracery, called "flamboyant" from its flame-like character. The revolutionary process, which marks the transition from Gothic to Renascence, finds striking expression in the group of Cabinet?, 446 FURNITURE. Plate 253. The Cabinet. The Cabinet. 447 Hirth, whom we quoted above, describes the revival of decoration in the transition period, in the following words: "In their (wood carvers', cabinet - makers', and others') hands the prismatic bead was transformed into the living vine, the stone leaf -work of the minster was metamorphosed into lifelike flowers and rich sweeping branches, wrested with astounding skill from an immense variety of materials. In contrast to the lofty and imaginative but severe creations of the Gothic masons this developement of art in the sphere of ornament seems to me like a picturesque revolution, like the song of the German lark in the rosy dawn qf a new day of humanity. The chimes of spring rang from the Lower Rhine to our snow - capped giant peaks, a loud cry for the All- mother Nature, for freedom of heart and imagination. And then what childlike naivete^ what devout, blissful hopefulness in these modest men! In truth, the more we strive in vain to imitate them, the more we ought to love them, to draw inspiration from their works and to bless their memory." Astounding and of high importance, are the achievements of the Renascence in Cabinets and Shrines. They are of all imaginable sizes, from small Caskets to large Cabinets occupying a whole wall. They are devoted to the most different objects: linen, clothes, books, jewels, &c. A rich wealth of form is evolved; architectural systems of columns and pilasters mark the divisions of the ever- alternating doors, drawers, and opens spaces. Add to this the charming play of the coloured woods, grainings, wood-mosaics, and intarsia-work, set-off by the use of all kinds of mounts. The place of the prismatic and bevelled posts is taken by richly -profiled and twisted columns and terminal- figures; instead of matchboard - work we find mortised frame -work, and panels decorated with figures and ornaments. The revolution produced a happy and lasting effect. We do well when we build further on this tradition, and construct our modern Cabinets on the good models of this epoch. Unhappily the few examples of our Plates can only give a faint idea of this group. PLATE 253. THE CABINET. 1. Late Gothic, end of the 15th century, oak, with tinned iron mounts, Germanisches Museum, Nuremberg, (Kunsthandwerk). 2. Renascence, variegated woods, South German 16th century (Formenschatz). 3. Renascence, side-viow, Gorman, (Formenschatz). 4. Modern, by Prof. Schick, C.irl.sruho. 5. Modem, black wood with copper iutarsia, by A. Balcke. 6 ; Modern, in two woods. 448 FURNITURE. Plate 254. The Sideboard. The Sideboard TLo Hanging-Cabinet. 449 THE SIDEBOARD. (Plate 254.) Sideboards are a separate division. They are intended for the reception of articles used in the service of tho table. Vases and ornaments may also be placed upon them; and in many cases they are themselves decorative objects. In the Middle Ages they are com- paratively plain, and of invariable form; the ground -plan being an oblong or semi-octagon; they stand on legs, and hare of an open space beneath, over which are the cupboards, with a flat top, (figs. 1 and 8). During the Renascence, this traditional plan gave way to richer and more complicated constructions; the lower recess was fre- quently retained; instead of it or along with it, further recesses were added at the middle height or still higher; the top is con- structed as an independent member, often of smaller dimensions and recessed; and terraces of shelves with balaustered galleries for glasses and plates, form the conclusion of the whole. Here, too, our Modern times follow the old models. Special requirements have given birth to special forms, such as the Buffets in hotels, and waiting-rooms, which frequently form an integral part of the wainscot or architecture of the wall. PLATE 254. THE SIDEBOARD. 1. Renascence, German, with reminiscences of Gothic, Bavarian Na- tional Museum, Munich. 2. Renascence, side-view, St. Lo, Normandy, 1580, South Ken- sington Museum, (Musteroruameute). 3 4. Modern, front and side-view, designed in the School of In- dustrial Art, Carlsruho. r> 6. Ditto. 7. Modern, by Ph. Niederhofer, Frankfort. 8. Mediaeval, (Viollet-le-Duc). THE HANGING-CABINET. (Plate 255.) Hanging-cabinets also form n special subdivision. They differ from other Cabinets in being of more modest dimensions, by being, for practical purposes, of less depth, and, as they are intended for suspension, by terminating in a coiibulc instead of in logs and base. For tho rest, what has already been said of Cabinets in general, will hold good of Hanging-cabinets also. These are adapted to hold books, tobacco,' &c., medicine, keys, correspondence, &c. Mayor, Handbook of Ornament 450 FURNITURE. Plate 255. The Hanging-Cabinet. The Hanging-Cabinet. The Chest. The Desk, &c. 451 PLATE 255. THE HANGING-CABINET. 1. Renascence, German, (Formenschatz). 2. Modern, with intarsia panels, by Dir. Hammer, Nuremberg. 3. Modern, , architect Crecelius, Mainz. 4. Modern, by Dir. G5tz, Carlsruho 5. Modern, by Prof. Haas, Lucerne. THE CHEST. (Plate 256.) Chests are of older date than Cabinets. We meet with then on Antique vase-paintings, and among the objects found in Pompeii. They have the form of boxes, prismatic or widening towards the top, with short legs and with rich mountings, of nailheads, &c. (fig. 1). In the Middle Ages, the Chest was a very popular piece of fur- niture. Its form was mostly that of a prismatic box without feet, with delicate iron mounts, and all kinds of carving (figs. 2 5). Very often Chests were at the same time used as benches. The same fonn was retained by the Renascence but differently decorated in accord- ance with the style of the time. Besides this, we have numerous examples of smaller Chests with feet and lids of pyramid form, richly decorated with carving, intarsia, ivory, and metal reliefs. These small Caskets were chiefly used for jewelry, and as work-boxes, etc., for which purposes similar caskets are still manufactured. PLATE 256. THE CHEST. 1. Antique, Pompeii, (Menard et Sauvageot). 2. Mediaeval reliquary, (Viollet-le-Duc). 3. Mediaeval bench-chest, 13th century MS. (Viollet-le-Duc). 4. Gothic, carved chestnut wood with iron mounts and handles, 15th century, (Viollet-le-Duc). 5. Mediaeval, Brampton church, England, (Viollet-le-Duc). 6. Renascence, Dutch, (L'art pour tous). 7. Renascence, Italian. 8. Renascence, Flemish, 17th century, (L'art pour tous). d. Miscellaneous. THE DESK, &c. (Plate 257.) The Desk is a stand with a sloping top, on which books and other things may be placed. Passing over Reading-desks, Music-desks, and other desks for secular use, which as a rule are left undecorated; we have the desks used in churches, e. g. the "Prie-dieu", the Lectern, &c., which are to some extent found of rich workmanship as early as 29' 452 FURNITURE. Plate 256. The Chest. The Desk, &c. The Clock-Case, Ac. 453 the beginning of the Middle Ages. They are made of wood, or metal, or of both combined. We distinguish between single and double desks. The Lectern is frequently supported on the back of an Eagle with outspread wings, a design which is supposed to contain a reference to the Evangelist S. John, whose symbol in the eagle. Ecclesiastical desks eiter have a fixed position in the choir or chancel, or they are moveable. These latter were sometimes like a Saw-horse and could be folded -up; in which case the slope was replaced by bands (fig. 6). The upper part of fixed desks frequently revolves, and is furnished with sconces for lights. The Easel is a sloping frame with three or four legs. The front and rear are often connected by hinges to enable the angle of the slope to be altered at will. The front is provided with a small board, which can be adjusted to different heights by pins or other mechanism. It is an invention of modern times; and in its usual undecorated, form is employed by painters, sculptors, &c. But it is often made as a decorative piece of furniture of superior finish, to hold pictures, portfolios, Ac. The decoration in this case may consist of the sym- bols of art, as shown in fig. 7. PLATE 257. THE DESK, &c. 1. Gothic, 15th century, base of wood, slope of wrought-iron, eagle and ball gilt, dragon painted green, S. Siraphorien, Nuits, (Viollet- le-Duc). 2. Mediaeval, San Stefano, Venice, (Mothes). 3. Renascence, marble, Pisa Cathedral, Italian, (Kunsthandwerk). 4. Mediaeval, Double-desk with revolving shaft, end of 13th century (Viollet-le-Duc). 5. Mediaeval, Upper part of Double-desk, (Viollet-le-Duc). ' 6. Renascence, Folding stand, cathedral, S. Gimignano, Italian, (Kunst- handwerk). 7. Modern decorative Easel, architect Durm, (Gewerbehalle). THE CLOCK-CASE, &c. (Plate 258.) The Clock-case, as a piece of furniture, is of comparatively recent date, for the invention of the clock with a train of wheels is itself not old; and for some time after their introduction clocks were manu- factured without cases or, at any rate, without cases of artistic importance. In the 17th century, cases for protecting the works against dust and for giving the clock a more pleasing aspect, begin to appear. The forms at first manufactured were chiefly two. The first is that of the old-fashioned tall Hall -clock, something like the toilet-stands (figs. 5 and 6), the upper part accommodating the clock 454 FURNITUKE. Plate 257. The Desk, &c. The Clock-Case, Ac. 455 and tho lower part being destined for the weights. The other form is that of the dwarf drawing-room clock, the weights being replaced by springs, so that the case does not need to be so tall, and is only dependent on the length of the pendulum. These clocks are placed on chimney-pieces, cabinets, &c., or on pedestals (fig. 1). A third form, which was added at a later date, is the hanging -case, intended for both weight and pendulum clocks. With more or less alteration these forms, together with a number of innovations, are in use at the present time. Pendules and similar constructions are not takeu into account here. Clock-cases are mostly of wood, frequently decorated with gilding, and metal mounts. A special division, in respect of material, is formed by the clocks in Buhl - work. The dials, of lacquered wood, porcelain, metal, enamelled, in niello- work, &c., are often bordered by a metal ring and closed by glass doors. Pendulum and weight-cases may be either open or closed; sometimes they have only a slit for the bob. The sides of the case are often of fret- work, in order that the sound of the striking -work may be better heard. Dome - shaped clocks are sometimes crowned by a small bell -turret (fig. 3). Calendar-clocks, Cuckoo-clocks, Trumpeter-clocks, and similar fancy forms, also require special constructions. In general, we may assume that the get-up of our modern regulator and other clocks is perfectly familiar to the reader. The starting-points in designing a clock case are the diameter of the dial, the depth of the works, the distance from the centre of the dial to the centre of the bob and the extent of swing of the pendulum, and (in the case of Weight-clocks) the length to which the weights run. 'It is possible that Toilet-stands may have been met- with in the Middle Ages; but they were not treated as decorative furniture till the Renascence. A number of really magnificent examples from this period have been preserved (fig. 5). The usual form is that of a slender, tall Cabinet, the upper and lower parts of which are provided with doors, and serve to hold various necessary objects, while the centre takes the form of a niche. In this niche hangs a metal water- reservoir with a lid and a cock; at tho lower end of the niche is a basin to receive the waste water. Elegant wrought-iron towel-holders are attached. The two figures (5 and 6) will give an idea of tho arrangement of these pretty pieces of furniture, which are now b< - coming popular again, after they had been supplanted and fallen into disuse. PIRATE 258. THE CLOCK -CASE, &c. 1. Barocco, with pedestal, by Daniel Marot. 