J

-.-.

.....

'

ggaC

.dn
1

M>

gP^HKPMPPi

<

r
it

tii*}

THE

GRAMMAR OF ORNAMENT
BY

OWEN

JONES.

ILLUSTRATED BY EXAMPLES
FROM VARIOUS STYLES OF ORNAMENT.
ONE HUNDRED FOLIO PLATES,

DRAWN ON STONE BY
F.

BEDFORD,

AND PRINTED

IN

DAY AND

COLOURS BY
SON.

LONDON:
PUBLISHED BY DAY AND SON, LITHOGRAPHERS TO THE QUEEN,
GATE STREET, LINCOLN'S INN FIELDS.
MDCGCLVI.

IU1L-..

w--aa^t**

" IIL

"

I
\

'

PREFACE.

It

would be

attempt to

beyond the

far

gather

together

of Ornamental Art.

and even then

that
to

call

types

it

It

illustrations

proposed to myself

the

Grammar of Ornament,

in

certain

possible

would be too voluminous

forming

if

be

to

the

have ventured to hope

forms

of

beauty which

in

that,

every

that unfortunate tendency of our

forms

lasts,

the

rally

completely

beautiful,

because

peculiar to
ignoring,
it

thus transplanted, as
It

is

collection

therefore,

have ventured

each

other,

and

individual

in

which

certain

peculiarities of each.

of ornament presents,

might aid

in

many

arresting

time to be content with copying, whilst the fashion

any bygone age, without attempting to ascertain, gene-

the

peculiar

which

circumstances

rendered

an

ornament

was appropriate, and which as expressive of other wants, when

entirely

more than probable

will

which

collection

All,

thus bringing into immediate juxtaposition the

style

to

undertaken by a government,

generally useful.

general laws appeared to reign independently of the

I

individual

has been to select a few of the most prominent

connected with

closely

styles

in

any one

of

innumerable and ever-varying phases

of the

would be barely

have

powers

of the

limits

fails.

that

the

be seriously to increase

first

this

result

of sending forth to the world this

dangerous tendency, and that many

will

be content to borrow from the past those forms of beauty which have not already

been used up ad nauseam.

It

has been

my

desire

to

arrest

this

tendency, and to

awaken a higher ambition.

If the

expressed

student will but endeavour to search

in

so

many

different

gushing fountain in place of a

languages,
half-filled

he

out the thoughts which have been

may

assuredly

stagnant reservoir.

hope

to

find

an ever-

PREFACE.
In

following chapters

the

That whenever any style of ornament commands universal

First.

be

always

will

found

of form

distribution

leading

the

style

accordance

in

however varied

been

another have

to

Lastly.

manifestations

the

by

caused

To attempt

up

build

to

would

turn

its

be

an

may be

Art

of Ornamental

we may

with

these

supreme

of

act

am

landmarks

be

the

that

future

for fresh inspiration.

once

at

On

to

of the
the

reject

the contrary,

we

of the past, not blindly

labours

successful

and

aware that

fully

the

many gaps which each

chief aim,

became

old,

independently

style,

would

It

chapter,

Nature

to

form a

to

folly.

the

all

In taking leave of the subject,

the public, I

or

art,

the

idea, like

by engrafting on the experience

by a return

obtain

of some fixed

off

but employing them simply as guides to find the true path.

following them,

as

the

inventions.

secured

best

of

theories

our inheritance

should regard as

My

new

the

till

fresh

to

sudden throwing

accumulated knowledge of thousands of years.

experiences and

are

accordance

in

have endeavoured to show, in the twentieth

of the past the knowledge

there

regulate

it

on which they are based are very few.

ideas

again fixed, to give birth in

past,

which

laws

the

admiration,

nature.

trammel, which set thought free for a time,

progress

with

facts,

That the modifications and developments which have taken place from

Thirdly.

one

be

to

in

That

Secondly.
laws,

have endeavoured to establish these main

to

place

and

aids

the

to

collection

side

types

student

in

very

is

from being

up

fill

path,

has,

complete
himself.

for

might

as

styles

onward

judgment of

the

to

readily

of such
his

it

far

may

however,

artist,

by

side

surrendering

finally

best

serve

trust,

been

fulfilled.

remains for

It

kindly assisted

me

me

to

offer

my

acknowledgment

Mr.

J.

him

opportunity

of forming

which the portion contained

I

trust

am

C. J.

he

to

him

J.

0.

races,

in this

indebted to Mr. T. T.

for

much

received

has

valuable assistance

contributed

also

having

residence

in

very large

collection

of Cairean

Cairo

work can give but an imperfect

Bury

to

for

publish

in

the plate

afforded

Ornament,

idea,

the

of

and which

complete form.

of Stained

Glass.

From Mr.

obtained the principal portion of the materials of the Elizabethan

from Mr.

J.

B. Waring, those of the

the very valuable

Westwood having
has assisted

who have

friends

long

his

may some day be encouraged

Richardson

Collection

James Wild, who

Mr.

from

Arabian Collection,

the

for

the

and

Bonomi,

materials

those

all

the undertaking.

in

In the formation of the Egyptian Collection

from

to

in

and exposition of the

essays

directed

and

am

also

indebted

on Byzantine and Elizabethan Ornament.

especial

the Celtic Collection,

style.

Byzantine,

attention

to

the

Ornament of the

Mr.
Celtic

and written the very remarkable history

^^^H

PREFACE.

Mr.

o.

C.

Dresser,

of the

of

Marlborough

twentieth

chapter,

House,

exhibiting

has

the

provided

geometrical

the

interesting

arrangement

of natural

nowers.

colleague

at

the

Crystal

plate

M. Digby Wyatt,

Palace,

has enriched the work

with Ins admirable essays
on the Ornament of the Renaissance
and the Italian periods

Whenever

acknowledged

The

the
in

material

been gathered from published sources,

has been

it

body of the work.

the

remainder

Mr. Albert Warren

has

of

the

and

drawings

have

been

chiefly

executed

my

by

Mr. Charles Aubert, who, with Mr. Stubbs,

pupils

have reduced

the

whole of the original drawings, and

prepared them for publication.
The drawing upon stone of the whole
collection was entrusted to the care of
Mr. Francis Bedford, who, with his
able assistants, Messrs. H. Fielding,

W.

Tymms, A. Warren, and S.

One Hundred Plates in less

My
has

special tharks

evinced,

quite

Sedgfield,

occasional

regardless

to

of

all

Mr. Bedford
personal

his

valuable

with

the

difficulties

Messrs.
printers

services

of the work,

care

required,

their

establishment have

regularity

to

be

consideration,

this

Son, the

enterprising

have

forth

the vast

put

all

render this work

and

in

all

feel

Argyll Place,
Dec. 15, 1856.

as

persuaded

any way acquainted

publishers,

their

and

strength;
to

only to

but even to complete

at

and

the

notwithstanding

be performed,
deliver
it

the

same time the

the

work

the

resources

with

of

perfect

before the appointed time.

OWEN
9

the

process.

amount of printing

enabled them, not

the Subscribers,

executed

and anxiety which he

to

demanded

recognised by

fully

and uncertainties of

Day and
and

will

the care

for

perfect as the advanced state of chromolithography

that

have

help,

than one year.

due

are

with

R.

JONES.

GENERAL PRINCIPLES IN THE ARRANGEMENT OF FORM AND COLOUR,

IN ARCHITECTURE AND THE DECORATIVE ARTS, WHICH ARE
ADVOCATED THROUGHOUT THIS WORK.

Proposition

The Decorative Arts

General
principles.

Proposition

1.

All ornament should be based upon a

and

from,

arise

should properly be attendant upon, Archi-

8.

geometrical construction.

tecture.

Proposition

Proposition

Architecture

and the sen-

of the wants, the faculties,

timents, of the age in which
Architecture

in

Style

it

created.

is

the peculiar form

is

that

expression takes under the influence of climate

and materials

at

command.

Proposition

As

Architecture,

Decorative

Arts

As

the material expression

is

so

in every perfect

work of Architecture

between

works of the

all

possess

proportion, harmony, the result of

it,

so throughout the Decorative Arts every

assemblage of forms should be arranged on

member

some simple

tiple of

fitness,

all

Those proportions
it will be most

which

the whole and

should be a mul-

unit.

will

be the most beautiful which

the eye to detect.

difficult for

Thus the proportion of a double

is

repose.

or 4 to

Proposition

True beauty
which the mind
intellect,

feels

and the

4.

when

the
are

affections,

than

3 to

the

eye,

8,

satisfied

3 to 7;
4,

be

will

more subtle

the

from that repose

results

P roPor-

members which compose

the

all

each particular

3.

on

a true proportion will be found to reign

certain definite proportions

should

9.

2.

Harmony

9,

3 to

6,

than 3 to 8

to 5.

Proposition

from the absence of any want.

to

than

beautiful

ratio of 5 to 8

than 3

less

square,

10.

of form consists in the proper

on harmony
and contrast.

Proposition

balancing, and contrast

5.

De-

Construction should be decorated.

coration

should

inclined,

and the curved.

never be purposely con-

Proposition

structed.

the straight, the

of,

11.

In surface decoration

That which is beautiful

must be beautiful.

is

true

that

which

is

true

flow out of a parent

all

stem.

lines

should

Every orna-

Distribution.

Radiation.
Continuity-

ment, however distant, should be traced to

Proposition

6.

its

Beauty of form

On

general
form.

is

produced by

growing out one from the other

undulations

there

are

branch and

root.

Oriental practice.

lines

Proposition

in gradual

no excrescences

12.

All junctions of curved lines with curved

nothing could be removed and leave the

or of curved lines with straight should be

design equally good or better,

tangential

to

each other.

Natural law.

Oriental practice in accordance with

Proposition

The general forms being

Decoration
of the surface.

it.

7,

first

cared

Proposition

for,

13.

these should be subdivided and ornamented

Flowers or other natural objects should

may then
which may again

not be used as ornament, but conventional

by general

lines

be

with ornament,

filled in

the interstices

be subdivided and enriched

spection.

for closer in-

representations

founded upon them

ciently suggestive to

image

suffi-

convey the intended

to the mind, without destroying the

i

on the conventionality
of natural
forms.

PROPOSITIONS.
unity of the object they are employed to
decorate.