2. Modern, with roof, by Hans Steimer, Furtwangen. 3. Modern, with metal ornaments, architect Lauter, Carlsruhe. 4. Modern by Fr. Milteiibergcr, Nuremberg. 4513 FURNITURE. Plate 258. The Clock-Case, &c. The Clock-Case, &c. The Bedstead, and the Cradle. 457 5. Toilet-stand, German Renascence, 1597, Town-hall, Ueberlingen, (Gewerbehalle). 6. Toilet-stand, various coloured woods, Gerrpan Renascence, (Formen- schatz). THE BEDSTEAD, AND THE CRADLE. (Plates 259 2 GO.) From the earliest to the present time, the Bedstead has passed through many changes. In the Egyptian and Assyrian styles: we find metal Bedsteads imitating the forms of animals (Plate 259. 1, 2); and sometimes arranged to fold up like a Camp-bed (Plate 259. 2). Those of the Greeks and Romans, which served partly as Beds, and partly as Couches, are of manifold forms. In addition to the four-legged bench (Plate 259. 3), we have benches with a head -board (Plate 259. 1), with head and foot board (Plate 259. 4), the latter being usually lower than the former, and others with head, foot, and back boards, like our modern Sofas (Plate 260. 2). The materials are wood and metal, sometimes more precious materials, ivory, &c., as we learn from the examples found in Pompeii. The same fundamental idea may be seen in the Bedsteads of the earlier Middle Ages, which show traces of Byzantine influence, and have richly -decorated, turned posts, and carved sides. The front was often furnished with an opening to allow of getting into the bed (Plate 259. 5, 6). At a later period the Bedstead was furnished with canopied hangings suspended from special rods fixed to the wall. The Renascence considerably enlarged the size; placed it on a podium; raised the head-board; and carried the legs higher to receive the tester or canopy - frame , which was then adorned with drapery and hangings. Examples of this period have been preserved (Plate 260. 1 and 2). In the Barocco and Rococo periods: textile materials pre- dominate, and the wooden frame is neglected. Then the so-called "Parade-beds" (Plate 260, 3) became fashionable. Modern times again have generally simplified the form. The commonest is that with high foot and head -boards (the latter often to excess), and low sides. Tester-bedsteads have passed out of fashion. The Cradle seems to have been an invention of the Middle Ages. By means of pins the little box or trough -shaped Bedsteads were fixed in a frame in which they were moveable; or the legs of the Bedstead were replaced by curved battens which admitted of rock- ing (Plate 259. 8 and 9). The Cradles of the Renascence are of similar form, often with raised end-boards, and rich carving. Owing to sanitary objections, Cnidlcs have almost gone out of use. Some- 458 FURNITURE. Tlate 259. The Bedstead, .&c. FURNITURE. 459 The Be4stead, &c. Plate 260. 460 The Bedstead, and the Cradle. times Cradles are made of metal rods, like a basket, with the head of the frame raised to support a canopy. PLATE 259. THE BEDSTEAD, &c. 1. Egyptian, (Menard et Sauvageot). 2. Egyptian collapsible Camp -bedstead. 3. Greek, vase-painting, (Menard et Sauvageot). 4. Roman, 'Pompeian vase-painting, (Menard et Sauvageot). 5. Mediaeval, MS. of the 13th century, (Viollet-le-Duc). 6. Mediaeval, MS. of the 12th century, (Hortus deliciarum of Herrad of Landsberg), (Viollet-le-Duc). 7. Chinese, (L'art pour tous). 8 9. Mediaeval Cradles, (Viollet-le-Duc). PLATE 260. THE BEDSTEAD, &c. 1. Renascence, Plantin Museum, Antwerp, (Gewerbehalle). 2. Renascence, French, Cluny Museum, Paris, (L'art pour tous). 3. Barocco, Parade-bedstead, by Daniel Marot. 4 Renascence, -Head -board of Cradle, French, gilt ornaments on red ground (L'art pour tous). D. FRAMES, &c. The terra "Framework" is a very inclusive one. Every edging, border, and every rim of a plate, belongs to tbis group; but the follow- ing ten plates will contain only those features in which the Frame is, to a certain extent, an end in itself, and a definite, characteristic whole. Framework is useful in every branch of applied art; it is used in an immense variety of materials, and is treated in many different ways. Plates 261 270 contain some important subdivisions selected from the entire group: these are frames of Architectural character; frames (strictly so-called) for Pictures, Mirrors, &c., Tablets, Typo- graphical borders, and the borders of Dials, Plates, &c. It is highly interesting to pursue the rise of Framework on an architectural basis, its gradual transformation and its adaptation to the products of art industry. For this, however, we refer the reader to the remarks of Semper (Der Stil, 130 et seqq.). We will only make the following observations from the point of view of style: Framework, in the sense in which it is here understood, only occurs rarely and sporadically in the older styles, the Antique and the Middle Ages. It was reserved for the Renascence to cultivate this field, and to attain the highest possible results. It cannot, however, be denied that occasionally it was exaggerated and illogical. A Frame must, above all things, have some relation and proportion to the object to be framed. To make a frame, and put it where there is nothing to be framed, is illogical. And yet we find in the late Renascence, and in the Barocco and Ro'coco periods, countless examples which, so far as their application goes, have no other object than the de- coration of empty spaces. 462 The Architectural Frame. THE ARCHITECTURAL FRAME. (Plate 261 262.) By Architectural Frames we mean those which are used in Architecture, and those which, although applied in other branches, such as furniture, show an architectural derivation. These are: the framings of doors, windows, panels, tablets, medallions, niches, soffits, &Q. In Furniture they are the border-like ornaments which serve as a framing to panel- ornaments; but which are also very often used merely as decoration, without having any object to frame. There are two classes of Frames: one which is mon-axial, with external or- naments at the top and bottom, to emphasize the vertical attitudo; and one which is bi-axial, for application on horizontal surfaces. In the former class: the lower ornament has the general shape of a suspended triangle. This expresses the idea of supporting like a Console; and is a free-ending down-wards. The other of these has the general shape of the erect triangle; making a cresting feature, and is the free-ending upwards. Frames of this class are shown on Plate 261, figs. 2, 8, 9, 10 and 11. In the second class of Frames: the space to be enclosed, be it a circle, square, or oblong, is surrounded by an ornament which is symmetrical on all sides without regard to top and bottom. Frames of this class are shown on figs. 4 7 of Plate 261, and figs. 5, 8 and 9 of Plate 262. These two principles are not always so strongly marked as in the examples given; and sometimes they are combined; but as a rule the one or the other will always pro- dominate. PLATE 261. THE AECHITECTURAL FRAME. 1. Gable-opening of a Dormer-window, Rouen, French, 17th cen- tury, (L'art pour tous). 2. Tablet, modern, in the style of the Italian Renascence. 3. Pedestal, Italian Renascence, Genoa, (Owen Jones). 4. Door-panel, (Architektonisches Skizzenbuch). 5. Stove -tile, Castle of Wiilfingen near Winterthux, 17th cen- tury, (Kunsthandwerk). 6. Desk in S. Giorgio maggiore, Venice, Italian, Renascence. 7. Coffer, cupola of the Dagobert Tower, Baden-Baden, German, Renascence. 8 9. Pulpit, Magdeburg cathedral, German, 1595 1597, (Gewerbe- halle). 10. Door of cabinet, in the style of the German Renascence, (Formenschatz). 11. Door of a sideboard, Louvre, Paris, Renascence. FRAMES. 463 The Architectural Frame. Plate 261. 464 FRAMES. PJate 262. The Architectural Frame. The Architectural Frame, Mirror-Frame, &c. 465 PLATE 262. THE ARCHITECTURAL FRAME. 1. German, 17th century, Stalls, Stiftskirche, Aschaffenburg, (Go- werbehalle). 2. Italian, Renascence, (Formenschatz). 3. French, 1529, Lozenge panel, choir of Chartres cathedral, (Raguenet). 4. Renascence^ by Enea Vico, (Formenschatz). 5. Italian, Renascence, Panel of the stalls, 8. Giorgio maggiore, Venice. 6. German Renascence, Frame of small niche, Dagobert Tower, Baden-Baden. 7 8. Modern, French, Hotel Mirabaud, Paris, Architect Magne, (Raguenet). 9. 'Modern, in- the style of the German Renascence. 10. Modern, French, Paris, (Raguenet). THE MIRROR -FRAME, &c. (Plates 263264). The moveable Mirror -frames, which are designed and made to be hung-up, might have been classed among the Furniture; but they are more conveniently treated here. The Middle Ages framed Altar- pieces and the Pictures of the saints; but the universal use of frames begins with the Renascence; and it is particularly Italy which has preserved the most numerous examples of this period. At first we meet with Architectural-frames; but simultaneously with the transition from the Mural-picture of the Middle Agos (which had been a part of the wall), to the Table-picture (which was portable), the treatment becomes freer and less constrained. And when the architectural members were afterwards blended-together in scroll-work, the funda- mental architectural idea generally remained visible, as may be seen from the Barocco and Louis XVI frames in Plates 263. 1, 2, 6, and 10; and 264. 3 and 4. It was reserved for Modern times to cut -up factory-made mouldings into lengths, to produce frames of any required size, without regard to the proportion which should exist between the frame and the enclosed space. Cheap and practical! but Art has gained nothing by it. Still, we' would not be understood to say that our time does not occasionally produce frames which completely satisfy the demands of both technique and taste. The chief material is wood; but bronze is used for frames of small size. The old custom of painting and gilding the carved-wood frames, led to the manufacture of the so-called "gilt frame", which is made of stamped brass. Opinions may differ as to the justification of these frames from an aesthetic point of view; but there is little Meyer, Handbook of Ornament. 466 FRAMES. Plate 263. The Mirror-Frame, &c. FRAMES. 467 The Mirror-Frame, &c. Plate 264. 30* 468 The Mirror-Frame, &c. The Strap-work Frame. doubt that the metallic frame tends to enhance the effect of coloured pictures. Porcelain and glass have also been used as materials for frames; but their propriety will always be questionable. In addition to outline and style of decoration: an important part is played by the amount of projection of the Frame. The effect of a picture, which appears to be recessed behind a Bevel-frame, is very different from that of one which seems to be brought into relief by a Torus - moulding. The fundamental form of the frame is usually oblong, either figure- wise or landscape- wise; circular, elliptic, or square frames, are rarer. Sometimes the outer shape of the Frame differs from the inner shape (Plate 263. 9, 10). In the Barocco period, frames received a number of arbitrary curved forms; as shown in on Plate 268, fig. 5. PLATE 263. THE MIRROR -FRAME, &c. 1 2. German, 18th century, Berlin, (Kunsthandwerk). 3 4. French, angle - ornaments of wall -panels, old castie of Bercy, near Paris, 18th century, (Raguenet). 5. Barocco, witn bracket, by Paul Decker, (Formenschatz). 6. Rococo, (Formenschatz). 7 8. French, Louis XVI., by La Londe, (Wessely). 9 10. French, Louis XVI., by Delafosse, (Raguenet). PIRATE 264. THE MIRROR- FRAME, &c. 1 2. Renascence, (Raguenet). 3 4. Italian Renasceuce, Florence, (Gewerbehalle). 5. Modern, (Gewerbehalle). 6. Modern, by Prof. Schick, Carlsruhe. 