Universalhj

obeyed in

the

best

Each
of two

tertiary

being a binary compound

secondaries,

periods of Art, equally violated when Art

remaining secondary

declines.

of orange,
Proposition

Colour

geneX

ment of

is

used to

21

of russet by 11

developProposition

distinguish

The above supposes

helping

is

the

used to

their prismatic intensities, but each colour has

of shades
15.

assist light

undulations

colours to be used in

the

when mixed with

a variety of (ones

Colour

19.

objects

or parts of objects one from another.

Proposition

of green,

19 of citrine by 13 of purple.

14.

assist in the

form, and to

24 of olive by 8

as,

by the

neutralised

is

When

and shade,

of form by the

full

colour

or black.

contrasted with

is

on

the con-

trasts

another of a lower tone, the volume of the

7

latter

proper distribution of the several colours.

when mixed with grey

or

white,

and

han,,o, ious
;
equivalents

must be proportionally increased.

iii5IIJ%nd
hues.

Proposition 20.

Proposition

16.

Each colour has a

These objects are best attained by the

admixture with other colours, in addition to

use of the primary colours on small surfaces

and

white, grey, or black

orange-yellow

and

in small quantities, balanced

crimson-red

colours on the larger masses.

and

The primary

primary

colours should be used on

the upper portions of objects, the secondary

and

tertiary

is

mony

in

colouring
produced.

lemon-

scarlet-red,

and

and of each every variety of

tone

so of red,

another

tinged with

contrasted with a secondary, the

ox

In using the primary

colours on moulded
J

18.

The primaries of equal

and

Proposition 21.

tires,
proportions by
which har-

side,

primary.

(Field's Chromatic equivalents.)

tlie

one

of yellow,

secondary must have a hue of the third

we should place

surfaces,

On

we have

thus

the

a primary

on the lower.
Proposition

shade.

When
17.

on

yellow on the other

supported by the secondary and tertiary

Proposition

by

of hues, obtained

variety

intensities will

harmonise or neutralise each other,

in the

blue,

which

re-

on the concave surfaces; yellow, which

advances, on the convex

and

red, the in-

termediate colour, on the undersides

sepa-

is

proportions of 3 yellow, 5 red, and 8 blue,

rating the colours

planes.

integrally as 16.

The secondaries

in

the proportions of

When

the proportions required

cannot be obtained,

8 orange, 13 purple, 11 green, integrally

by a change

as 32.

The

if

tertiaries,

citrine

orange and green), 19

(compound

of

in

vertical

by Proposition 18

we may procure

the balance

the colours themselves

thus,

the surfaces to be coloured should give

much

yellow,

we should make

too

the red more

more purple, i.e. we

should take the yellow out of them
so if the
crimson and

and

russet (orange

by white on the

the

blue

purple), 21; olive (green and purple), 24;

surfaces should give too

make

integrally as 64.

the yellow

much

blue,

we should

more orange and the red more

scarlet.

It follows that,

Each secondary being a compound of

two primaries is neutralised by the remaining primary in the same proportions

8 of orange by 8 of
5 of

thus,

blue, 11 of green

red, 13 of purple

by 3 of yellow.

by

Proposition

The

22.

various colours should be so blended

that the objects coloured,

distance,

bloom.

should

when viewed

present

at

neutralised

0n *< po**tioi ,a *k"

tions
the
several

colours
should occu Py
.

PROPOSITIONS.
Proposition

No

Proposition 30.

23.

composition can ever be perfect in

which any one of the three primary colours

is

wanting, either in

its

natural state or in

When

ornaments

in a colour are

on a

gold ground, the ornaments should be sepa-

by an edging of a

rated from the ground

darker colour.

combination.

Proposition
Proposition

31.

24.

Gold ornaments on any coloured ground

When

On

the law
of simultaneous contrasts of
rived from

two tones of the same colour are

juxtaposed,
lighter,

the

appear

colour will

light

should be outlined with black.

Proposition 32.

and the dark colour darker.

Mons. Chev-

Ornaments of any colour may be sepa-

reul.

Proposition

When

two

rated from grounds of any other colour

25.

different colours are juxta-

posed, they receive a double modification

first,

pearing lighter, and the dark colour appearing darker)

will

secondly, as to their hue, each

by

edgings of white, gold, or black.

Proposition 33.

as to their tone (the light colour ap-

Ornaments

any colour, or

in

may be used on

in

gold,

white or black grounds,

without outline or edging.

become tinged with the complementary

Proposition 34.

colour of the other.

In "
Proposition

same

26.

Colours on white grounds appear darker;

self-tints,"

colour, a light tint

may be used

light

Proposition

colours

which

but a dark

ground requires

to

be

lighter.

outlined with a

Black grounds

on a dark ground

without outline

ornament on a
on black grounds,

tones, or shades of the

give

when opposed

to

comple-

luminous

darker

tint.

Proposition 35.

27.

suffer

still

graining
Imitations, such as the O
9 n imitaO of woods,* tions.

and of the various coloured marbles, allowable only,

mentary.

when

the

employment of the thing

imitated would not have been inconsistent.

Proposition

28.

Proposition 36.

Colours should never be allowed to im-

The

pinge upon each other.

principles discoverable in the works

of the past belong to us

Proposition
on

the

means of

in-

creasing the

It is taking the

29.

When ornaments in a colour

-in
ground of a contrasting colour,
i

are on a
i

the orna-

harmonious

jStapofed

nient should be separated from the ground

observa-

by an edging of

end

not so the results.

for the

Proposition

No improvement

means.

37.

can take place in the

Art of the present generation

until all classes,

as a red

Artists, Manufacturers,

and the Public, are

from a consideration of

flower on a green ground should have an

better educated in Art,

and the existence of

Oriental

edging of lighter

general principles

lighter colour;

tions derived

practice.

I!

red.

is

more

fully recognised.

LIST OF PLATES.

Chap.

Ornament of Savage

I.

Plate. No.

Ornaments from

Articles

Tribes.

belonging to various Savage Tribes,

exhibited in the United Service and British Museums.

2 Ditto

ditto,

3 Ditto

ditto.

Roman Ornament.

Chap. VI.
Plate.

No.

26

27

2 Ditto from the " Museo Bresciano."

Roman Ornaments

Chap. VII.

Chap.

Egyptian Ornament.

II.

The Lotus and Papyrus, types

2 Ditto

3 Capitals of Columns,

ditto,

of Egyptian ornament.

28

29

2 Painted

30

3 Mosaics.

4 Various

Carved Byzantine Ornaments.

ditto.

showing the varied applications of the

Chap. VIII.
by the Pendent Lotus.

Cornices, formed

Mummy

Ornaments from

Byzantine Ornament.

with Feathers and Palm-branches.

Lotus and Papyrus.

7

from Casts in the Crystal Palace.

Cases in the British

Museum and

the

Arabian Ornament.

31

32

2 Ditto

Thirteenth Century

ditto.

33

3 Ditto

ditto

ditto.

34

4 Portion of an Illuminated Copy of the " Koran."

35

5 Mosaics from Walls and Pavements from Houses in Cairo.

Arabian Ornaments of the Ninth Century from Cairo.

Louvre.
9

6 Geometrical Ornaments from Ceilings of Tombs.

10

7 Ornaments with Curved Lines from Ceilings of Tombs.

11

8 Various Ornaments from Ceilings and Walls of Tombs.

Chap. IX.

Chap.

III.

1 Painted

Ornaments from Nineveh.

36

12

Turkish Ornament.

Assyrian and Persian Ornament.

1

Ornaments

in Relief

from Mosques, Tombs, and Fountains at

Constantinople.

13

2 Ditto

14

3 Carved Ornaments from Persepolis, and Sassanian Ornaments from

Ispahan and Bi-Sutoun.

ditto.

37

2 Painted Ornaments

from the Mosque of Soliman

at

Constan-

tinople.

38

3 Decoration of the

Dome

of the

Tomb

of Soliman

I.

at

Constan-

tinople.

Chap. IV.
The

Greek Ornament.

Forms

Chap. X.

15

16

17

18

4 Ornaments from Greek and Etruscan Vases

various

of the Greek Fret.

Moresque Ornament from the

Alhambra.

in the British

Museum

and the Louvre.

39

40

2 Spandrils of Arches.

41

3 Lozenge Diapers.

Varieties of Interlaced Ornaments.

19

20

42

4 Square Diapers.

21

7)

43

5 Mosaics.

22

8 Painted Greek Ornaments from the Temples and

and

Tombs

in Greece

Sicily.

Chap. XI.

Chap. V.

Pompeian Ornament.

Collection of Borders from different Edifices in Pompeii.

23

24

2 Ditto Pilasters and Friezes

25

3 Mosaics from Pompeii and the

ditto.

Museum

at Naples.

Persian Ornament.

44

45

2 Ditto

ditto.

46

3 Ditto

ditto.

47

4 From a Persian Manufacturer's Pattern -Book, Marlborough House.

48

Ornaments from Persian MSS.

From

in the British

Museum.

a Persian MS., Marlborough House.

^MBH

LIST OF

PLATES continued.
Chap. XVII.

Indian Ornament.

Chap. XII.
Plate. No.

Ornaments from Metal- work from the Exhibition of 1851.

49

50

2 Ditto from Embroidered and

51

Vases exhibited in the Indian Collection in 1851,

52

borough House.

53

54

55

7 Ornaments from

Woven

Fabrics and Paintings on

now

at Marl-

Specimens of Painted Lacquer-work from the Collection

at the

India-House.

Woven and Embroidered

Boxes exhibited

at Paris in

Fabrics and Painted

1855.

Renaissance Ornament.

Plate.

No.

74

1]

75

76

3J

77

4 Enamels from the Louvre and Hotel Cluny.

78

79

6 Ditto

80

7 Ditto

81

8 Ornaments from Stone and

Renaissance Ornaments in Relief, from Photographs taken from

Casts in the Crystal Palace, Sydenham.

Ornaments from Pottery

from

ditto,

at

Marlborough House.

Hotel Cluny and the Louvre.

ditto,

ditto.

Wood

from the Collections of the

82

Chap. XIII.

Louvre and Hotel Cluny.

Hindoo Ornament.

56

Ornaments from a Statue

57

From

the Collection at the Crystal Palace,

58

From

the Collection at the India House.

at the Asiatic Society's

House.

Chap. XVIII.
83

Various Ornaments in Relief from the Time of Henry VIII. to

84

that of Charles II.

3 Painted Ornaments and Ornaments on

85

Chap. XIV.

Elizabethan Ornament.

Sydenham.

Woven

Fabrics, ditto.

Chinese Ornament.

i^

60

Chinese Ornaments painted on Porcelain, and on Wood, and from

Woven

Chap. XIX.

61

62

4 Conventional Renderings

86

XV.

1 Pilasters

of Fruits and Flowers.

Ornament.

Celtic

and Ornaments from the Loggie of the Vatican, reduced

from the

87

Chap.

Italian

Fabrics.

Paintings at Marlborough House.

2 Ornaments from the Palazzo Ducale, Mantua.

from the Palazzo Ducale and the Church of

3 Ditto

Ornament.

full-size

St.

Andrea,

Mantua.

63

1 Lapidary Ornamentation.

64

2 Interlaced Styles.

65

3 Spiral, Diagonal, Zoomorphic, and

Chap. XVI.

later

4 Ditto

90

67

2 Borders from Illuminated MSS. and Paintings.

68

3 Diapers from Illuminated MSS. and Backgrounds of Pictures.

69

4 Stained Glass

70

5 Encaustic Tiles, ditto

Conventional Leaves and Flowers from Illuminated

XX.

Leaves and Flowers from Nature.

91

1 Horse-chestnut leaves, full size.

92

2 Vine-leaves,

ditto.

93

3 Ivy-leaves,

ditto.

94

4 Leaves of the Oak,

MSS.

of various periods.

Fig-tree,

Maple, White Bryony, Laurel, and

Bay-tree, full size.

ditto.

Illuminated MSS.

MSS.

Ornaments from Printed Books.

Chap.

Mediaeval Ornament.

1 Portions of Illuminated

from the Palazzo del Te, Mantua.

Anglo-Saxon Ornament.

66

71

89

of the Twelfth

and Thirteenth Cen-

turies.

72

2 Ditto

Thirteenth and Fourteenth ditto.

73

3 Ditto

Fourteenth and Fifteenth

ditto.

95

5 Leaves of the Vine, Holly oak, Turkey Oak, and

96

97

7 Hawthorn, Yew, Ivy, and Strawberry-tree.

98

8 Various Flowers in Plan

99

9 Honeysuckle and Convolvulus,

Wild Rose,

Ivy,

100 10 Passion Flowers,

and Blackberry,

full size.

and Elevation.
full size.

ditto.

Laburnum,

full size.

Chapter

Plates

I.

2, 3.

1,

ORNAMENT OF SAVAGE
PLATE

I.

Cloth.

1.

Otaheite.
United Service Museum.
Matting from Tongotabu, Friendly Islands.

2.

Otaheite. U.

Cloth.

3.

Sandwich Islands.U. S. M.
Cloths.
Sandwich Islands. British Museum.

Cloth.

4.

5-8.

10.

Cloth.

Otaheite. U.

11.

Cloth.

Sandwich

12.

Cloth.

13.

Cloth made from Paper Mulberry, Feejee Islands.

PLATE
1.

South America.

2.

Sandwich

3.

Owhyhee.

4.

New Hebrides.

5.

Sandwich

6.

South Sea Islands.

Islands.

Islands.

Sandwich

7, 8.

United Service Museum.

U. S. M.

Inlaid Shield.

Islands.

U.

S.

U.

S.

U.

S.

U.

S.

U.

S.

1.

Owhyhee.

Club.

Sandwich

Islands.

Adze.

U.

S.

Friendly Islands. Drum.

U.

S.

13, 14.

Tahiti.

Adze.

3.

New

Zealand.

4.

Tahiti.

5.

New

is

whom

S.

Patoo-Patoo.

U.

S.

U.

S.

U.

S.

Adze.

Zealand.

From
there

U.

Paddle.

the universal

absent in none, and

is

their

of Nature

not a strong

Man

S.

U.

S.

Zealand.

U.

S.

U.

S.

New

18-20.

Sandwich

Islands.

M.
M.
M.
M.
M.
M.

III.

6.

New

7.

South Sea

8.

Handle,

9.

Feejee Islands.

Zealand.

civilisation,

The

instinct.

grows and increases with

it

progress in civilisation.

the beauties

is

B. M.

Pajee, or

Isles.

War

full size

of Fig.

War Club.U.

S.

Club.

U.

5.

U. S.
U.

Club.

S.

S.

M.
M.
M.
M.

would appear, that

it

however early a stage of

the desire for ornament

U.

Islands.

16, 17.

M.
M.
M.
M.

testimony of travellers

scarcely a people, in

Tahiti.

Sandwich

15.

United Service Museum.

Club.

B. M.

11, 12.

9, 10.

M.
M.
M.
M.
M.

M.

S.

Islands.

II.

PLATE
2.

Cloth Matting from Tongotabu, Friendly Islands.

9.

M.

S.

TRIBES.

all in

with

desire

the ratio of

appears everywhere impressed with

which surround him, and seeks

to

imitate

to

the extent of his power the works of the Creator.

Man's

tattooing

the
to

earliest

increase

enemies or

ambition

of the

the

human

face

The

by the savage

to

what appears

to

him a new beauty.*

or to

create

terror

higher, from the decoration of the rude tent or

tattooing on the head

manifest, every line

must be ascribed

strike

this

Praxiteles,

the highest ambition

this earth the impress of

showing that. in

this feeling

to

everywhere apparent:

on

To

and body, resorted

the sublime works of a Phidias and

to

as

to create.

expression by which he seeks

rivals,

As we advance

is

is

still

the
to

same

on

his

wigwam

feeling

create, to

is

stamp

an individual mind.

which we introduce from the Museum

at Chester is very remarkable,

very barbarous practice the principles of the very highest ornamental art are

upon the face

is

the best adapted to develope the natural features.

Female Head from

New

Zealand, in the

Museum,

Chester.

ORNAMENT OF SAVAGE
From time
with

time a mind stronger than those around will impress

to

individual ambition to create

and

possess a grace

their abuse

The

fails.

we

pleasure

struggles,

and surprised

intention,

what we seek

in

the

of that

evidence

that

it

is,

savage

decreases

this

tribe

the

in

work of

and never

are

manhood's

in

The

styles.

efforts

of

want of power, they

decline.

It

equally so in

is

than

in

the

ratio

of the

revelling

when

are

have

they find

in

own

its

successes,

of means
as

it

signally

once charmed by the evidence of the

at

productions

of

in

the

in

others.

Art

evidence

It

is

natural

strange,

but so

ornament of

at

Individuality

civilisation.

manufactured by combined

is

true

which

instincts

fact,

mind,

of

feeling

all,

rude attempts

highly- advanced

In

obtained.

is

the

is

which

and

referred,

those

result

pretentious,

found

When

recognise

to

or

the

developed

it

readily

power of production.
fail

humble

be

it

more

be

will

we

we

which we

to

innumerable

effort,

when

The very command

truth.

and ingenious process by which

with

mind

of

and earnest

accomplished

create

satisfied

evidence

succeeds

Art, whether

to

desire

by individual

originated

and of the modifications of

grace

in

it

difficulty

simple

the

at

every

them,

within

instinct

styles,

track,

contemplating the rude attempts at ornament of the most savage tribes

in

receive

from our appreciation of a

arises

same

mid-age,

them both

surpass

when Art

yet never so closely as to destroy the

in the

Cimabue and Giotto have not the material charm of Raphael or the manly power

Angelo, but

Michael

on a generation, and carry

itself

those of children, though presenting a

are like

civilisation

rarely found in

naivete

the infancy of any art.

leads to

hence the cause of

an early stage of

a people in

of

power following

a host of others of less

it

TRIBES.

constitute

effort,
its

not

greatest

charm.

Plate

The ornaments on

I.

No.

Patterns

trees.

Plate

from portions of clothing made

are

from a dress

are

Friendly Island group.

of the

principal

and 9

this

It

made from

is

Oswald Brierly from Tongotabu, the

by Mr.

brought

thin

from the bark of

chiefly

inner rind of the bark of

of the

sheets

a species of hibiscus, beaten out and united together so as to form one long parallelogram of cloth, which

being wrapped

many

times round the body

shows the most refined

and

taste

with the same limited means of production,

No. 9

skill.

would be

it

formed by small wooden stamps, and although the work

intention

is

everywhere

and we are

apparent;

bare,

difficult

to

improve upon

somewhat rude and

is

irregular

in

patterns

are

execution, the

in

balancing

once struck with the skilful

at

The

it.

of the masses,

any one direction by opposing

them

to

having an opposite tendency.

When
and

and shoulders

on the edge of the cloth

the border

is

and the judicious correction of the tendency of the eye to run

lines

chest, arms,

Nothing, therefore, can be more primitive, and yet the arrangement

forms the only dress of the natives.

of the pattern

and leaving the

as a petticoat,

for

Mr. Brierly

every

new

The pattern No.

derive

from an

the four

visited

pattern

from

2,

the island one

she

the

designed

same

of a savage

artist

the

received

a reward a certain

she

place,

as

equally an

is

admirable

red

through

the

turned outwards instead

yellow,

would

it

centred in each group by the red spots

possession of a

simple

tool,

have

been

still

of

On

all

the

use

number of yards of

cloth

we may

composition which

lesson in

there,

Had

imperfect.

small

the

each leaf

the

it

is,

the

single
if

stamp,

triangles

and the

centred in each square,

is

The stamps which form

centre square.

W being

eye

lost,

red

we

thus

see

how

effect

and

the pattern
readily

the

guided by an instinctive observation of the

the works of Nature are arranged, would lead to the creation

the geometrical

all

round

even by the most uncultivated,

forms in which

in

without the red lines round the red spots to

produced on the eye would have been that of squinting; as

^L and

patterns

repose of the pattern would again have been

of inwards, the

are very simple, each triangle

the

all

Without the red spots on the yellow ground there would have

spots.

been a great want of repose in the general arrangement;

carry the

designer of

Nothing can be more judicious than the general arrangement of

tribe.

and the four red

squares

woman was

arrangements

upper left-hand

corner

of form

of pattern

formed by eight applications

of the

with sixteen pointing inwards

same

with which

No.
tool;

2,

the

as

also

we

are

acquainted.

eight-pointed star

the

and sixteen pointing outwards I

is

black flower

The most

complicated patterns of the Byzantine, Arabian, and Moresque mosaics would be generated by the same means.