7. Modern, by the architect Huber, Frankfort. THE STRAP -WORK FRAME. (Plates 265 266.) When the Frame is cut into fantastic shapes and bands, which interlace and curl,- like leathern Straps; then it is termed the Strap- work Frame. It is much used, in the later Renascence, for Shields, Tablets, &c.; and is a characteristic of the Elizabethan style. Foliage, palrnettes, festoons and garlands of fruit, fluttering, ribbons, cherub- heads, &c. are frequently added. Strap-work was an invention of the Renascence; and it is extremely common, especially in the later years of that period. This kind of Frame-work is frequently used, not as a Frame, but for mere decorative purposes, so that the fields to be framed are left as empty spaces. Strap-work appears in architecture, sepulchral monuments, and epitaphs; on medals nnd coins; in cabinet- FRAMES. 4G9 The Strap-work Frame. Plate 265. 470 FRAMES. Plate 266. The Strap-work Frame." The Strap-work Frame. The Typographical Frame. 471 work, heraldry, jewelry, the decoration of books, &c., and the minor arts in general. The arrangement is usually symmetrical; but this was abandoned in the Rococo period in favour of unsymmetrical and picturesque arrangements, as shown in Plate 266, fig. 5. PLATE 265. THE STRAP-WORK FRAME. 1 4. Renascence, bronze tablets, cemetery of S. John, Nuremberg, (Gewerbehalle). 5 6. Renascence, 17th century, French, (I/art pour tous). 7 10. Renascence, new castle, Baden-Baden, 1576 1577. 11. Renascence, National Library, Paris, (Raguenet). 12. Modern, French, book ornament. PLATE 266. THE STRAP-WORK FRAME. 1. Renascence, French. 2. Renascence, from "Civitates orbis terrarum", published by P. von Brackel, Cologne, 1573, (Ysendyck). 3. Rococo, Louvre, Paris, (Raguenet). 4. Rococo, French, corner of a wall, (Raguenet). 5. Rococo, French. 6 7. Modern, by Dir. Kachel, Carlsruhe. 8. Modern, French, -(Lienard). 9. Modern. THE TYPOGRAPHICAL FRAME. (Plates 267 26 S.) We find numerous Framework - motives in the decoration of books and documents; and though they have become more general since the invention of pi'iuting, we find them in the Manuscripts of the Middle Ages. The Title-pages were framed or bordered; it was also a favourite practice to border the headings; Initials are some- times treated in this way; and Printers'-marks, and Head and Tail- pieces are often designed with Strap - work. Old books are often richly decorated with such things; and artists of the highest rank often lent their aid to this style of decoration. After the sobriety which ruled in the first half of this century, our modern times have devoted increased attention to this branch. Breaches of taste are still committed in this direction, principally because factory -made Blocks, Borders, and Rules, are combined without judgment in Typography. Not only books, but also diplomas, addresses, ball -pro- grammes, dinner and business -cards, labels, book-plates, and similar things are furnished with artistic borders. The principles of decoration, and the motives employed, are very varied; and great freedom is al- 472 FRAMES. Plate '267. The Typographical Frame. FRAMES. 473 The Typographical Frame. Plate 268. 474 The Typographical Frame. The Strap-work Tablet. lowed. When architectural forms appear, they are treated lightly and playfully; and are often resolved into all manner of strap -work (Plate 267. 1, 2). PLATE 267. THE TYPOGRAPHICAL FRAME. 1. Border, by Johann Sadler, 1550 1560, Flemish, Renascence, (Guichard). 2. Border, by Hans Holbein, (Guichard). 8. Border, by J. Wiericx, 16th century, Flemish, Renascence, (L'art pour tous). 4. Printer's-mark, (Giaco^po Cornetti of Venice), Italian, Renascence, 1586, (L'art pour tous). 5. Ditto, (Giovanni Guarisco, Venice, 1575). 6. Ditto, (Ex typographia Jacobi Staer, 1585). 7. Ditto, (A. Quantin, Paris, 1882). PLATE 268. THE TYPOGRAPHICAL FRAME. 1. German, Tablet from the triumphal entry of the Emperor Maxi- milian by Hans Burkmair, (14731531). 2. French, Renascence, 16th century, Lyons, (L'art pour tous). 3. Modern, by Max Lauger, Carlsruhe. 4. Modern, by Rudolf Seitz, Munich. THE STRAP-WORK TABLET. (Plate 269.) Examples of Strap -work, designed for use in some of the Minor Arts, which serves not as a frame but as the actual Tablet, are shown in the Plate. Figures 1 and 2 are clock-cases; 3 and 4 are for goldsmiths' work; 5 and 6 are wrought- iron signs; 7 and 8 are suitable ornaments for stainped-leather, and inlaying; fig. 10 is .in escutcheon; and Nos. 9 and 11 are book-mounts. The series might easily be increased; but these examples will suffice, as it would lead us too far to treat each of these classes in detail. PLATE 269. THE STRAP- WORK TABLET. 1. Clock-case, hammered metal, French, Renascence. 2. Clock-case, stamped metal, Modern. 3 4. Decoration of escutcheons, snuff-box lids, &c., by WilheJm Visscher, 17th century. 5 6. Wrought-iron signs, Modern. 7. Book-cover, 16th century, French Renascence*, (L'art pour tous). 8. Modern, (Gewrrbehalle,). FRAMES. 475 The Strap-work Tablet. Plate 269. 476 FRAMES. Plate 270. The Strap-work Border, and Margin. The Strap-work Tablet, Border, and Margin. 477 9. Metal mounts for the cover of an album, Modern. 10. Wrought-iron escutcheon, German, 16th century, National Museum, Munich. 11. Centre-piece of bookbinding, by Dir. C. Graff, Dresden. THE STRAP-WORK BORDER, AND MARGIN. (Plate 270.) To those products of art, which frequently receive an additional exterior border or Margin, must further be reckoned plates and dishes. So far as they are included' under pottery, the border usually has a smooth unbroken edge; the material scarcely admitting of a freer treatment of the rim. It is different when the object is of metal; in this case, the rim may be decorated with pierced- work; and the outlines may undergo a richer and more vigorous treatment (figs. 4 and 5), in which the framework forms a free-ending outwards. PLATE 270. THE STRAP- WORK BORDER, AND MARGIN. 1. Renascence, Majolica, Gewerbemuseum, Berlin, (Gewerbehalle). 2. Renascence, Majolica, Italian, (Racinet). 3. Renascence, Limoges, by Pierre Raymond, 16th century, (Racinet) 4 5. Modern, by Placido Zuloaga, Eibar, Spain, (Gewerbehalle). E. JEWELRY. The love of personal adornment is as old as mankind itself; as is proved by the relics which have been preserved from the earliest times. Personal adornment, broadly taken, is a somewhat extensive domain; it includes the Painting and Tattooing of the body, Clothing, as soon as this exceeds what is required to meet practical needs, Armour, &c.; but this section will be confined to adornment by Jewelry. The following 10 plates will deal with this group so far as their chief representatives are concerned. These are: Pins, Buttons, Finger-rings, Chains, Necklets, Bracelets, Belts, Clasps, and Buckles, the various kinds of Chatelaines, and Ear-rings. The plan of this book requires that we should chiefly direct our attention to the decorative aspect of these objects; but we will here offer a few general observations on the subject. Trinkets, which are not indispensable, but rather an object of luxury, are closely connected with dress and costume; and like them, subject to fashion. This explains the different transformations which trinkets have undergone in the course of centuries. On the other h.ind, technical considerations have also played a part: the art of working the materials has passed through various stages of dove- lopoment in the different periods; so that the form and finish were governed not only by the fashion, and taste of each period, but also by tbo technical skill of the workman. Tbn principal materials of trinkets are the precious metals. From the, state in which the, metals aro found in Nature, it is easy to see that the. iirst metal to come into general use would be Gold, wind) Jewelry 479 is found in a pore state almost all over the world; and is easy to work. It can easily be beaten into plates, and drawn out into wire; and the earliest style is consequently that of plate-gold and filigree work. This is abundantly proved by the objects belonging to prim- itive times whether they are found on Greek, Oriental, Scandinavian, or American ground. The common metals, and bronze, are also oc- casionally used as well as gold and silver. Among non-metallic ma- terials, we have: gems, and other valuable stones, pearls, enamels, amber, shells, mother-of-pearl, &c. In addition to the arts of punching and hammering metal pla- tes, and filigree work, the latter consisting chiefly of soldering-toge- ther wire and beads, there arose, in process of time, the further arts of: casting, chiselling, niello, enamel, damaskeening, inlaying, gilding, silvering, oxidising, and die-sinking. For other than metallic ma- terials, the principal processes are: cutting, facetting, setting, the pro- duction of tints, and foils, and the engraving of gems, and cameos. As it is impossible here to go into details of the history or technique of these processes, we will refer the reader to the special works on this subject, among them: Semper, Dcr Stil, Hauptstiick XI. Metallo- techm'k; Luthmer, Der Goldschmuck der Renaissance (from which excellent work we have taken a number of our figures); Bucher, Geschichte der technischen Kiinste; Mathias, Der menschliche Schmuck. Taken on the whole, trinkets are an article of Womans' toilet, although certain objects have also been worn by Men, either at all times, like the Finger-ring, or only at certain periods and among certain nations, like the Bracelet. On the other hand, there are cer- tain objects of personal adornment, like Orders, Badges, and Medals, which are a speciality of the male sex. Trinkets which presuppose an injury of some part of the body, such as Ear and Nose-rings, are a relic of barbaric manners. An excessive indulgence in adornment is usually characteristic of the primitive stage, and of the decay of the civilisation of a nation; while the golden ages of civilisation and style are marked by restraint in the quantity of trinkets, and by a chaste moderation in the use of the effects of bright gold and cut gems "The later empire (Roman), Byzantium, the entire early period of the Middle Ages, swim in gold" - says Semper. The best periods of personal adornment are the Antique and the Renascence: bxit it is impossible to praise too highly the attempts which are being made, at the present time, to improve the style of Goldsmith's-work and Jewelry, by a recurrence to the models of those times. For the rest, certain traditional and standard forms of trinkets have been preserved for centuries, in some national costumes, such as those of Switzer- land, Italy, Sweden, and elsewhere. 480 The Pin. THE PIN. (Plate 271.) The Pin is a toilet article of very general use, particularly in primitive times. According to its application, it is either a Hair-pin or a Dress-pin. Its form may be referred to three fundamental types. The first has a cylindrical or slightly conical stem, pointed like a thorn at one end, and terminated at the other by a knob or some other finial (figs. 1 16); it is used principally as a hair or breast pin, the stem in the former case being sometimes split like a fork (figs. 23 24). The materials are chiefly metals, bone, and horn; the head and the stem may be of different materials, as in the modern glass-headed pin. The handsomest examples of this class are to be found in the Antique, which gave this simple object a great variety of form. The East also furnishes us with original forms, as shown by the Japanese examples (figs. 22 26). The second class is that of the Fibula, the Brooch or Safety-pin. These pins consist of two parts, a disc or hoop - shaped upper -part connected with the actual pin by elastic spirals or by a hinge, the point of the pin being held and secured by a catch like a hook or sheath. Brooches are always used for garments; and, in the antique, supplied the want of Buttons. They were in common use up to the Middle Ages, as shown by the numerous finds in Greece, Italy, and Scandinavia. The hoop is commoner than the disc; and more practical, as it afforded room for the gathered -up folds of the garment. The decoration is of the utmost variety; certain forms, such as the spiral (fig. 86), are conventional. The material is always metal, mostly bronze, more rarely a precious metal. Modern times make use of these pins only in the form of the plain wire Safety-pin, and the Brooch, in which latter the disc replaces the hoop (fig. 37). Double-pins form a third class. Two or three (and occasionally more) pins of the first class are connected by means of chains or spangles, usually to serve as an ornament for the bosom (fig. 17). This form, was popular in ancient Scandinavian art; and is in use up to the present day in some national costumes. PLATE 271. THE PIN. 1 10. Roman, and Etruscan, Campana collection, (I/art pour tous). 