The

secret

few

simple

of success in

elements

design, than in

the

all

variety

ornament

is

the production of a broad

should rather be

multiplicity of varied

sought

in

the

general

effect

arrangement of the

by the
several

repetition

of a

portions

of a

forms.
2

ORNAMENT OF SAVAGE
The stamping
such as

of patterns on

would be the

this,

body by an analogous
than

individuality

the

stage

first

process.

towards

ornament

In both there would

subsequent

in

coverings of the body,

TRIBES

when

after

either

the

of skins

of animals

or material

tattooing of the

remain a greater

and

variety

processes,

which would become more mechanical.

notions of weaving which would be given by the
plaiting of straws or strips
of bark, instead of using them as thin sheets, would have equally
the same result of
gradually forming the mind to an appreciation of the proper
disposition of masses:
the eye of the savage, accustomed only to look upon Nature's
harmonies, would
readily enter into the perception of the true balance both of
form and colour; in
point of fact, we find that it is so, that in savage ornament the true
balance of
both is always maintained.

The

first

Plaited Straw from (be

Head of Canoe, New Guinea.

Head

..f

Canon,

Sandwich

lJon.l

Now Guinea

After the formation of ornament by stamping and weaving, would naturally follow the desire of forming

ornament

in

The shape

beautiful.

the

or

defence

for

would

chase

the

first

and the bravest would desire to be distinguished

skilful

by the possession

fellows

their

The weapons

carving.

The most

attract attention.

from

or

relief

best fitted for

of weapons,

only

not

more

enriching of the surface by carving would naturally follow

by

found

purpose having been

the

but more

useful,

experience,

and the eye, already

accustomed to the geometrical forms produced by weaving, the hand would seek to

them

imitate

Plate

show

II.

and

cision,

by

very

great

taste

Nos.

11

exist

in

lines,

and the human form more

12

are

interesting,

fully.

the

cuts

of

They

are

of

repetition

instinct

this

exhibit

and

similar

and judgment in

executed with

utmost pre-

of

the

and

taste

this

on

ornaments

the

distribution

the

showing how much

as

The

knife.

masses.

may

skill

the

The ornaments

advance in the distribution of curved

naturally

would be of

additional

curved

all

and

above

The

ornament.

in

side

curved

stage.

first

show

the twisted rope forming the

lines,

lines

the

at

from

resulting

remain in the very

especially,

woodcuts

the

in

those

whilst

patterns,

geometrical

of

formation

higher

far

type as

it

uniting of two strands for

strength would early accustom the eye to the spiral

line,

and we always

form side by side with geometrical patterns formed by the interlacing of

equal lines in the ornament of every savage tribe, and retained in the more advanced

find

this

art of every civilised

The

ornament

necessarily
nations, the
repetition,

nation.

of

savage

always true to
first

the

its

purpose;

healthy condition,
rid

of

natural

instinct,

is

of the ornament of civilised

impulse which generated received forms being enfeebled by constant

ornament

superadding

result

much

whilst in

is

oftentimes

misapplied,

most convenient form and adding beauty,

by

the

being

tribe,

ornament

to

ill-contrived

we must even be

of the acquired

and

artificial,

as

all

beauty

form.

little

and return

and instead
is

If

children
to

of

seeking

first

destroyed, because

we would
or

as

return

savages;

and develope natural

fitness,

all

to

the

more

we must
instincts.

get
From

the Side

Canoe,

New

Zealand.

ORNAMENT OE SAVAGE
The

New

beautiful

Zealand

TRIBES.

No.

paddle,

5-8,

on

Plate

would

III.,

rival

works of the highest

civilisation :*

there

The general shape

most

and the decoration everywhere the best adapted

to develope

the

is

form.

elegant,

not a line upon

is

modern manufacturer, with

his

its

stripes

surface misapplied.

and

plaids,

The New

have continued the bands or rings round the handle across the blade.
Zealander's instinct taught

appear

be strong, but should

appearance

round on the other

all

the

other

would have appeared

He

better.
so,

of additional strength

and
to

binding

side,

bands.
to

Had

slip off.

desired not only that his paddle should

ornament

his

what

The centre band

remained undecorated.

fixes

him

the

in

disposed

so

is

would have had

it

together the
these

would

length

border

bands run out

of

if

the blade

on the
like

is

edge,

continued

which

the centre

The centre one was the only one

had

surface

the

an

give

to

itself

they

one,

that

could do

so without disturbing the repose.

The

swelling

form of the handle where additional weight was required

beautifully contrived,

and the springing of the swell

is

well

defined

is

most

by the bolder

pattern of the rings.

Captain Cook and other voyagers repeatedly notice the taste and ingenuity of the islanders of the Pacific
instancing especially cloths, painted " in such an endless variety of figures that one might suppose

and South Seas

they borrowed their patterns from a mercer's shop in which the most elegant productions of China and Europe are
collected, besides

some original patterns of their own."

mats, and the fancy displayed in

their rich

The Three Voyages of Captain Cook, 2

vols.

The " thousand

carvings and

inlaid

Lond. 1841-42

different patterns " of their basket-work, their

shell-work

are, likewise, constantly

Domont D'Urville's Voyage au

mentioned.

See

Pole Sud, 8vo. Paris,

Prichard's Natural History of Man, Lond. 1855; G. W. Earle's Native Races of

Indian Archipelago, Lond. 1852; Kerr's General History and Collection of Voyages and Travels, London, 1811-17.
1841

Ditto, Atlas d'Histoire,

fol.

Club. Eastern Archipelago.

Handle of a Paddle.B. M.

GRAMMAR

OF

ORNAMEN

PLATE

mymmmmyxw
miniii

iiiiiiiiniiiii

fiimiimmi

iiittmiii

X
X

SAVAGE TRIBES, N

JJJJJ

JiTTj"

K
-

7*r

>|

tacts ? c rt

ft

PLATE

^i^I}^M?^pS s*

\AAAMAAAAAAAAAAAAi

a4 +<
VVAAAAAAAAAAAAAAA^
**
s

u t

rw^ v^ q ^. yq
'

si

'

<r

^T

'

T ? s 3^

paittamt?R5m g

5p^^^5'^SSGSK?

s^r wnfr^ v*

\>V,feV\VVUhVkUt

^Wi^^i Kffr^ ^m^ feL^f^^

i

1^^ &$T^U fc^m^Si K5rf?^i

KWSft<5i

Kk^Bft^lfcrA^lfer^terA^

amiUiiiiUAIAAiAAAA44AA^iAUAAWiW^lfililitAillilAtAAliA4AMmiiM/MAiMIAA4ii

'/ //////// ////////SW

AJJM414llW!ilJll/WA/A/iA*^

^So:oSolo3@o2g^S^SSS

Mi
kAAIAMJ^Ais *^iAI pg

<, <,

i;\,

w
{

\, '<,

<r

ir

see

gjgjs
19

15

fi

;w\w\w

17

I
20
16

SAVAGE TRIBES

N- 2

II

-.

\x\x

A x

SAVAGE TRIBES

PLATE

III

Chapter II. Plates

4, 5, 6, 7, 8, 9,

10, 11.

EGYPTIAN OENAMENT,
PLATE
1.

The

2.

Egyptian representation of the Lotus.

Another, in a different stage of growth.

3.

4.

5.

Lotus,

drawn from Nature.

9.

Three Papyrus Plants, and three full-blown Lotus Flowers with two
Buds, held in the hand of a King as an offering to a God.

A full-blown Lotus and two

7.

8.

The Lotus and Buds

form of a Column, bound round with

Matting, from a Painting representing the Portico of a Temple.
The Base of the Stem of the Papyrus, drawn from Nature ; the type
of the Bases and Shafts of Egyptian Columns.
in the

Expanding Bud of the Papyrus, drawn from Nature.

PLATE
1

Fan made

Another, in a

of Feathers, inserted into a

wooden Stem

in the

form of a

Lotus.

less

advanced stage of growth.

10.

Egyptian representation of the Papyrus Plant ; the complete type

of the Capital, Shaft, and Base of the Egyptian Columns.

11.

The same,

12.

13.

Egyptian representation of the Lotus and Buds.

Buds, bound together with Ribbons, the

type of the Capitals of Egyptian Columns.

6.

IV.

14, 15.

in combination with

Representations of the Papyrus, from an Egyptian Painting.

16.

Representation of Plants growing in the Desert.

17.

Representation of the Lotus and Papyrus growing in the Nile.

18.

Another variety of Desert Plants.

V.
9.

Representation of a species of Lotus.

10.

The

true Lotus.

2.

Feathers from the Head-dress of the Horses of the Royal Chariots.

11.

Insignia borne

3.

Another

12.

Another

4.

Fans made of dried Leaves.

13. 14, 15.

5.

Ditto.

16.

Ditto, another variety.

variety,

from Aboo-Simbel.

6.

Fan.

7.

Royal Head-dress.

17.

8.

Ditto.

18. 19.

2.

3.

by

certain Officers of the time of the Pharaohs.

variety.

Gold and enamelled Vases

in the

form of the Lotus.

Rudder Oar decorated with the Lotus and the Eye, representing
the Divinity.

PLATE
1.

Lotus Buds, Grapes, and Ivy.

combination of the Lotus and Papyrus, representing a Column

bound with Matting and Ribbons.

VI.

Capital of the large Columns of the Temple of Luxor, Thebes, of

It
the time of Amunoph III., 1250 B.C., according to Sharpe.
represents the full-blown Papyrus, and around it Papyri and
Lotus Buds alternating.

Columns of the Memnonium, Thebes, B.C. 1200.

Represents a single Bud of the Papyrus decorated with the
coloured pendent Fasciae that are seen in the painted representations of Columns of Plate IV. Nos. 5, 6, 12.

Capital of the smaller

Capital of the smaller

Representing eight

tier, of sixteen buds : making in all a bundle of

thirty-two plants.
The stem of each plant may be traced, by
the size and colour of its stalk, down to the horizontal bands or
fascia?.
See Plate IV. Nos. 5, 6, 12.

and the third

12.

13.

Columns of the Temple of Luxor, B.C. 1250.

Buds of the Papyrus bound together, and

4.

adorned with pendent and coloured Fascia?.

Representing a
Capital from a Temple in the Oasis of Thebes.
collection of Aquatic Plants, with triangular Stalks tied round a
single full-blown Papyrus.

5.

Capital from the Portico of Edfu, B.C. 145, of similar structure to

Boats made of Papyrus Plants bound together.

Temple at Koom-Ombos. The full-grown Papyrus

surrounded by various flowers.
Representing two tiers
Capital from the principal Temple, Phila?.
The first tier comof the Papyrus, in three stages of growth.
posed of eight plants, four full-blown and four expanding ; the
making sixteen plants. In
second tier composed of eight buds
this capital the circular form is not disturbed as in No. 11.

Capital from the

14.

Capital from the unfinished hypaethral Temple, Phila?. Composed of

The
three tiers of the Papyrus Plant, in three stages of growth.
first tier has eight full-blown and eight expanding plants; the
second tier, sixteen expanding flowers ; and the third tier, thirtytwo buds of the Papyrus in all, sixty-four plants. The stem of
each plant is distinguished by its size and colour, and continued
down to the horizontal band's which bind them together round
:

No.
6.

4.

Capital from the principal Temple in the Island of Phila?, B.C. 106.
The full-blown Papyrus surrounded by the same flower in various
stages of growth.

7.

8.

9.

10.

11.

Capital from a

Temple

the shaft.
15.

in the Oasis of

Thebes.

Representing
Capital from the Colonnade of the Island of Phila?.
Shown in
three
tiers.
in
together
bound
Flowers
sixteen Lotus
elevation.

The Capital No. 8 seen

in Perspective.

Temple in the Oasis of Thebes.

Lotus Flowers bound together in two tiers.

Capital from a

sixteen,
16.

Representing eight

Temple in the Island of

Capital from the unfinished hypa?thral
of the Papyrus
Composed
Roman period, B.C. 140.
Phila?.
in three tiers: the
arranged
and
growth,
of
Plant in three stages
full-blown and four large expanding
first composed of four
of eight smaller expanding flowers;
tier,
the second
Papyri

Capital from the unfinished hypaethral Temple, Phila?. Composed of

the Papyrus in two stages of growth, arranged in three tiers.
The first composed of four full-blown and four expanding flowers
the second tier, of eight smaller, full-blown ; and the third tier, of
still

smaller.

Represents the PalmCapital from the Portico of Edfu, b.c. 145.

The horizontal fascia? of the
tree, with nine branches, or faces.
Palm-tree Capital differ from the fascia? of all the other capitals,

inasmuch as there
17.

is

always a pendent loop.

Capital of the Gra?co-Egyptian form, but of the Roman period.

Very remarkable, as showing the Egyptian and Greek elements
combined, viz. the Papyrus in two stages of growth, with the

Acanthus

leaf

and the

tendrils of the

Honeysuckle.

EGYPTIAN ORNAMENT.

PLATE
Ornament on the top of the Walls of a Tomb

at Benihassan.

VII.

29.
30.

Arrangement of Lines from dados.

31.

From
From

26.

2.

Ditto, ditto.

3.

Ditto,

from Karnac, Thebes.

27.

4.

Ditto,

from Gourna, Thebes.

28.

5.

Ditto,

from Sakhara.

6.

Decoration of the Torus moulding of some of the early

Tombs

in the

neighbourhood of the Pyramids of Giza.

12.

From a wooden Sarcophagus.

From the Tombs, El Kab.
From the Tombs, Benihassan.
From the Tombs, Gourna.

13.

Ditto.

14.

Ditto.

15.

From
From

7. 8, 9.

10.
11.

16.

Tomb, Gourna.

From
From
From
From
From

25.

32.

the

Wall

of a

a Sarcophagus.
the

Wall of a Tomb.

a Sarcophagus.
the upper part of a Picture.

a Sarcophagus in the Louvre.

the

Wall

of a

Tomb, Gourna,

33.

From

34.

Arrangement of Lines from dados,

a Ceiling at Medinet Haboo.

part of the walls of tombs and temples

a Necklace.
the

Wall of a Tomb, Gourna, immediately under the

Ceiling.

all

derived from the same elements,

ment

Tomb.

some of

forms so

much

resembles the Greek moulding, usually-

23.

Ditto, at Thebes.

15, 24, 32, exhibit another element of

24.

From

from the separated leaves of the Lotus.

the

Wall

of a

Tomb, Sakhara.

a Necklace.

PLATE
of the Ornaments on this Plate are from

The whole

Museum and

the British

Plate, are mostly

Mummy-cases

is

a white

ornament on a black ground, very common

in

the

tombs,

common ornament,

They
the kings stand.
straws of different colours.
formation of patterns, such
rapid, and they are most

From Mummy-cases

in the Louvre, of a late period.

arrangements of the single Lotus-leaf.

7.

From

20

is

Tomb

Tomb

Each

Geometrical

at Thebes.

circle

9.

from Tombs at Thebes, and

Rope Ornament given in the last

are further examples of the

Nos. 2 and 3 are
varieties of arrangements of Stars, very common on the ceilings
both of tombs and temples. No. 2 is formed on squares, No. 3

8, 9.

in the

Louvre, of a

late period.

From

a Mummy-case.

XI.
21.

Ornament on the Dress of the god Amun, from Aboosimbel.

22.

From

23.

Dado from

a Fragment in the Louvre.

the

Tomb

of Ramses, Biban el Moluk, probably repre-

senting, in diagram, a Papyrus-grove, as it occupies a similar

position to those dados of a later period which were formed of

buds and flowers of the papyrus.

a King's Robe.
in

Tombs.

the Dress of a Figure in one of the Royal Tombs of Biban el

Moluk. It represents the Scales of the Armour worn by the
Heroes and Gods of Egypt.

24.

The
a very ancient Tomb at Giza, opened by Dr. Lepsius.
upper part represents the usual Egyptian torus; the lower
portion is from the dado of the same tomb, and shows that the
practice of imitating grained woods in painting is of the highest

From

antiquity.

birds.

represents the Trellis-

in various parts of Egypt.

In
Nos. 10, 13-16, 18-23, are various examples of an ornament
representing the unwinding of a pile of rope, which may have
given the first suggestion of the volute. In No. 24 the continuous
blue line is evidently from the same type.

Plate.

From

similar,

It

X.

triangles.

From a Mummy-case.
From the Embroidery on

18-20 are

Gourna.

10-24 are from the Ceilings of Tombs

4, 6, 7, are

11-16 are varieties of Borders from Paintings

17.

at

period of the nineteenth dynasty.

at Thebes.

on equilateral

10.

Tomb

21-23 are derived from Mummy-cases

is

PLATE
1,

from the Ceiling of a

It is by no means
an uncommon ornament for the curved ceilings of small tombs,
and usually occupies the whole ceiling of each excavation at the

for four Lotus-leaves.

derived from feathers.

probably only reproductions of woven articles of daily use.

Nos. 9 and 10 may have suggested the fret to the Greeks, unless
they arrived at it themselves by a similar process.

formed of four Lotusflowers and four Buds, the intermediate star probably intended
a

another very

IX.

PLATE

From

we have

work of a Garden Walk, covered with a Vine.

representations of Mats on which

were evidently formed of interwoven
The transition from this state to the
as 9-12, 17-19, 21, would be very

6.

In the lower part of No. 18

strands.

them.

1-5.

No. 7

evidently derived from the weaving together of different-coloured

The Ornaments on

are

in

the chequered pattern, one of the earliest ornaments,

we have

PLATE
this Plate are taken from Paintings on Tombs in
They are
various parts of Egypt, from original Drawings.
chiefly patterns that could be produced by the loom, and a single
glance will show that this is doubtless the origin of most of

and

suggested by the interwoven strands of a rope;

in

the Louvre, and, like those of the last

In No. 2, above the Lotus-leaves,

Egyptian ornamentation derived

VIII.

composed of the Lotus-flower and single leaves

of the same plant.

its

termed the egg-and-tongue, or egg-and-dart moulding, that we can hardly

doubt that the Greek moulding was derived from this source. Nos. 1 3,

a Necklace.
the upper part of the Wall of a

in

Nos. 7-9, 12, 14, 18, 20, are

Tins very constant Egyptian orna-

with a bunch of grapes intervening.

Portions of a Necklace.

22.

1-8

Tombs.

the lotus in a pendent position,

viz.

From
From
From

21.

in

Nos. 1-5, 10, 11, always occur on vertical surfaces, and on the upper

17. 18, 19.

20.

representing the Lotus, in plan

as well as in elevation.

and most probably were suggested by the feathers of

EGYPTIAN ORNAMENT.

The

Architecture

monument

Egypt

of

the more perfect

Art in a

of

state

from the ruins of

has

the

is

All the

art.

Monuments

decline.

too remote from our time to enable us to

direct

the

succession the

from

Gothic,

which

style,

great

this

arose with

civilisation

Byzantine, with

only

of infancy
direct

later

ornament,

the

lingering decline,

mind;

the

in

more and more do we

the

art,

efforts

rare

of that immense variety

the

across

manner

so

Nile

to

their

other

their

British

are

inferior

some

traces

inspiration

ornament

the

types

receded from

discover the original

much

in

till,

type from which the

developed.
their

symbolising

river,

stems;

its

these

are

the

food

emblems

as

for

of

the

body and

sovereignty;

the few types which form

of their

lotus

find,

shocked by
a

besides

seen
It

a
is

too

therefore,

dead.

that

Following
fail

to

cast

servile

of

the

these

the

the
basis

gods,

the

imitation

of

Egyptian ornament,

the

type,

bas-relief

types

as

embalmed bodies
they did

observe the same laws

any misapplication or violation

very remarkable, that

the leopard

carved chairs precisely similar to that on which

luxury were derived by

of the

carved in stone, forming a graceful termination

Museum may be

a tribute to the King,

the boat which carried their similarly adorned

to

the valley

in

and we

never

black people, supposed to be Ethiopians.

as

original

natural form, they could hardly

they never, by

hand,

representation.

the

We

home

last

nearly allied to

always true.

them

are

we have no

especially

of ornament with which the Egyptians decorated the temples

works of nature ever display

In

to

difficult

is

the

to

is

but slightly removed from the type.

which were carried before the king

birds,

from the wooden spoon which fed them

find

is

culminating

the

they went for

more

consider

to

pure original

was modified or discarded,

that

believe

Moresque, and

founded on

infancy,

in

of their kings, the covering of their persons, their articles of luxury or of more modest daily use,

palaces

the

it

and papyrus, growing on the banks of

of

therefore,

a period

doubtless

state

In the Egyptian

elements.

we come

from

ascent

few and natural types, the representation

are

palm- branch, with the twisted cord made from

is

must,

strengthened when

is

such as the Arabian and Moresque,

feathers

own

its

we

and

influence;