11 16. Roman, found in Pompeii. 17. Anglo-Saxon triple breastpin, found in Lincolnshire, Archaeolo- gical Institute. 18. Alemannic, bronze, United collections, Carlsruhe. 19 21. 17th century, (Guichard). 22 26. Modern, Japauese, metal, bone, &c. United collections, Carls- ruhe. JEWELRY. 481 #*. The Pin. Meyer, Handbook of Ornament. Plate 271. 31 482 The Pin. The Button. 27. Modern, French, Filigree work with pearls and brilliants, (Gewerbehalle). 28 33. Antique, bronze, United collections, Carlsruhe. 34 35. Etruscan, Gold. 36. Etruscan, spiral -brooch, bronze, United collections, Carlsruhe. 37. Modern, (Gewerbehalle). THE BUTTON. (Plate 272.) The objects, which we have here classed as Buttons, serve va- rious purposes. They appear as Pendants to necklets and similar things, as Bullae (an antique pendant like an amulet with symbolic signifi- cance), as Ornaments of Belts, Garments, Harness, &c., and as Buttons, in the strict sense of the term, for fastening garments. According to its uses, the Button takes the form of the sphere, the hemisphere, or the disc. As a Pendant it resembles a drop with the character of a free-ending (fig. 26). One end is then furnished with a ring by which it may be suspended or sewed-on. The double-buttons or Links, shown in figs. 1, 14 and 27 form a special subdivision. The principal materials are again the metals, enamelled, damaskeened, set with gems, or as filigree -work. Buttons are also manufactured in ivory, mother- of-pearl, amber, glass, and similar materials; discs of wood are covered with silk, and metal threads, adorned with gold -foil, 490 The Necklace. The Bracelet. to find several necklets of different circumferences worn one obove the other; and producing a good effect. Metal, precious stones, pearls, &c., play the chief part in Necklaces. PLATE 275. THE NECKLACE. 1. Egyptian, with enamelled pendant, (Mnard et Sauvagcot). 2. Egyptian, with golden flies (symbolic), (Mdnard et Sauvageot). 3. Antique, with stamped sheet-metal ornaments, found in Rhodes, (M6nard et Sauvageot.) 4. Egyptian, (He'nard et Sauvageot). 5. Etruscan, gold, Campana collection, Paris, (L'art pour tous). 6. Oriental, gilt silver filigree, (L'art pour tous). 7. Old Italic, Neck -ring, bronze, United collections, Carlsruhe. 8. Barbaric, Neck-ring, iron, from the White Nile, United collections, Carlsruhe. 9. From portrait, Henry VI, of Engknd. 10. Prom portrait, 1572, municipal museum, Cologne, (Luthmer). 11. Filigree. 12. Modern, (Gewerbehalle). THE BRACELET. (Plate 276.) The Bracelet, which is now exclusively an article of feminine adornment, was formerly worn by men also, not merely on the wrist as at the present day, but on the arm too. But even the Antique considered this custom, and that of wearing bangles on the ankles, to be a relic of barbaric times. Bracelets are either closed rings or bands (figs. 9 and 11); or they are open on one side (figs. 2, 6, 8, 13 and 14); or rolled spirally (figs. 3 and 7); or, finally, the bracelet may be a closed chain with a greater or lesser number of links (figs. 10 and 16). Another division is formed by the twisted example (fig. 5). As the Bracelet is an object of some size, it is, more fre- quently than other ornaments, made of silver rather than of gold; the Antique shows a preference for bronze. PLATE 276. THE BRACELET. 1. Egyptian, pierced - work, (M4nard et Sauvageot). 2. Assyrian, bronze, Louvre, Paris, (Bliimner). 3 4. Roman, found in Pompeii. 5., Antique, (M6nard et Sauvageot). 6. Bronze, found near Ladenburg, United collections, Carlsruhe 7. Spiral wire, United collections, Carlsruhe. 8. Bronze, United collections, Carlsruhe. JEWELRY. 491 The Bracelet. Plate 1\ 492 The Bracelet. The Girdle, the Buckle, and Clasp. 9. Bronze, found near Ladenburg, United collections, Carlsruhe. 10. From portrait, 16th century, Gotha, (Luthmer). 11. Venetian, 16th century, (Mothes). 12. Javanese, black wood, United collections, Carlsruhe. 13 15. Modern Egyptian, silver, Grand Ducal Landesgewerbehalle, Carlsruhe. 16. Modern, (Gewerbehalle). 17. Modern, by Dir. A. Ortwein, Granz, (Gewerbehalle). THE GIRDLE, THE BUCKLE, AND CLASP. (Plate 277.) The Girdle was originally used by men to suspend weapons from; and by women to confine the clothing at the waist; later -on, it was worn merely as an ornament, or to carry pouches, fans, scissors, &c. Its form is either that of the Chain -girdle (comp. Plate 274), or Bands of leather or textile material are decorated by ornaments of metal sewed or threaded -on. Particular attention is usually given to the fastening, which is generally a Clasp or Buckle (figs. 1, 7, 8 and 15). The Agraffe (Lat. agrappa) or Hook, and the Buckle are applied to other purposes besides fastening Girdles; the former are used as fastenings for garments; -the latter on the straps of weapons, harness, &c. The Buckle is complete in itself, consisting of a ring or hoop with a movable pin; and the fastening is don,e by pushing the pin through a hole in the leather or textile band (figs. 2, 4 and 5). The Clasp consists of two parts, generally symmetrical, one of which can be hooked into the other (figs. 9 13). Clasps and Buckles are both old inventions; and are found in very early times. As they are objects of practical use rather than ornament, they are more often made of the common than of the precious metals. The terminations of clasps are mostly designed as free - endings, which gives them a certain similarity with decorated hinges. PLATE 277. THE GIRDLE, THE BUCKLE, AND CLASP. 1. Greek Girdle, gold and hyacinths, tomb in Ithaca. 2. Ancient Italic or Roman Buckle, bronze, United collections, Carlsruhe. 8. Roman Clasp, silver, (Me"nard et Sauvageot). 4. Alemannic, Buckle, bronze, found near Mosbach, United col- lections, Carlsruhe. 5. Mediaeval' Buckle, Scandinavian, (Weiss, Kostiimkunde). 6. Gallic Girdle, St. Germain Museum, (L'art pour tous). 7. Gothic Buckle, 15th century, from a picture, municipal mu- seum, Cologne, (Luthmer). JEWELRY. 493 The Girdle, the Buckle, and Clasp. Plate 277. 494 The Girdle, &c. The Pendant. 8. Renascence Girdle, 17th century, National Museum, Munich. 9. Renascence Clasp. 10. Renascence Clasp, National Museum, Munich. 11. Renascence Clasp, Kunstgewerbemuseum, Berlin, (Gewerbe- halle). 12 13. Barocco and Rococo Clasps, National Museum, Munich. 14 Modern Norwegian Girdle, brass and leather, United collec- tions, Carlsruhe. 15 Sumatran Girdle -fastening, silver, United collections, Carls- ruhe. THE PENDANT. (Plate 278.) Pendants are among the most beautiful of articles of adornment. Their forms and uses, are manifold. We find them as Lockets, with and without symbolic meaning; as Ornaments for the hat and the biretta; as "Charms" on wateh-chains, and, less richly finished, on Harness. The Pendant is naturally designed on the principle of the free-ending. Sometimes it. assumes the form of the Cross, the Me- dallion, the Votive -tablet, or the Monogram. It serves as a setting for gems, miniatures, coins, &c. It offers the proper field for all kinds of little hanging ornaments; and for the full display of the gold- smith's versatile skill. Examples of exceptional beauty have been transmitted to us by the Antique, and still more so by the Renascence. Not only did the first artists of this period occupy themselves practi- cally with such things; but they designed numerous patterns for them, e. g. Hans Holbein, in his sketchbook for Henry VIII, of England. We can only offer a small selection from the copious material. PLATE 278. THE PENDANT. 1. Egyptian, gold and enamel, (Racinet). 2. Gold, found in Rhodes, Louvre, Paris, (M6nard et Sauvageot). 3. Greek, gold filigree, found near Kertsch, Hermitage, St. Petersburg, (Kunsthandwerk). 4. Etruscan, gold, Campana collection, (L'art pour tous). 5. Ancient Italic, bronze, United collections, Carlsruhe. 6. Turkish, harness in the Booty of Prince Ludwig of Baden, United collections, Carlsruhe. 7 9. Renascence, (Hefner-Alteneck). 10. Renascence, 1637, Exhibition, Carlsruhe, 1881. 11. Empire period, gold filigree, collection of Prof. Marc Rosen- berg, Carlsruhe. 12. Renascence, Antique cameo set in enamelled gold and jewels, Paris, (L'art pour tous). JEWELRY. 495 The Pendant. Plate 278. 496 The Pendant The Ear-Tin;?. 13. Renascence, by Hans Brosamer, (Pormonschatz). 14. Renascence, by Hans Holbein. 15 16. Renascence, by Hans Holbein, (Formenscbatz). 17. Renascence, (Lutbmer). 18. Renascence, 17th century, Silver coin, set. 19. Renascence, by Julius Bernic, (Luthmer). 20. Modern, (Blatter fiir Kunstgewerbe). 21 23. Modern, (Zeitschrift des Kunstgewerbevereins). 24. Modern, (Gewerbeballe). 25. Modern, French. THE EAR-RING. (Plate 279.) The custom of wearing Ear-rings as articles of adornment seems to be of ancient oriental origin; and to ha^e penetrated through Asia Minor to the civilised countries of the West. It has been practised from the earliest times by the Arabs, in Spain, and in Sicily. Both sexes, among the ancient . Germans and Gauls, decked themselves with Ear-rings. As the wearing of them implies either that the ear must be pierced or the ornament hung on to the ear, .neither of which processes . are particularly aesthetic; the custom has fallen out of fashion, and become obsolete. The forms in general, are two: the Ring and the Drop. The Rings are either not quite closed (figs. 1, 3, 9, and 10); or they are fastened by a catch of one kind or ano- ther (figs. 7, 14, 20, 21, and 31). Drops, usually terminate in a wire loop by which they may be suspended (figs. 6, 15, 16, 26, 27, 29, and 30). As these objects must be light, they are generally o delicate form, and modest dimensions, manufactured of the precious metals, in sheet or wire-filigree. As Pendants they have the character of free -endings, frequently consisting of different moveable members. The standard examples are furnished by the Antique and the East. PLATE 279. THE EAR-RING. 1 3. Egyptian, (Racinet). 4 12. Etruscan, Louvre, Paris, (Racinet). 13. Greek, in the form of a siren, gold, found in Ithaca. 14 21. Roman, National Library, Paris, (L'art pour tous). 22. Bronze, found near Niedereggenen, Baden, United collections Carlsruhe. 23. Old Prankish. 24. Renascence, from portrait, castle at Gotha, (Luthmer). 25. Louis XVI, gold of various colours, (Racinet). 26 27. Modern, by Dir. A. Ortwein, Graz, (Gewerbehalle). 28 29. Modern, Tunis, United collections, Carlsruhe. JEWELRY. 497 Moyer, Ilandbook of Ornimcnt. The Ear-ring. Plate 27 1>. 32 498 JEWELRY. Plate 280. Miscellaneous Jewelry. Miscellaneous Jewelrj. 499 MISCELLANEOUS JEWELRY. (Plate 280.) Finally, we may mention a number of articles of adornment which, from their nature, are less generally used; either because they are worn only by certain persons, or that, as objects for daily use they only fall within the category of decorative objects when they are richly finished. Among them are decorations for the head, for example, the Diadem, Bridal and other Chaplets, Insignia of Orders of Knighthood, Combs, Scent - bottles, Seals, Needle-cases, &c. The so-called "Chatelaine", was in common use in the Middle Ages; and has been revived lately. It is suspended from the belt or some other part of the dress; and is furnished with hooks, from which Bags, Keys, Fans, Scissors, Watches, Scent - bottles, &c. may be hung (figs. 7, 8, 13 and 14). We may also add Spangles, which were sewed as a decoration on garments in the Antique; and sometimes in later periods (fig. 8). We give a few examples of these objects, without any pretension to system or exhaustiveness. PLATE 280. MISCELLANEOUS JEWELRY. 