This view

types

feeding on

rapid

formed

are
to

the Egyptians

after;

the foreign influence

we descend

lotus

this

when

styles

ornament has been by successive mental

The

followed

as

culminating point of perfection,

other

all

of any foreign

or

Inferior

it.

that

all

be

to

through countless ages, to

from nature.

of Egypt;

The

beyond

far

is

see

era

Arabian, the

trace

period of slow,

to

to

style,

it

we

Christian

of Egypt

architecture

the

and whilst we can trace

origin;

offshoots, the

its

ancient

thus carried back

are

its

more

the

acquainted exhibit Egyptian

are

we can

In

themselves.

to

bygone

of Egyptian Art,

perfection

the

believe

point of perfection and the state of decline in which

unknown

traces of

Central Africa,* passed

in

we

We

perfect buildings.

we must

parent,

that

styles,

two thousand years before the

discover any

Greek, the Roman, the

other

all

remains with which

erected

more ancient and more

still

over

peculiarity

this

of

destroyed
to

which the

however conventionalised,

the

presents which

these

On

a natural principle.

the

consistency

of

the

column, or painted on the

from Kalabshee in Nubia, representing the conquests of Ramses

amongst

in

people are represented

as

II.

over a

bringing with

skins

and rare animals, ivory, gold, and other products of the country, there are three ivory

King

sits

to receive

the Egyptians from the interior of Africa.

them

from which

it

would appear that these highly-elaborated

articles

of

EGYPTIAN ORNAMENT.
an

as

walls

type to

purpose

which

had

it

was

it

be plucked, but an architectural

might

as

to

sought

without shocking his

supply,

to

resembling the

sufficiently

fill,

of consistency.

feeling

Egyptian ornament
of which

itself,

one

the

idea

the beholder the poetic

in

forth

call

the best adapted for

case

either

in

representation;

was never such

gods,

their

to

offering

and that which

but at the same time conventionally rendered;

and,

symbolic,

we have

as

Of

the

kind,

first

members of the

crowning

cases

all

was

it

changed during

slightly

civilisation.

The column only

walls.

few

high,

feet

means of support and the

the

of

decorations

the

ornament, are

constructive

viz.

representative,

is

In

simply decorative.

is

formed on some few types, which were but

observed,

of Egyptian

the whole period

that which

monument

of the

or forming part

constructive,

is

the outward and graceful covering of the skeleton within

is

it

which

that

of three kinds:

is

one forty or sixty

or

at

as

feet,

the shaft, the stalk;

Luxor and Karnac, was an enlarged papyrus plant: the base representing the root;
plants (No. 1, Plate VI.),
and the capital, the full-blown flower, surrounded by a bouquet of smaller
Not only did a series of columns represent a grove of papyri, but each column
tied together by bands.

was

string,

in

Nos.

No.

at

we have

IV.

Plate

of

17

which would only have

of growth,

stages

various

and

grove;

in itself a

which the

We

12,

11,

10,

6,

idea

original

may imagine

is

became

character,

laws forbade

religious

we have

capitals

From

teach us

round a

bell

but

change;

them; and

The

to

capitals of

our

plan has

in

the

columns of

new

entirely

in

all

And

architecture

this

took a more

show how

and what

little

this

fifteen of

do

lesson

their

sacred,

and papyrus form the type of

called

they

only in the more or less

classic, differing

that opened

was

it

they surrounded

circle,

it

way

the

much development

so

to

and sixteen other

with four, eight,

capital,

it

idea of applying the

retaining the

still

their art

will

Plate VI.,

ingeniously varied,

same change were attempted with the Corinthian

order of forms whilst

posts of their

These forms, once

stone.

lotus

wooden

or the graceful or otherwise proportions of the bell; a modification

but rarely been attempted.

If the

we have

further,

time the world has been content with the acanthus leaf arranged

own

Egyptian capital; beginning with the

circles.

how

yet

illustration;

for

selected

of

when

custom,

this

however, at

glance,

single

perfection of the modelling of the leaves,

in

and

in early times to decorate the

monuments

their

in

solidified

the Greeks
the

for

highly -ornamental capital

its

possession of one leading idea resulted in uniformity.

the

in

unmistakably portrayed.

primitive temples with their native flowers tied round

permanent

papyri

of

on Plate IV., painted representations of columns forming parts of temples,

the custom of the Egyptians

it

grove

be assembled as they stand, and be tied round with

to

and we should have the Egyptian shaft and

5,

of

a representation

could not

fail

produce an

to

acanthus leaf to

the

surface of

of

the

triangular

a bell- shaped vase.

The

shaft

shape of the papyrus

when

stalk,

when

column,

by three

was made

circular,

which divided

raised lines,

eight

was formed by a union of four or

column

the

Egyptian

the

of

was decorated with

the centre was

winged

the

feathers,

globe,

bound

shafts

emblem of

on the walls of the temples and tombs

is

portrayed,

not as a

each

or cornice of an Egyptian
in

divinity.

results

from the conventional representation of actual things

and here again,

the representations

in

of offerings

scenes of their domestic

of the various articles of daily use, in the paintings of actual

or other object

had

these

together,

which appear to have been an emblem of sovereignty; whilst

The second kind of Egyptian ornament

or

circumference into three equal portions;

The crowning member

sharp arris on their outer face with the same intention.

building

its

the idea

retain

to

reality,

but

as

an ideal

representation.

It

is

to

life,

at

the gods

every flower

the

same time

their hieroglyphical writing, explanatory

the record of a fact and an architectural decoration, to which even

of the
in

the

scene,

by

its

representation

symmetrical arrangement added

of three papyrus plants

an offering to

king as
the

Egyptians, in thus

we

find

in

the gods.

graceful

individual

is

conventionally rendering the lotus

curves from the parent stem;

flower, but also

4,

on Plate IV.,

we have an example

and three lotus flowers, with two buds, in the hand of a

The arrangement

everywhere in the leaves of plants,

In No.

effect.

viz.

the

symmetrical and

and

graceful,

papyrus, instinctively obeyed the law which

radiation of the leaves,

and not only do they follow

in the grouping of several flowers

and we here see that

together, as

but also in their representation of plants growing in the desert, Nos.

16

this

and

all

law in

may be

veins

the

seen, not

on the

leaves,

drawing of the
only in No. 4,

and 18 of the same

plate,

and

EGYPTIAN ORNAMENT.
No.

in

In Nos.

13.

of ornament (11

one of the

is

The

and 10 of Plate V. they learned the same lesson from the

and

Plate V.);

12,

many forms

third kind of Egyptian

ornament,

apparent

to

Plates

on tombs, dresses,

paintings

and perfect
to

us.

VIIL,

viz.,

own

IX.,

variety

that which

and

where the type

5,

simply decorative, or which appears so to

is

and reasons

XL,

can

that

at Nos. 4

feather, another type

in the country.

laws

X.,

work

again at

is

are

be

for

They

this

are

although

application,

its

devoted to

and sarcophagi.

utensils,

The

distribution.

its

instinct

common

of palm-trees so

our eyes, but which had doubtless

so

same

the

and are

of ornament,

class

by

distinguished

all

they are

graceful

produced by the few simple types we

not

from

symmetry

have referred

very remarkable.

is

On

IX.

Plate

are

patterns of ceilings,

and appear to be reproductions of woven patterns.

Side by
with the conventional rendering of actual things, the first attempts of every
people to produce works

side

of ornament take this direction.

The

early

necessity

of plaiting together

straw or bark of

trees, for the

formation of articles of clothing, the covering of their rude dwelling, or the ground
on which they reposed,
induced the employment at first of straws and bark of different natural colours, to be
afterwards replaced

by
Nos.

1-4,

Nos.

10,

12,

which

dyes,

artificial

Plate

IX.,

gave

attempts

meander or Greek

ornament,

but

of geometrical

tribe,

be

to

an

is

found in some

The

Nos.

9,

universality

shape or other amongst the

proof of

additional

whilst

covered by mats.

was produced by the same means.

and

arrangement.

whereon the king stands;

mats

representing

fret

of architecture,

style

only of

paintings,

ornament of every savage

of

not

of tombs, which evidently represent tents

ceilings

readily the

of this ornament in every

first

idea,

first

from Egyptian

are

and 7 are from the

show how

the

their

had a similar

having

origin.

The formation of
rising

people the

patterns

by the equal

of

division

similar

notions of symmetry, arrangement, disposition, and

first

by weaving, would give

as

lines,

the

to

The

distribution of masses.

Egyptians, in their decoration of large surfaces, never appear to have gone beyond a geometrical arrangement.

Flowing

very rare, comparatively, and never the motive of the composition; though the germ of

are

lines

even this mode of decoration, the volute form, exists in their rope ornament.

(Nos. 10, 13-16, 18-24, on

Plate

and

X.,

arrangement;

7,

Plate

XL)

Here

many subsequent

it

is,

it

reveals

that

all

requisite

is

We

perfection only so

i.

every flower

to

constitute

a true

foreign,

peculiar,

of

its

grows.

that

belongs to a borrowed

The

shadow,
to

architecture

much

have

yet found no

(No.

3,

these

are

subjected

to

source

of so

the

is

geometrical

much beauty

where the

of the

Egyptians

on

this

they

which

see

that

it

they approach

work

they

flat

have

construction,

its

perfume;

the

harmony

the other found in the model.

of ornament,
original

in

dealt

to

should

we may be

work has been

sure

and used

it

lost in the copy.

painted everything;

tints,

that

neither

therefore

we

shade

nor

conveying to the mind the identity of the object they desired

difficulty in poetically

as

They

shall

the grace of

rival

thoroughly polychromatic,
head.

we

styles,

every ornament

which animated the

spirit
is

in

in

the Egyptians, the true principles to be observed

of Nature,

wanting

The language

the most perfect.

and rigid; but the ideas and the teachings

formal,

favourites

did form,

conventionally.

Compare the representation of the

IV.) with the natural flower (No. 1);

how charmingly

how

the outer leaves

natural flower reproduced in the representations!

green, and

art,

should endeavour to

It

style,

They used colour

Plate

of

style

common with

characteristics

from them

learn

to

represent.

lotus

rope

and due proportion and subordination of one part

any of these

find

Like

application.

its

varied forms,

When we

of

coils

As we proceed with other

as they followed, in

far

the reason of

e.

several

venture, therefore, to claim for the Egyptian style, that though the oldest,

may seem

us

to

itself

styles.

conveys to us are of the soundest.

in

the

but the unrolling of this cord gives the very form which

in

in

4,

2,

1,

See

the inner protected leaves by a lighter green

whilst the purple

are

the characteristics

are distinguished

of the

by a darker

and yellow tones of the inner

flower are represented by red leaves floating in a field of yellow, which most completely recalls the yellow

glow

of

the

original.