1. Egyptian Diadem, gold incrusted with gems and enamel, with the badge of King Amesis. 2. Greek Head-dress, gold-plate, found in Mykenae, (Blximner). 3. Greek Spangle, ornament of a dress from Mykenae, (Blumner). 4. Greek Diadem, gold, found near Kertsch, Hermitage, St. Peters- burg, (Kunsthandwerk). 5. Renascence, Smelling-bottle, as Pendant. 6. Barocco, Smelling-bottle. 7 8. French Chatelaines, 18th century, (Racinet). 9 10. Barooco, Seals, Exhibition, Carlsruhe, 1881. 11. Modern, Needle-case, in anchor-form as a Pendant, private collection, Carlsruhe. 12. Modern, Comb, (Gewerbehalle). 13. Modern, French, Chatelaine, (Gewerbehalle). 14. Modern, Chatelaine, by Dir. A. Ortwein, Graz, (Gewerbehalle). 32' F. HERALDRY. Heraldry has so .many points of contact with Ornament that it cannot be omitted from a work that deals with the whole art of Decoration. Heraldry includes both the science and the art of armorial bearings. The former contains the rules of framing and bearing coats of arms; the latter is the practical art of "blazoning" or designing and depicting such coats. Armorial bearings are distinct Badges, fixed according to certain principles, which individuals, families and corporations are entitled to bear in perpetuity. Armorial bearings arose during the crusades, towards the end of the llth century. The elevation of the nobles into a corporation, the addition of the family or surname to the baptismal name, the peculiar usages of Chivalry, the custom of military games and tournaments, are all closely connected with the introduction of armorial bearings. Heraldry as a science did not arise till a later time (about the 18th century). Armorial bearings, whose origin is contemporary with the custom of wearing such Badges, and whose right to be borne was afterwards tacitly recognised, are distinguished from the later bearings, the right to bear which was granted by Letters - patent from princes or their plenipotentiaries. Besides the nobles, the right of armorial bearings was possessed by other patrician, though not noble, families. Their bearings have frequently arisen from monograms, family tokens, and trade - marks. The inscription on a coat of arms of the Fuggers of the year 1382 runs: "Dises zaichen, wirt Ylrich Fugger, vorbemelten Hansen Fuggers Brudcr, gepraucht haben, Welchs hernach Jacob Fugger, des namens der erst, angenommen, und das sambt seinen Heraldry. 501 S iinen, bis auf aufpringung des Wappens, gefiert hat" (This token was no doubt used by Ulrich Fugger the brother of the above-named Hans Fugger: it was afterwards adopted by Jacob Fngger, the first of the name, and borne by him and his sons until the assumption of the coat of arms). The marshalling of armorial bearings was the duty of the Heralds, whose official badge- was the tabard and the staff, The Heralds' Colleges still exercise control over armorial bearings on behalf of the State. . Including the coats of families, towns, corporations, and offices, there are probably about 200,000 coats of arms in existence. Coats are called allusive or punning when they suggest, (in whole or in part), the name of the bearer. The pikes on the coat of the Lucy family, the hirondelles of the Arundells of Wardour, are familiar instances in English heraldry. We may distinguish three principal epochs of armorial bearings: (1) The period from the llth to the 18th century, in which the shield alone with its badge formed the Arms, which is the period of the evolution of Heraldry; (2) The period from the 13th to the 15th century, in which shield, helmet, and crest formed the Arms, in which painted shields and helmets were really worn, which was the golden age of heraldry; (8) The period from thq 16th century to the present time, in which the wearing of shields and helmets with badges was discontinued; and Heraldry creased to be a living art, which is the period of decay, in which arbitrariness, ignorance, and a pedantic ad- herence to antiquated principles have taken the place of the living art. From the point of view of style we may distinguish: Early Gothic, Late Gothic and Renascence Arms; as also those of the Ba- rocco and Rococo periods, and Modern times. The general direction of style has always had an influence on Heraldry; but the developement of architecture is on the whole always some twenty years in advance. The developemeut of heraldry was different in different countries; and even the modern English, French, German, and other systems, differ from one-another in several essential points. Here, of course, we cannot go minutely into the details of the subject. We shall only give, in all brevity, what is absolutely necessary. The Plates will deal with the colours or Tinctures, the Shapes and Divisions of the Shield, the Charges, the Helmet and its accessories; the badges of Rank and Dignity; and Pageantry. Those who wish to study Heraldry more deeply, will find an ample lite- rature at their disposal; since Bartolus de Saxoferrato took up the subject in the middle of the 14th century, more than enough has been written about heraldry. As accompaniments and supplements to study and teaching we may recommend the excellent work of F. Warnecke: Heraldisches Handbuch, illustraded by Doepler the younger; the Anltitung zur praktischen Darstellung und Ausfiihrung liernldischer Ornamente fur das gesamte Kunstgewerbe, by Detlav 508 Heraldry. Tinctures, and Divisions of the Shield. Freih. von Biedennann, with illustrations, in the Zeitschrift des Milnchener Eunstgewerbevereins, 1885; and the Katechismus der Heral- dik by Dr. Ed. Freih. von Sacken. These works have heen followed in this chapter, and our illustrations are taken from them. Heralds have invented a special language of their own, that is always used in Blazoning, which is the*/ technical description of a coat of Arms; and it should always be as correct and concise as possible, so that the coat may be drawn from it. This language will be used, as far as possible, in the explanations of the following plates. Finally, we may observe that anyone, who has to deal practically with Heraldry, will scarcely ever succeed in satisfying all those who have laid - down and still lay - down rules on the subject. Although, on the one hand, it seems advisable that on the whole a certain order should be maintained and arbitrariness excluded, still, on the other hand, a good deal of antiquated rubbish might be eliminated from the rules without doing any harm. On this point real heralds like Warnecke are all agreed. The safe path is in the middle; that ar- tistic freedom is quite consistent with observance of heraldic rules is shown by the masters of the Renascence: Diirer, Burckmair, and others. For our present purpose: the most suitable sources for the study are the drawings of these Masters; and next to them: old Seals, Windows, and Monuments. Heraldic ornaments may be applied to thousands of things; in Architecture, in Mural painting, on Furniture, in Textiles, in Documents, on Harness, &c. But they should only be applied where they have a representative character; and then only with mo- deration and purpose, and in due proportion to the object. TINCTURES, AND DIVISIONS OF THE SHIELD. (Plate 281.) In the good old days of Heraldry there were six Tinctures, which were almost exclusively used, two metals and four colours. The metals are gold (or), and silver (argent); which for practical reasons were often replaced .by yellow, and white. The original colours are red (gules), blue (azure), black, (sable), and green (vert). Full, strong shades were, employed: vermilion or minium for red, cobalt or ultra- marine for blue, Paris green, emerald green, or some other striking shade for green. The original scale of colours was afterwards enlar- ged by the addition of the so-called "Proper" or natural colour of the object, purple (purpure), ash-gray (which is not used in English Heraldry), blood-colour (murrey), and tawny (tenne). Natural objects, men, animals &c. were represented "proper", that is, in their natural tints; whereas the older heraldry depicted these objects in one of the nearest original tinctures: e. g. the lion was golden, or red, the eagle was black or red, and so on. Purple is not used on the Shields, Tincture*, and Divisions of the Shield. 503 but only on Crowns, Caps of estate, and Mantlings. Murrey and Tenne are tinctures that might well have been dispensed -with; as they con- flict with the original principle, which was to make the shield clear and distinct at a distance. Where coats of Arms are depicted uncoloured, as is frequently the case in books: the tinctures in the oldest period were indicated by their initial letters. Afterwards they were indicated by dots and hatchings. Silver was left plain, gold was indicated by dots, red by perpendicular lines, blue by horizontal lines, black by crossed hori- zontal and perpendicular lines, and the other tinctures were also marked as shown on the Plate. The Furs are also generally reckoned among the tinctures. Er- mine has black tails or tips on a white or silver ground; Erminois has the same tints reversed. On robes, mantlings, and coronets: er- mine is depicted in its natural form. The fur known in German heraldry as kiirsch is denoted by strokes arranged like scales. Vair, with its varieties "vair per pale" and "countervair", is of silver and blue in the shapes shown on the Plate. Vair has obviously "arisen from an arbitrary division of the field, like the check and fusil, of which we shall have to speak later on. Damaskeening (see also p. 281.) is the name given to minute decoration intended to enliven the various tinctures without inter- fering with the effect of the colours or altering the coat. The design is arbitrary: originally geometrical patterns were preferred, afterwards scrolls and curves were added. In the case of relief -work, when it is not painted: the damas- keening and the dots and hatchings of the tinctures, may also be plastic, but the height of the relief must be moderate if the effect is not to be spoilt. On seals and similar objects: the effect is pro- duced by engraving. Where the coat, instead of standing upright, is in a slanting position, the lines of the hatchings follow the axis of the shield, as otherwise confusion would be inevitable. According to good heraldic rules, colour should not be laid upon colour, nor metal on metal. Coats which transgress this rule are said to be false. The principle cannot, however, be always maintained in the case of composite coats (comp. Plate 283). In the divisions of the shield: the expressions * dexter", and "sinis- ter" (right, and left) refer to the bearer of the shield; they are to be understood as if one were standing behind the shield and holding it in front of the breast; hence it follows that the expressions mean just the reverse of what they do in ordinary life. If we divide the shield by lines: we have Fields, which are termed "quarters" when they are rectangular. The example in the Plate divides the shield into nine quarters. The names of the different quarters are given, so that it is unnecessary to repeat them here. 504 HERALDRY. The Heraldic Colours or Tinctures. Original Tinctures. (2 metals 4 Colors.) Argent. Gules. Azure. Later Tinctures. Proper. Pin-pure. Ash-grey. Murrey. Tawny. Furs. Ermine. Erminois. Kin-scli. Yair. Vairperpale. Countervail-. Damaskeenings. Older. Later. Divisions of the Shield into 9 quarters or fields. A. AB. Upper margin. CD. Lower margin. AC. Dexter margin. BD. Sinister margin. 1.2.3. Chief. 4.5.6. Fesse. 7.8.9. Base. 1.4.7. Dexter tierce 2.5.8. Pale. 3.G.9. Sinister tierce. 4. -10.. 5. .11.. 6. 1. Dexter chief canton. 2. Chief point. 3. Sinister chief canton. 4. Dexter flank. 5. Centre point. 6. Sinister flank. 7. Dexter canton of base. 8. Base point. 9. Sinister canton of base. 10. Honour point. 11. Nombril point. Plate 281. Tinctures, and Divisions of the Shield. Tinctures, and Divisions of th'e Shield. Shapes of the Shield. 505 The shield sometimes bears a smaller shield. The large shield which bears the smaller is called the Escutcheon. The smaller shield in the centre is termed the Iriescutcheon. The Inescutcheon some- times bears a third shield which is then said to be "sur le tout du tout". The smaller shields have the same shape as the large shield. The chief and the dexter side of the shield are the most honourable parts; and preference is given to the angle of the dexter chief or canton. In blazoning a coat: the description always starts from this point. SHAPES OP THE SHIELD. (Plate 282.) The shape of the shield is very varied; and is chiefly deter mined by the period in which it originated. The oldest shape is the triangular or "heater-shaped" shield (fig. 1). It was in use in the 12th, 13th and 14th centuries. On seals, it is first one-half and at a later time one-third the height of a man; the ratio of its height to its breadth is about 10 : 7. In the 14th century shields straight at the top and rounded at the bottom (we may term them half- round) began to appear; and after them shields pointed at the bottom (fig. 2). This shape, and the 16th century shapes which were deve- loped from it (figs. 4 6), were probably never actually borne; but are merely heraldic. At the end of the 14th century the Tilting- shields begin to make their appearance, their shape being based on that of the shields used in tournaments (figs. 7 10). The indenta- tions in the sides of these are suggested by the "bouche" or place for the lance on shields intended for actual use. The Tilting- shield is considerably smaller than the Triangular-shield; it is about one -fifth the height of a man. At the end of the 15th century the old shapes disappear, and make way for the German or strap - work shields. These latter were never in actual use, but are orna- mental inventions mostly based on the Tilting shield. Figs. 19 26 give a number of such shields belonging to different periods of the Renascence epoch. Shapes like figs. 11 and 12 are very common in Italy at that time. Elliptic, circular, and almond-shaped shields are not rare, especially in the Barocco period, a time in which Heraldry was treated in a somewhat arbitrary fashion. Of shapes that are specifically modern, we may mention: tigs. 16 and 17, the former of which was vised for the Arms of Great Britain & Ireland; and of France; while the latter is the best adapted for the blazoning of complicated coats. The Lozenge -shape (fig. 18) is especially the shield of ladies; in France, where it has been common since the 13th century, it is frequently surrounded with a knotted twisted girdle. 506 Shapes of the Shield. Ordinaries. PLATE 282. THE SHAPE OP THE SHIELD. 1 3. Triangular, pointed, and half-round. 4 6. Simple shapes, Renascence. 7 10. Simple shapes, Tilting-shields. 11 12. Italian Renascence. 13 15. Elliptical, almond, and circular. 1617. Modern. 18. Lozenge-shaped. 19. German, Michel Muller, 1564. 20. German, unknown master of the 16th century. 21. German, Daniel Lindtmair, 1595. 22. German, Jost Amman, end of 16th centurv. 23. German, school of Holbein, 16th century. 24. German, Hans Wiigmann, 1565, (Warnecke). 25. German, 16th century. 26. German, 16th century, (Formenschatz). ORDINARIES. (Plate 283.) Heraldic representations may be divided into Ordinaries, and Charges. The Ordinaries are the geometrical figures which are formed when the shield is divided into different fields by straight or curved lines which extend to the margin of the shield. The number of such figures is infinite. Plate 283 contains a collection of the ordi- naries which most commonly occur. We shall not discuss each figure in detail. The following blazoning or description of the figures on the Plate will, no doubt, give the reader all he requires to know The blazoning begins from the upper dexter angle of each shield. PLATE 283. THE ORDINARIES. 1. Per pale, sable and or. 2. Paly of four, argent and sable. 8. Argent, the dexter tierce gules. 4. Gules, a pale or. 5. Argent, a pallet (narrower than a pale) sable. 6. Per fesse, or and gules. 7. Barry of five, azure and argent. 8. Or, a chief azure. 9. Argent, a base gules. 10. Argent, a base vert. HERALDRY. 507 4. 5. 9. 10. 13. 14. i: 16. 17 Shapes of the Shield Plate 282 508 Ordinariea. 11. Or, a fesse gules. 12. Argent, a barrulet sable. 13. Per pale; the dexter half argent, the sinister half per fesse azure and or. 14. Per fesse; the upper half per pale sable and gules, the lower argent. 15. Quarterly, or and azure. 16. Cheeky of nine, vert and argent. 17. Cheeky of twenty, or and gules. 18. Quarterly: the 1st and 4th per pale, argent and gules; the 2nd and 3rd or. 19. Per fesse. gules and argent, a pale counterchanged. 20. Per pale, barry of five, or and azure, counterchanged. 21. Paly of six, argent and sable, a fesse counterchanged. 22. Or, a cross gules. 23. Argent, ,a dexter canton sable. 24. Azure, a chief point vair. 25. Per bend, or and vert. 26. Per bend sinister, argent and azure.' 27. Or, in the dexter chief a triangle sable. 28. Argent, in the sinister base a triangle gules. 29. Or, a bend gules. 30. Bendy sinister of six, azure and argent. 31. Per sal tire, vert and argent. 32. Per "bend, the dexter half argent, the sinister per bend sinister, vert and or. 33. Per bend sinister, bendy of six, sable and argent, counter- changed. 34. Lozengy, argent and. azure. 35. Fusilly, argent and azure. 36. Or, a pile azure. 37. Azure, a pile argent, issuing from the sinister side. 38. Gyronny of four, argent and gules, issuing from the dexter chief point. 39. Or, a chevron vert. 40. Chevronny of six, azure and argent. 41. Party per pale and saltire, gules and argent. 42. Gyronny of eight, or and azure. 43. Argent, a gyron azure, moving from the dexter side. 44. Per pall, sable, argent and gules. 45. Per pall reversed, or, argent and azure. 46. Argent, a pall gules. 47. Pily bar-wise, argent and azure. 48. Per fesse angled, argent and gules. 49. Per fesse escartely, azure and or. HERALDRY. 509 Ordinaries. Plate 283. 510 Ordinaries. Charges. 50. Or, a pile indented sable, also Per chevron indented, or and sablo. 51. Per bend indented, azure and argent. 52. Per pale potented, argent and azure. 53. Per fesse potented, or and gules. 54. Per fesse dentilly, gules and aregnt. 55. Per fesse nebuly, azure and argent. 56. Sable, a chief engrailed or, also Per fesse engrailed, or and sable. 57. Argent, a pale raguly. 58. Or, a bend indented. 59. Argent, a bend sinister wavy azure. 60. Azure, a cross engrailed or. 61. (Jules, four wolfs teeth argent, moving from the sinister side. 62. Azure, a gurge issuing from the sinister base. 63. Urgent. CHARGES. (Plates 284285.) The second class of heraldic representations are Charges. We distinguish natural, imaginative, and artificial charges, according as they belong to the kingdoms of nature, the heavenly bodies, phe- nomena of nature, or to fantastic forms; or again to art, trade, mechanics, &c. Contrary to the Ordinaries, whose outlines usually touch the edge of the shield, the charges usually stand free in the field, at any rate, on two or three sides, and fill the field as much as possible. The charges are all more or less conventionalised; and show conventional forms agreeing with the style of the times. Atten- tion must be paid to this point, so that the unity of style may be preserved between shield and charges They are mostly shown in profile, and vigorously drawn and outlined. The tinctures, at least in older heraldry, are not those of nature, but one of the nearest heraldic tinctures, 30 that the idealisation extends not only to the form but also to the colour. Complicated objects are often comparatively sim- plified; trees, for example, appear with few leaves and fruits, &c. Some charges, such as the lion and eagle, are of extremely fre- quent occurrence; others the following are rarer. Among animals the following are represented: PLATE 284. 1. The Lion (rampant) with open jaws and protruding tongue; the body lean, especially towards the hinder quarters; the tail curled upwards, natural or split, but not arbitrarily; the teeth, claws, &c. are gules on metal, or and argent on colors; the entire figure is generally or or gules, more rarely sable, and still more rarely azure. HERALDRY. 511 Charges. Plate 284. 512 Charges. 2. The Leopard, a lion walking (passant), the head frequently turned to the spectator (guardant); the tail curled over the back, (see also Plate 44). 3. The Ibex jumping (salient), the horns large, and (like the claws) of a different colour to the body, which is usually sable. 4. The Horse (rampant), mostly without saddle and harness; mane and tail flying; generally sable, argent or gules. 5. The Boar (rampant), bristles erect, and (like the tusks and claws) of a different tincture to the body. 6. The Dog (rampant), generally with a collar, with ears erect. 7 8. The Eagle (displayed), the talon spread; the head usually tur- ned to the dexter side, the beak open; the tongue protruding; frequently barbed; the tail is sometimes ornamentally treated; generally sable, gules, or or, (see also Plate 53). 9. The Goose (like the swan) with reverted neck, generally ar- gent, or sable. 10. The Martlet (which is a Swallow without beak and feet,) the two upper are passant, the lower one is displayed. 1 1. The Dolphin (rising), often with dorsal crest and ornamental tail. 12. Two Dolphins (rising and respecting each other), with open mouths. 13. The Serpent (nowed), generally argent, azure, or vert. Other animals of frequent occurrence are the Stag, Bear, Wolf, Pox, Bull, Cock, Kaven, Dove, Stork, Crane, Pelican, Crab, Whelk, &c. Parts of animals are also not infrequent, such as the wings, head, and claws. Both the entire human body and its several members are used in heraldry; we may mention as examples: 14. The Triquetra, 3 legs with bent knee, conjoined, and regu- larly disposed round a point; a badge on antique shields in Greek vase-paintings, and the Arms of Isle of Man. 15. The Moor's -head, with ear-rings and crown. 16. The Monk with extended arms, the Arms of Miinchen. In addition to the above: arms, hands, legs, trunks, clasped hands, &c.; also angels, saints, deities, fools, maidens7 knights, kings, savages, &c. Among plants are: 17. The Lime, uprooted, with few leaves, (also fruit-trees, the oak, fir, &c.). 18. The Oak -branch, gnarled, with few fruits and leaves, (alsc withered branches, or logs, &c.). Charges. 513 19. The Rose, idealised as a rosette, single or double, in five to eight parts. 20. The LUy or Fleur-de-lis, conventional, consisting of three petals, with or without stamens; used in art long before the birth of heraldry; common in French coats. In addition to the above: Clover, Nettle, Water-lilies, Grapes, Pome- granates, Fir-cones Ac. PLATE 285. CHARGES. The most frequent imaginary figures and monsters are: 1. The Griffin (rampant), with eagle's head and wings, lion's body, tail curved upward or downward, the upper and lower halves often of different colors. 2. The Panther, similar to the griffin, but without wings, usually spitting flame (turned towards the sinister side). 3. The Dragon, a winged reptile with two lion's paws or eagle's claws. (The wivern is similar, but with hinder feet.) 4. The Dragon with wolfs jaws, serpent's body and fish-tail. 5. The two-headed Eagle (an ordinary eagle with two heads turned away from each other, each with nimbus), the coat of the Holy Roman Empire. 