We

have

here

Art added

perception of the mental effort which has produced

The
define
as

colours

or blue;
2

Nature,

colour,

the various

colours

such as the green leaves of the

blue in the more ancient times, and

and derive an

additional

pleasure

in

the

it.

used by the Egyptians were principally

and give distinctiveness to

a local

to

blue,

and yellow, with black and white to

with green used generally, though not universally,

lotus.

green

red,

These were, however, indifferently coloured green

during

the

Ptolemaic

period:

at

which time,
5

also,

EGYPTIAN ORNAMENT.
were added both purple

and

brown, but with

tombs or mummy-cases of the Greek or

and

it

Roman

appears to be a universal rule that, in

diminished
period,
all

is

The red

effect.

colours

art

is

practised

traditionally,

and hues, and shades

opportunities

of pointing this

of

and

not

of

archaic periods

instinctively,

every variety,

art,

is

found on the

there

is

the primary colours, blue, red,

successfully.

Whilst in periods

tendency to employ the

though rarely with equal success.

out in subsequent chapters.

which

lower in tone than that of the ancient times;

and yellow, are the prevailing colours, and these used most harmoniously and

when

also,

We

shall

secondary

have many

GRAMMAR

'OF

EGYPTIA

GRNAMEI

PLATE

IV

GRAMMAR

OF

QRNAM FT

EGYPTIAN N2

PLATE

rvpTj

'A

PLATE

VI

GRAMMAR
/A\

/A\
\\

/A\

OR

OF

X.

PLATE

/A\

TTTTTTT
A/;h\\\

^MT

~)

w\wf(Tn\^myn\^//

eis

fc

^ ^ ^i_ _ ^ ^ _
i

16

14-

_!

!-' ---

mmw
#VV*VWVVV*
_.___

S
^zaaa^^aiaa*
rann

mwwi

I, II.

/zum

13

!!! !!
MSS3

(.)&(.)(.)()()(.)

tuiituuuu

rail
24-

idddcik
HIIMMMIMMMM

EGYPTIAN N4

VII

GRAMMAR

m
m
m

DH
i

4*

P L AT E

/v>vAAAAA7?

mn

ORNAMENT

OF

0m
mT^rr^^^~^ 5 5 ^ "*
'

'

MEEWM
.

A A A ^

JL JL JL

w
^<b <^c^ ^V<b

tlBBVJBm

mi
\>-\-v-v

'

.iiiiliilTlililiniliiiiiiliii.iii
,

'JlUj

ij

tun

II

OOOOOOOOOOOOO
0000 000000000
2 $

iiiiiiiiiliwiiiiiu

MRHHHH

<*>

O^

<$>

4> <^

"l3

14

W W W W

**

**

**

**

ffWWfffff
EGYPTIAN. N5

ii'i'iiititi-itm

<i:

VIII

GR x\ MAR OF QRNAI4FT
1

till llll II llll

I
I

II I II II

llll llllt

I II

1 1

II

1 1 f

llll

II

1 1 1

II

*T

PLATE

llltlllll

III II fill
1 1

II lit II
I

1 1 1 1 1

llllf
III

If lllllllt llllllllllll lllll

I

llllll lllllllll lllllllllll

lllllllllilllllllllllllllll
lllllllllllllllllllllllllll
lllllllllilllllllllllllllll
4

^IJgg, ii^j^a iiii

vv
xX
vv

vv yy

X*
y
X * Xx
XXX*
yy
* * X yy
vv
XXX
X X XXXX
X XXXX X
XXXXX
XXXXXX
XXXXXX
XXXXXX
x.x

6
x.\

x.x

x.x

x.x

x.\

s EB s XX
m
SI
XX
^7
XX
h
91
vx
XX
XX
XX
XV
xx
XX
XX
SI a SI
vx
M
XX

^
%^#

%, #

XXi

ffl

x\

0*V^

ffl

XX
xx

XX

AX

XX
XX
F7 ^7
XX
xx_ XX

l/v

Xi

w*^k

<|l *

iP

x.x

x.x

xn^^^gs^g

DH

1 1 I
1 1
Im1 1
1

JH

KM
16

\n\x%
K \ * \ If
X x \* \
* \ *X*
\u \*X
55"

III
1

VV

crrrrrd
21

EGYPTIAN N6

IK

GRAMMAR

M
A
A.

>

A.

L AT E

:::-

:;:

^f$
WA %P
jJ r

*?

#fe tffe
?**

&'fc J?fe

MW

A,r4 JS% tffc J?fc

%F ^4^ ^k* *tf

10

fnnk/^M/1%
v
**F
>o%^ vm
-

*#iF

**** j^*l

**

v1%

jp% *u% ****

#m* ** *%*

%t^ %** *%* *#%* %J*

20

OEM
4

7tf

A'"

EGYPTIAN

'

IJ:

t*-.

^H

GRAMMAR

ORNAMEN

OF
'\

f\

/\

>*V /\

s\

* * * i< * *
* *** ** *
c * *
Vc >V *
* ** * * * *

***

/\

PLATE

>

>'c

>'

^U \U ^U
A vU
A sU
A \U
/\ /v A /\
*J^ >sU vU \U \V nU
\
A /\ /\ /\ A A /
>Lr

L-

Nf

,U

vU

Q OOOuOG
!

-...;-

:
s
-....

Oooo
o
o
J
oo
ooG
o
o

**...*

:-:

...

'.J

...

.*"**.

-*

..

***

y"**

.*"*

.****".

-""

nn

<<<<<<<<
I

<<<<<<<

<<

)HUIMHMm
12

I
I

^mmwwOOOOOOOO

I
I

I
I

1/1/1/1/1/1/1/

I
I

AAAAAAAA AAAAA
II

II

II

II

1111111111111111

ill
wv^r^r^r^r^
21

GYPTIAN' N

XI

Chapter

III.

Plates

12, 13, 14.

ASSYEIAN AND PERSIAN ORNAMENT.

PLATE
Sculptured Pavement, Kouyunjik.

1.

5.

Painted Ornaments from Nimroud.

6-11.

Painted Ornaments from Nimroud.

2-4.

XII.

12 _ 14

Sacred Trees from Nimroud

Sculptured Pavement, Kouyunjik.

The whole

are coloured as published in his work.

them here

treated

Monuments of Nineveh. Nos.

13, 14, are in relief, and only

of the ornaments on this Plate are taken from Mr. Layard's great work, The

Nos.

1,

5,

and the three Sacred Trees, Nos. 12,

as painted ornaments, supplying the colours in accordance with the principles indicated

by those above,

2, 3, 4, 6, 7, 8, 10, 11,

in outline.

We

have

of which the colours

are known.

PLATE
Enamelled Bricks from Khorsabad.

1-4.

Flandin

&

5.

Ornaments on a Bronze Shield,

6, 7.

Ditto.

&
&
&

12.
13.

Ornament on a Battering Ram, Khorsabad.

F. & C.

15.

Ornament from a Bronze Vessel, Nimroud.

Layard.

F.

C.

16-21.

F.
C.
Ornaments on a King's Dress, Ditto.
Ornaments from a Bronze Vessel, Nimroud. Layakd.
11.
Ornament on a King's Dress, from Khorsabad. Flandin & Coste.

8, 9.

10,

14.

C.

Coste.

Ornament on a King's Dress, from Khorsabad.F.

F.

Enamelled Brick, from Khorsabad.

The ornaments Nos. 5, 8, 9, 12, are very common on

which we consider best adapted for developing the various
published by Mr. Layard and Messrs. Flandin and Coste.

&

C.

patterns.

2.

Base of Column

Ornament on the Side of the

5.

6.
7.
8.

&

F. & C.

Base of Column, Portico No.

Base of Column

9_12.

From

8,

Staircase of Palace No. 2, Persepolis.

Base of Column of Colonnade No. 2, Persepolis.F.

F.
Base of Column, Palace No. 2, Persepolis.
1, Persepolis.

at Istakhr.

Sassanian Capitals, Bi Sntoun.

F.

F.

F.

22.

Enamelled Brick, from Nimroud.

23.

Ditto, from Bashikhah.

Layard.

24.

Ditto, from Khorsabad.

Flandin

The remainder

Feathered Ornament in the Curvetto of the Cornice, Palace No.

Persepolis. Flandin & Coste.

from Ruin No. 13, Persepolis.F.

Enamelled Bricks, from Khorsabad.

the royal robes, and represent embroidery.

PLATE
1.

XIII.

We

Layard.

&

Coste.

have restored the colouring

From Sassanian Capitals, at Ispahan.

From a Sassanian Moulding, Bi Sutoun.
Ornament from Tak I Bostan.

13-15.
16.

17.

18. 19.

Sassanian Ornaments from Ispahan.

20.

Archivolt from

Upper

Tak

I Bostan.

part of Pilaster,

Tak

21.

&
&
&

C.

22.

Sassanian Capital, Ispahan.

C.

23.

Pilaster,

C.

24.

Capital of Pilaster,

25.

Sassanian Capital, Ispahan.

M^H

Coste.

in a

XIV.

C.

C.

&

way

of the ornaments on this Plate are coloured as they have been

&

&

Flandin

Tak

Bostan.

I Bostan.

Tak

I Bostan.

& Coste.
&C.
F. &C.
F. &C.
F. &C.
F. &C.
F. &C.
F. &C.
F. &C.
F. &C.

Flandin
F.

ASSYRIAN AND PERSIAN ORNAMENT.

Rich
the

as has been the harvest gathered

by Mons. Botta and Mr. Layard from the ruins of Assyrian Palaces,

monuments which they have made known

of Assyrian

Art.

do not appear to carry us back to any remote period

to us

Like the monuments of Egypt, those hitherto discovered belong to a period of decline,

and of a decline much farther removed from a culminating point of

either been a

borrowed

or the remains of a

style,

are strongly inclined to believe that the Assyrian

is

perfection.

more perfect form of

art

The Assyrian must have

We

have yet to be discovered.

not an original style, but was borrowed from the Egyptian,

modified by the difference of the religion and habits of the Assyrian people.