6. The Seiren (an eagle with the bust of a virgin), the arms of Nuremberg. 7. The Mermaid (a naked female figure, terminating below the breast in a fish tail), the figure is also found without arms and also symmetrical, with two tails curved upwards. 8. The Sea-lion, with the fore-part of a lion terminating in a fish- tail. Of the heavenly bodies there occur: 9. The Sun, with face and sixteen rays, straight and wavy alternately; always gold. 10. The Moon, waxing or waning, with or without face (in the first case the crescent is argent and the face or). 11. The Star, with rays of five to eight points; or. Less common are,: Comets, and the Earth, with the lines of latitude and longitude. Among the phenomena of nature we have: 11. The Cloud, very conventional, argent or azure. 12. The Rainbow, gules, or, and azure (shown in the Plate above a triple hill). Moyer, Handbook of Ornament, 33 514 HERALDRY. Plate 285. Charges. Charges. 515 In addition: Storm and Wind, depicted by heads blowing; Lightning, depicted by a bundle of flames. To the artificial objects which are employed belong: Architectural constructions (towers, gates, castles, churches, bridges, fountains, ships); Utensils (tools, instruments, weapons, anchors, keys, .banners); Vessels (kettles, goblets, mugs); articles of attire (hats, caps, belts, crowns, mantles, shoes); family and trade Tokens, Monograms and Crosses of all kinds. Some examples are: 18. The Wheel, with eight spokes projecting beyond the felloe. 14. The Wheel of Cleve.s, a rosette terminating in eight lilies. 15. The Maltese Cross, and the cross ancre"e (the Plate shows one half of each). 16. The Cross crampon6e. 17. Two crossed Swords. 18. The Crancelin, a wreath of rue, resembling the hoop of a crown. 19. The Axe, and the two-headed Axe. 20. The Hat, and the Cap of maintenance. Several charges may be combined in the same coat, or one charge may be placed over another. The same charge may also be repeated in a coat. The blazoning of the charges is not so simple as that of the ordinaries; and, when the technical language of heraldry fails, we must have recourse to the language of every-day life. We will here give a few of the commonest of these technical expressions with brief explanations: accompanied: the main figure is surrounded by smaller figures. accosted: a figure has other figures by its side. armed, beaked, membered: an animal is furnished with claws, beak, members, &c., of a different colour from the animal itself. charged: when one figure bears another. countercharged: when the different tinctures alternate with one another. couped: when a part of a figure appears to have been cut- off clean. erased: when a part of a figure appears to have been torn -off. issuant: when a figure rises out of the bottom of an ordinary or shield. flanked: when one figure stands by the side of another. naissant: when part of a figure rises from the centre of an ordinary. passant: when an animal is represented as walking with one foot raised. rampant: when an animal rises on its hind feet; the usual posi- tion for wild animals. 33* 516 Charges. Forms of the Helmet. statant: when all four feet of an animal touch the ground. seme 1 or powdered: when an arbitrary number of one figure is scattered over the shield. 2 and 1: three figures, placed thus 2, 2 and 1: five figures, placed thus 1, 3 and 1: five figures, placed thus . 2, 1 and 2: five figures, placed thus and so on. FORMS OF THE HELMET. (Plate 286.) In the earliest days of Heraldry the shield by itsell formed the coat; and it is, down to the present time, sufficient for the presentment of the bearings. To a complete coat, however, belong further the Helmet, and the Crest. Sometimes, particulary on seals, the Helmet and Crest are used alone as a badge. But just as we saw that all shields are not suitable for heraldic purposes, so here, too, there are only a few helmets which have found acceptance in heraldry; such as the Tilting-helmets. We have to consider four forms. The oldest is the Salade, (fig. 1). The Heaume, the lower half of which is cylindrical and the upper half a truncated cone, rests on the shoulders, (figs. 2 4). The Tilting -helmet (figs. 6 9), is more elegant than the heaume; it fits better to the form of the head, and has a slit for the purpose of vision, (fig. 5 shows an intermediate form between the Heaume and the Tilting - helmet). The latest form is that with the barred Visor (figs. 10 11). This 'fits closer to the head than the Tilting-helmet; the slit has been enlarge'd to a broad opening, guarded either by vertical bars or by a grating. The Armet (fig. 12), and other helmets, like the Burgonet, are unheraldic; and are seldom seen in Arms. Speaking generally: the Salade belongs to the 13th; the Heaume to the 14th; the Tilting-helmet to the 15th and 16th centuries; the Vizor also belongs to the two latter centuries. The first three helmets are known as "closed", the Vizor-helmet as "open". PLATE 286. THE HELMET. 1. Salade, first half of 14th century, Armory, Berlin, l! 3 / 4 ins. high. 2 3. Heaume, front and side view, 14th century. HERALDRY. 517 Forma of the Helmet. Plate 286. 518 Forms of the Helmet Helmet Trappings. 4. Heaume, second half 'of the 14th century, from the collec- tion ofGustav von Decker, Berlin, 14 '/ 2 ins. high, (Warnecke). 5. Heaume, approximating to the form of the Tilting -helmet, 14th century. 69. Tilting helmets. 10 11. Helmets with barred Vizors. 12. Armet. HELMET TRAPPINGS. (Plates 287288.) Plates 287 and 288 show the Helmet in conjunction with the coat of Arms. As the Helmet was only worn by knights, it belongs, strictly speaking, only to the coats ofknightly families; towns and corporations, the clergy, and ladies, do not bear the helmet, although there are exceptions. As regards style, the Helmet should match the form of the Shield. The Salade and the Heaume belong to the Triangular - shield: the Tilting - helmet also belongs to these and still more to the Tiltiug- shield. Helmets with barred Vizors are most suitable to Half-round- shields. The size should- also be in proportion to that of the Shield. The height varies between 1 j i and 8 / 3 the height of the Shield. The usual position is over the centre of the upper margin of the shield, and resting upon it (not free), so that it covers a little of the field (Plate 287, 5). If the shield is represented in a slanting attitude; the helmet rests on the highest angle (Plate 287. 6, 7, 8). When the coat is composite, several Helmets may be placed upon the Shield- they are then propprtionately smaller in size. When the number of Helmets is 2, 4, or 6: they turn their profile to each other; when the number is uneven, the central one is shown in full face. Only one helmet can be placed on a slanting shield. Helmets may also be placed at the side of the shield, or borne by the sup- porters. The helmet is coloured as if made of p"olished iron, frequently with decorations of silver or gold; or the entire helmet may be gilt or silvered. If the bearer was entitled to wear any Collar, he might show it on the Helmet (Plate 287. 5); but these appendages are non- essential; and are not met -with before the 15th century. The Helmet is usually depicted as lined with red cloth. The essential trappings in a complete coat of Arms are: 1. the Crest, 2. the Mantling. The Crest probably originated from the custom of painting heraldic figures on the helmet. At- a later date, plastic ornaments were added to the helmet; they have some figurative connection with the coat. If the coat is blazoned with heraldic figures: these are repeated either wholly, or partly, in a simple manner, as a crest Helmet Trappings. 619 Plate 288, figs. 1 4); if the blazoning is with ordinaries: these are repeated on certain objects selected as Crests. The principal of these objects are: Horns, in pairs, curved as a crescent or a lyre, in later timns broadened out at the ends like a mouthpiece, painted with the tinctures or ordinaries of the coat, surmounted with branches, &c. (Plates 287. 4, 288. 4 and 5). Wings, natural or artificial, singly or in pairs, displayed, or in profile; painted with the tinctures or ordinaries of the coat (Plates 287. 1 and 7; 288. 6). Cushions and screens, round or square discs, painted with the blazoning of the coat, hung and surmounted with tassels, bells, and peacock's feathers (Plate 287. 6). Caps, pointed and turned up, showing the colours and blazon- ing of the shield, the tips decorated with coronets, plumes, &c. (Plate 287. 5). Quivers, cylindrical or conical 'tubes, painted with the colours of the shield, crowned with coloured feathers (Plate 287. 8). Human beings, animals, and all kinds of artificial objects; the former often depicted as half-figures. We must refrain from entering into detail into the various relations, often full of meaning, between the crest and the shield; as an example we may refer to Plate 287, 2, where the blazon of crossed arrows and pitcher on the shield are repeated as a quiver and a goblet in the hands of tho maiden who forms the crest. The Mantling is the connecting-link between the Helmet and the Shield. In the oldest times it was formed of cloth: at a later date covers of stiffened material, leather, metal-plate, &c., were used, the edges being cut-out into ornamental shapes. The same materials were also employed for the Crest. During the Renascence period: the Mantling was cut into ribbon-like strips, each strip being treated independently like an Artificial - leaf. The Wreath is interposed between the Crest and the Helmet, (Plate 288. I, 3, 6). It rarely has more or less than two tinctures. Where the Crest is directly connected with the Helmet: the tinctures of the Shield are correspondingly continued on the Wreath. The Mantling shows the tinctures of the coat counterchanged in such a way that the colour is usually visible outside, the metal inside. If it have four colours: the chief ones are on the dexter, the others on the sinister side. It should corre- spond in style with the rest of the Arms: Salades and heaumes require simple edges (Plate 287. 7); while Tilting and Vizored helmets require jagged or scalloped edges. 620 Helmet Trappings. Crowns, &c. PLATB 287. THE HELMET TRAPPINGS. 1. Tilting -helmet, with rich Mantling, and Crest of double wings, Albrecht Durer, coat of arms of Death, 1503. 2. Coat, with Tilting -helmet, rich Mantling, and Crest of a virgin, German Eenascence, (Pormenschatz). 8. Half-round-shield, with Vizored -helmet, Mantling like ribbons, and Crest two swans' necks. 4. Tilting-shield, inclined to the sinister side, Vizored-helmet, Mantl- ling like ribbons, and Crest two horns decorated. 5. German shield, with Vizored-helmet, and Crest a Cap -of- main- tenance. 6. Shield, inclined to the dexter side, with Vizored-helmet, Mantling, and Crest a cushion. 7. Triangular- shield, inclined to the dexter side, with t Salade, Mant- ling, and Crest double wings. 8. Half-round-shield, inclined to the sinister side, with Vizored-helmet, and high Crest and Mantling, (Dietz). (Figs. 8 to 8 are from Siebmacher's Wappenbuch.) PLATE 288. THE HELMET TRAPPINGS. '1. Tilting-shield, with Vizored-helmet, Mantling, and Crest an eagle. 2. Tilting-shield, with Vizored-helmet, Mantling, and Crest of a naissant figure, Gorman Renascence, (Formenschatz). 3. Tilting-shield, inclined to the dexter side, with Tilting-helmet and naissant bull as Crest, Italian Renascence, palace in Florence. 4. Tilting-shield, inclined to the dexter side, with Tilting- hel- met, Mantling, and crest of horns. 56. Coats, by Hans Sebald Beham, 1544. 7. Modern coat, on seal, by A. von Werner. CROWNS, &c. (Plate 289.) The principal heraldic badges of rank and dignity are: the Crown, Hat, Cap -6f- maintenance. Wand, Sword, Key, &c., and the insignia of the various Orders of Knighthood. The Crown -of -rank, which is not to be confounded with the crown of the shield, is placed above the shield in the place of the Helmet; the same holds good of the Coronets, and Caps (figs. 11 14). These latter have partly a conventional form, appertaining to the dignity; and they have special forms for special cases. HERALDRY. 521 Helmet Trappings. Plate 287. 522 HERALDRY. Plate 288L Helmet Trappings. Crowns, &c. Heraldic Accessories. 623 PLATE 289. CROWNS, CORONETS, ^ / ^ i s / V y \ /\ 5 f \ / N. s ^ 2 \ ^1 ^ A \ V 2 \ X NX \ / \ / ^ \ Constrtictions, Numerals, and Monograms. Plate 300. 542 Roman Letters. Constructions, Numerals, and Monograms. PLATE 299. ROMAN LETTERS. 1. Modern. 2. Modern. 8. Renascence italic, Gottlieb Munch, Ordnung der Schrift, 1744. 4. Renascence lower-case italic, Michael Bauernfeind, Nuremberg 1737, (Hrachowina). PLATE 300. CONSTRUCTIONS, NUMERALS, AND MONOGRAMS. 1. Roman capitals. 2. German text, and large Gothic uncial letters. 3 4. Arabic numerals, 15th and 16th centuries. 5, 6, 7 and 9. Modern monograms of two and three letters, (Raguenet). 8. 10. 11. Modern monogram, Dir. Gotz. Monogram of a name: "Laugier", (Raguenet). Monogram of Christ; formed of the Greek initials of the name of Christ, found in the Catacombs. li is frequently combined with the letters ji Q, in allusion to Rev. XXII. 13: "I am Alpha and Omega" (compare Plate 213. 13). Of later date is the monogram IHS, the first three letters of the name Jesus, IH-OY2, when written with Greek letters, which was afterwards selected by the Jesuits as the badge of their order. It has been variously explained as meaning: "Jesus hominum salvatbr" (Jesus the saviour of men); "In Hoc Salus" (in Him is salvation); "Jesus Habemus Socium" (we have Jesus for our companion); or: "In Hoc Signo vinces" (in this sign thou shalt conquer). INDEX. The numerals refer to the Pages in all cases. Wliere they are enclosed in Brackets : the page is a Plate; and the small numerals refer to the Figures in the Plate. Akanthos, leaf: 34, (163. 7). Akroter: 166. Alabastron: 312. Alphabet: see Letters. Altar: 378. Amber-tree leaf: (55. e.v). Amphora: 303. Ampulla: 312. Animals: 63. Antefix: 166. Arm-chair: 425. Armet: 390. Armorial Bearings: 500. ARTIFICIAL OBJECTS: 110. Artificial Foliage: 39. Leaf: 35. Aryballos: (331. 14). Astragal, Enrichment of: 152. Atlanta: 242. Badge: see HERALDRY. Balauster; 222. BANDS : 127. Band-motive: 4. Base, (column): 197. , (candelabrum): 218. Basin: 308. Battle-axe: 394. Beaker: 345. Bedstead: 457. Bell: 404. Bench: 436. Bisellium: 434. Boar, head: (79. a), (343. 10). Book Decoration: (23. 4.5). Borders: see BANDS, 477. , (Typographical) : Boss: 182. Bottle: 336. Box: see Cist, Chest, &c. Bracelet: 490. Bracket: 241, (372. 1-9). Breast-pin: 480. Brooch: 480. Bryony: 52. Bucket: 322. Buckle: 492. Burganet: 390. Button: 482. Cabbage-stalk Glass: 352. Cabinet: 445. , Hanging: 449. Calathus: see Kalathos. Candelabrum: 360. , (capital): 222. , (foot and base): 218. , (shaft): 219. Candle Bracket: 370. Candlestick: 361, 366. Canophora: see Kanephoros. Cantharus: see Kantharos. Capital, (candelabrum): 222. , (column): 205. 544 Index. Capital, (pilaster, and anta): 214. Caryatid: 242. Censer: 382. Centaur: 106. Chain Band: 129. , (JEWELRY): 486. Chair: 422. Chalice: 345. Chandelier: 373. Charge, (Heraldic): 510. Chatelaine: 499, 404. Cherub-head: 109. Chest: 451. Chimaera: 70. ' , (head): (78. i). Circle, Diaper: 278, 283. , Panel: 256, (115. 6-e). , Subdivision: 27. Cist: 318. Clasp: 492. Claw-foot: (220. 1-9). Clock-case: 453, (475. 1,3). Cluster, of Fruit: 59. Coat of Arms : (525. i-s). Cock, (tap): 417. Collar, (Heraldic): 518. Column: see SUPPORTS. Comb: 499. Compasses: 417. Console: 235. Construction of Letters: 542. Convolvulus: 52. Corn: 52. Cornucopia: 124. Coronets: 520. Cothon: see Kothon. Couch: 438. Cradle: 457. Crater: see Krater. Crest, (Heraldic): 518. Cresting Border: 161, 172. Crocket: 185. Cross: 172. , (Heraldic): 515. , Panel: (275. s). Crown, Coronet, Ac.: 520. Crozier: 384. Crucifix: 384. Cruet: 316. Cup: 345. Cyathus: see Kyathos. Cylix: see Kylix. Cyma, Enrichment of: 155, (164 3,4,11,12). Dagger: 394. Damaskeening, (Heraldic): 503. DECORATED OBJECTS: 295. Desk: 451. Diadem: 499. DIAPERS; 277. , patterns: 9. Diphros Okladias: 434. Dish: 308, see 476. Dog, head: (79. ). Dolphin: 86. , (Heraldic): (511. n). Door-Knocker: 408. Dormer: (463. i). Dress-pin: 480. Eagle, (Natural): 80, (454. i_s). , (Heraldic): 80. 512. , (head: (343. 7). Ear-ring: 496. Easd: 453. Egg-and-tongue, &c.: 155. Elaphos: 342. ELEMENTS OF DECORATION: 3. Ellipse, Construction, and Subdi- vision: 30. , Panel: 267. Enamels: 281. ENCLOSED ORNAMENTS: 246. Evolute-spiral Band: 151. Fan: 412. Fauchard: 396. FEATURES of Objects: 126. Festoon: 59, (221.. e). Fibula: 480. Finial: 175. Flowers, Natural: 58. Index. 545 Flower-pot: 315. -vase: 312. Fly-flapper: 414. Folding-chair: 438. Foliage, Artificial: 39. , Natural: 34. Font: 320. Foot: (220. 1-9), Fork: 400. Fox, head: (79. 7). FRAMES: 461. , (architectural]: 462. , (mirror): 465. , (strap-work): 468. , (typographical): 471. FREE ORNAMENTS: 169. Fret Band: 128. Frieze: (62), (104. 5), (162) (164). Fringe: 188. Fruit, in Festoon: 59. Funnel: 324. FDBNITUBB: 420. , Leg: 230. Gable-ornament: 166. Gargoyle: 185. Garland: see in (82. 4). Gate: see Grill. GEOMETRICAL ELEMENTS: 3. German Drinkiug-gl asses: 352. Girdle: 492, 188, (487. u-is). Gladiator's Helmet: 390. Glass, Drinking: 355. , see Stained-Glasa. Goblet: 345. Gothic Tracery: 30. Griffin: 70, (514. i). Grill : 294. Grottesque Animal: 100. Figure: 101. Mask: 95. Gryps: 345. Guilloche: see Interlacement Band. Hair-pin: 480. Half-figure: 101. Halberd: 394. Meyer, Handbook of Ornament. Hammer: 417. Hanap: 347. Hand-bell: 404. Hand-mirror: 412. Hanging-cabinet: 449. Hat, (Cardinal's, &c., Heraldic): 523. Head-dress (JEWBLBY): 499. Heads of Animals: 76. Heaume: 390, 615. Helmet: 390, 51G, (108), (113). , Trappings: 518. HERALDRY: 500. Hermes : see Terminus. Hexagon, Subdivision: 18. Hinge: 186. Hippotragelaphos: 342. Holy- water Stoop: 320. Hop, leaf: 52. Horn, Drinking: 342. Horse, head: (79. 1-5). Human, body: 93. Hydria: 320. Hyacinth-glass: 315. Implements: see Trophy, Symbol. Initial: see Letters. Ink-stand: 316. Inn-chair: (426. i). Instruments: see Trophy, Symbol. Interlacement Band: 135. Ivy, leaf: 51, (203. 4). Jar: 318. JEWELRY: 478. Jug: see Pitcher, Pot. Kalathos: (344. 4). Kalpis: (323. 2). Kanephoros: 242. Kantharos: 340. Kapros: 342. Key: 410. Kettle: (335. 10). Klismos: 422. Knife: 400. Knob, (finial). 179. Knocker: 408. Knot: see Ribbon. 35 646 Index. Kothon: 840. Krater: 308. Kyathos: 340. Kylix: 340, (311. e). Label: 120. Lace: 190. Lachrimatory: 312. Ladle: 324. Lamp: 364. , Pendant: 373, (314. IB). , Table: 375. Lance: 394. Lantern: 373. Laurel: 43, (344. 9). Lazy-tongs: 404. Leaf Band: 145. , (Natural): 52. Lectern: 453. Lectus Cubicularis: 438. Leg, (Furniture): 230. Lekythos: 328. Letters: 527. Link Border: 160. Lion, (Heraldic): 510. , (Natural): 63. , head: 70, (233. 9,10). Lizard: (92. i). Lock-escutcheon: (475. 10). Lotus: 48, (162. i), (208. s-s), (288. 2), (327. 2,4). Lozenge, Panel: 272, (88. 2,3), (464. 3). , Subdivision: 21. Lunette, Panel: 268. Lynx, head: (77. 5). Mace: 396. Maeander: see Fret. Mantling, (Heraldic): 519. Maple, leaf: (55. a.*). Margin: see 477. Mars' head: (108. 9). Martel-axe: 394. Mask: 94. Match-holder: 417. Medallion: 109, (495. 12, 18,25). Medusa, head: 100. Mermaid: (514. 7). METAL OBJECTS: 359. Minerva, head: (108. 6,7). Mirror-frame: 465. Mirror, Hand: 412. Miserere-seat: 431. Mitre: (624. n-is). Monogram: 542. Monstrance: 384. Morion: 390. Mosaic: 278. Motto: 526. Mouldings, Enrichments of: 152, 161. Mug: 353. Mural Painting: 286. NATOBAL FOBMS: 34. Nautilus-shell: (91. i) Necklace: 488. Neck-ring: (489. 7,8). Needle-case: 499. Network: 4. Numerals: 542. Oak, leaf: (55. 1,2), (150. 9), (156 e). OBJECTS, DECORATED: 295. Oblong, Panel: 262. , Subdivision: 18. Octagon, Subdivision: 18.' Oinochoe': 326. Olive: 43. Olpe: 326. Order, (Heraldic): 523. Ordinary, (Heraldic): 506. ORNAMENT APPLIED TO FEA- TURES: 125. Oval, Construction: 33. Ovolo, Enrichment of: 155. Ox, head: (79. 9). Painting: see M viral painting.; Palmetto Band: 145. Palm, leaf: 48. PANELS: 246. Panther, (Heraldic): (514. 2). , head: 73. Paper-knife: 402. Papyrus: 48. Index. 647 Parapet: 227. Parquetry: 378. Partizan: 394. Patera: 324. Pendant, (Architectural): 179. . , (JEWELBT): 494. Pennon: 623. Pentagon, Subdivision: 18. Pepper-mill: 316. Perforation: 172. Perfume-vase: 328. Phiale: 312. Picture-frame: 465. Pike: 394. Pilaster, (capital): 214. , (panel):' 213, (113. 6,e), (117. i-s). Pin: 480. Pitcher (lip-spout): 330. Plate: 310. , Border: 476. Polygon: 13. / Post: 227. Pot (pipo-spout): 334. Printer's-mark: 471. PRINTING: 527. Prochoiis: 326. Proedra: (244. 5). Puzzle-glass: 353. Quadrelle: (397. 10). Bailing: 227, see also Parapet, Bal- auster. Rain-water Spout: 185, (74. a 5), (87. 7-9). Raking Panel: 276. Bam, head: (78. 3-7), (343. 1-5). Ranunculus, leaf: (55. 5). Rectangle: see Oblong. REPEATING ORNAMKNTS: 277. Revolving Stool: 434. Rhombus, Panel: see Lozenge, Panel. , Subdivision: 21. Rhyton: 342. Kibbon: 120. Ring: 484. Rope-pattern: seelnterlacementBand. Rosette: 182, see also Square, Panel, Circle, Panel. Rosette Band: 142. Rummer: 349. Salade: 390, 516. Salt-cellar: 316. Scabbard: 392, 391 Scale Diaper: 281. Scallop Shell: (91. 8,4). Scent-bottle: 499. Scissors: 402. Scriptionale: (252. i). Scyphus: see Skyphoa. Seal: 499. Seat: 421. Sector: 13. Bella Balnearis: 427. Curulis: 427. Semicircle: see Lunette. Serpent, (Heraldic): (511. is). , (Natural): 90. Shaft, (candelabrum): 219. , (column): 197, 202. , (pilaster): 213. Sheath: see Scabbard. Shell: 90. * Shield: 388, 505. , (Heraldic): 502. Sideboard: 449. Signet-ring: 484. Simpulum: (327. 11.12). Situla: (325. 7-11). Skull, Human: 109. , Ox: (61. i), (G2. t). Skyphos: Smelling-bottle: see Scent-bottle. Snuffers : 404. (413 3). Sofa: 438. Spanrail Panel: 268. Spangle: 4HU. Spoon: 324, 396. Sphinx: 106, (223. e), (429. 9). Square, Diaper: 278. , Panel: 247, (15. 20). 35* 548 Index. Square, Subdivision: 14, (262. 19). Stained Glass: 283. Stall: 428. Standard: 623. Star, Panel: 249. , Subdivision: 13. Stele-crest: 167. Stool: 431. Stoup: 320. Strap Hinge: 186. Strap-work, Border: 477. , Frame: 468. (476), (476). , Panel (260. 7,8), (264. 4,5), (271. 6-9). , Tablet: 474. , Margin: 477. Subdivision of Shapes: see 1433. SUPPORTS: 194. Supporter, (Heraldic): 526. Sword: 392. Symbol: 111. Table: 440, 231. Tablet: see FRAMES. Taboret: 431. Tankard: 355. Tap: see Cock. Tassel: 188. Telamon: 242. Tent, (Heraldic): 526. Terminus: 225. Text: see Letters. Textile: see Weaving. Three-centred Arch, Construction: 33. Throne: 425. Thyrsos: (107. 6,7). Tiara: (524. 12). Tiger, head: (77. s). Tiles: 283. Tilting Helmet: 390, 516. Tinctures, (Heraldic): 502. Toilet-stand, or cabinet: 455. Tongs: 417. Tool: 417, see also Trophy, Symbol. Torch: 124. Torus, Enrichment of: 155. Tracery: (28. is-ie), (29. i_n), (259. 7,8), (275. i). Tragelaphos: 342. Trapezium, Panel: 276. , Subdivision: 21, 26. Trapezoid, Panel: 276. Trapezophoron : 231. Triangle, Subdivision: 18. , Panel: 276. Tripod: 379. Trophy: 110. Tulip-tree, leaf: (55. s). Tumbler: 352. Typographical Frame: 471. Uncials: see Letters. Undulate Band: 146. Uraniscus: 14. Urn: 306. UTENSILS: 359. Valence: 188. Vase-forms, Chart of: 304. VASES: 297, (123. 1,4), (180. s-). Vertebrate Band: 145. Vine: 43. Viper: see Serpent. Vizor-helmet: 390, 516. Wall-papers: 286. War-scythes, &c.: 391. Water-pot: 334. Wave-scroll : see Evolute-spiral Band Weapons: 386. Weaving: 289. Wings: 81. Wreath, (Heraldic): 519. WRITING: 527. Writing-table: 443. Wrought-iron: 175. UNIVERSITY OF CALIFORNIA LIBRARY, LOS ANGELES Architecture & Urban Planning Library, 825-2747. This book is DUE on the last date stamped below. Z8 MAR 8 1988 f BEC'D. AUPU PSD 2339 9/77 UNJV. OF CALIF. LIHRARY. LOS ANGBtES UCLA-AUPt 1510 M57hE 1917 L 005 859 768 3 A 001 232781