Assyrian.

Egyptian.

On

comparing the

bas-reliefs

points of resemblance in the

two

of Nineveh with those of Egypt

styles

represented are oftentimes so similar, that

at

not only
it is

is

the same

mode

difficult to believe

we

cannot but be struck with the

many

of representation adopted, but the objects

that the

same

style could

have been arrived

by two people independently of each other.

The mode
chariot,

are

of representing a river, a tree, a besieged city, a group of prisoners, a battle, a king in his

almost

identical,

the

differences

which

exist

are

only

those

of the

habits

result

from

the

Assyrian.

Egyptian.

representation

which would

of two

different

people;

the

art

appears

to

us

to

be

the

same.

Assyrian
2

ASSYRIAN AND PERSIAN ORNAMENT.

seems to be a development of the Egyptian, but, instead of being carried forward,
descending

sculpture

the scale of perfection, bearing the same relation to the Egyptian as the
sculpture gradually declined from the time

which were

was

at

at

rather

first

and

flowing

first

became coarse

graceful,

an imperfect attempt at the natural.

for

does to the Greek.

of the Pharaohs to that of the Greeks and

than expressed, became

indicated

Roman

at

abrupt;

-and

the

exaggerated;

last

Romans

swelling

of the

In Assyrian sculpture this attempt was carried

while the general arrangement of the subject and the pose of the single figure
were

still

attempt was made to express the muscles of the limbs and the rotundity of the flesh

symptom

of decline, Nature should be idealised not copied.

from the Venus de Milo,

do the

as

we

Assyrian Ornament,

we

statues

same aspect of a borrowed

nature

there

was

there

is

the construction

of
as

some few fragments of painted

As

bas-reliefs.

yet

on

the

bricks,

possess

some

conventional, an

same way

the

in

is

in a state

of

which are

as

either

inapplicable, pure

little

from

been,

doubt, however,

Egyptian:

the

in

having

covered with

that

both styles

in

or with

subjects

ornament must have been employed

gathered from the dresses on the figures of the bas-reliefs,

is

and the representations of the sacred

of bronze,

trees

remains of their constructive ornament, the columns and other

so decorated, being everywhere destroyed

which we have given in Plate XIV., from

Persepolis,

would be very unsafe guides

other influences,

monuments

walls,

objects

we have had no

means of support, which would have been

to

and

farther,

still

and one

ceilings,

There can be

destroyed.

the Assyrian

in

surfaces

What we

sustain the general effect.

in the

edifices,

where these would have been

writing, and, in situations

to

of Assyrian

absence of plain

abandoned

are but imperfectly acquainted with it; the portions of the Palaces, which

much ornament employed

a total

which

limbs,

in all art this

differ

style

would contain the most ornament, the upper portions of the walls and the
the

the forms,

from those of the Pharaohs.

bas-reliefs of the Ptolemies

think, presents also the

It is true that, as yet,

decline.

Many modern

Egypti
tian

conventional was

the

in

in

being

much

evidently of a

any attempt

to

the constructive ornaments

and subject

date,

constructive ornament

the

restore

later

of

the Assyrian Palaces.

though not based on the same types

Assyrian ornament,

In both styles the ornaments in

way.
is

but

true

surface -modelling, which

little

Romans

but the

limits,

carried

The Byzantines returned again

the

Moors a modelled
the

guished in

With

at

it

excess,

relief,

and a species of

Nos.

lotus,

strengthens

farther

and tangential curvature, which we

less truly,

rather, as

the

itself

is

that

is

XII.,
to

and

farther,

still

in

while

than

effect

The

the

their

blue,

purity

of form

and gold on

red,

in

the

painted ornaments,

style.

The

and

type,

laws of

natural

Egyptian ornament, are equally observed here, but much

Nature

is

not followed so closely as by the

Nos. 2 and

3,

Plate XIII.,

are

generally

in the

inferior

distribution of the masses

their

sculptured ornaments

and green, orange,

buff,

white, and black,

enamelled bricks.

The ornaments
Nos. 3

in

later

colours in use by the Assyrians appear to have been blue, red, white, and black, on their painted

ornaments

on

Greek

with

distin-

is

supposed to be the types from which the Greeks derived some of their painted ornaments, but how
they are to the

its

was destroyed.

effect

be formed on any natural

not an original

nor so exquisitely conventionalised as by the Greeks.

Egyptians,

relief

much broader

Plate

were, traditionally than instinctively.

it

breadth of

within

it

repose was destroyed.

all

trees,

Assyrian

find in

all

reduced the

ornaments do not appear

the idea that

radiation

last

There

are in the nature of diagrams.

In the other direction, the Romanesque

rare.

on the sacred

4 and 5, the

at

till

the Arabs

became so laboured

the exception of the pine-apple

still

great

to

became extremely

last

represented in the same

is

was the peculiar invention of the Greeks, who retained

moderate

to

the Egyptian,

as well as those painted,

same way from the Early Gothic, which

where the surface

Gothic,

which

surface

relief,

as

6,

7,

8,

ornaments from Tak

of Persepolis, represented on Plate XIV.,

are
I

appear to be modifications of

from bases of fluted columns, which evidently betray a Roman

Bostan, 17,

20,

21,

23,

24 are

all

Roman

details.

influence.

constructed on the same principle as

The

Roman

ASSYRIAN AND PERSIAN ORNAMENT.

ornament,

similar

only a

ornament, presenting

and which they resemble

The ornaments, 12 and

contain the germs of

all

16,

in

of

the

modelled

surface,

from Sassanian

capitals,

Byzantine in their general outline,

Moors.

It

The Egyptians and the Assyrians appear

by geometrical arrangement of

lines;

but this

is

the

curved lines forming a general pattern enclosing a secondary form.

would be generated

all

and the walls of the

those

exquisite

such as we find

Byzantine

in

most remarkable manner.

the ornamentation of the Arabs and

with of lozenge-shaped diapers.

patterns formed

modification

By

is

to
first

the

earliest

at

Bi Sutoun,

example

we meet

have covered large spaces with

instance

of the

repetition

of

the principle contained in No. 16

forms of diaper which covered the domes of the mosques of Cairo

Alhambra.

Sassanian Capital from Bi Sutoun.

Flandin & Coste.

A.R

OF

ORNAMENT

NINEVEH AND PERSIA.

Nl

PLA'TE

XI!

GRAMMAR OF ORNAMENT

iimi

PLATE

mill

i M M M
rv
M
M M

Mil

tvi
K/1

v^

iinii'i
^ M
N^l

h^l

Ni

N^l

N^l

H
*n

AAAAAAAA/

AAAAAAAAA
VVAAAAAAA/
AAAAAAAAA
XAAAAAAAA/
AAAAAAAAA

a a| a

a
a

i:

i$

i:

a
|

a a
j

a
a

?
a

21

IN

&*

PER SI

2.

a d D
|

p a

a a
|

a a
|

a d D a a a
|

24-

.-:

D
D

::

b d

a
a

XIII

PLATE XIV.

17

w^ WV WWf

20

22

25

23

NINEVEH & PERSIA N

Upper

part of a Stele.

L. Vulliamy.

Termination of the Marble Tiles of the Parthenon.

Chapter IV. Plates

The upper

L. Vulliamy.

part of a Stele.

L. Vulliamy.

15, 16, 17, 18, 19, 20, 21, 22.

GKEEK ORNAMENT.
'

PLATES XVI.-XXI.

PLATE XV.
A

of the various forms of the

collection

Ornaments from Greek and Etruscan Vases

Greek Fret from Vases and

Pavements.

PLATE
and

4.

Published by Mr.
String-course over the Panathenaic Frieze.
Penrose in gold only, we have supplied the blue and red.

19-21, 24-26.

We

Painted Ornaments.

have

that

seen

in

perfect.

of the

the

more or

Ornaments

in

Terra Cotta.

Various Frets, the traces of which exist on

30-33.

Athens.

The

all

the Temples at

colours supplied.

Hittorff.

Ornament was

Egyptian

founded on a few types, and that

except

Museum

Painted Ornament from the Cymatium of the raking Cornice of the

Parthenon. L. Vulliamy, the blue and red supplied.

29.

18.

the British

XXII.
22 and 27.

From a Sarcophagus in Sicily. Hittorff.

From the Propylaea, Athens. Hittorff.
3, 5-1 1
12-17. From the Coffers of the Ceiling of the Propylaea.Penrose.
1

in

and the Louvre.

less

it

derived

direct

from

natural

inspiration,

that

remained unchanged during the whole course of Egyptian

perfection

of

the

execution,

the

more

ancient

it

was

civilisation,

monuments being the most

possessing none
have further expressed our belief that the Assyrian was a borrowed style,
appearing to have been suggested by the Art of
characteristics of original inspiration, but rather

We

Egypt, already in

its

decline,

which decline was carried

still

farther.

Greek Art, on the contrary, though

from the Assyrian, was the development of an old idea

borrowed partly from the Egyptian and partly
have been both the
and, unrestrained by religious laws, as would appear to
in a new direction;
rose rapidly to a high state of perfection, from which it was
Assyrian and the Egyptian, Greek Art
itself

able

to

give

forth

the

elements

of future

greatness

to

other styles.

It

carried

the

perfection

of

never since been reached; and from the very abundant remains we have
pure form to a point which has
of refined taste was almost universal, and that the land
ornament, we must believe the presence

of Greek

GREEK ORNAMENT.
was overflowing with

artists,

whose hands and minds were

them

enable

to

as

trained

so

execute these

to

ornaments with unerring truth.

beautiful

should always accompany

Greek ornament was wanting, however, in one of the great charms which
and can hardly be
It was meaningless, purely decorative, never representative,
viz. Symbolism.

ornament,

designed to receive ornament, which they did, at

The ornament was no part

On

remained unchanged.

structure

of

would destroy

it

in

of the Parthenon was

frieze

astonish

so

the

application

its

when

us

but

it

is

ornament, to remove any portion

extreme and almost divine perfection of the Greek monumental

the

Greeks frequently went beyond

placed

so

we

bound

are

the

from the eye that

far

eye

near the

seen

the

to

respect inferior

the

is

the

not constructed:

applied,

is

removed, and

be

could

it

the ornament

the whole capital

feel

became a diagram:

it

so

saw the perfection of the work

to consider this

if

the beauties

which
the

they evidenced

as

far

The

of ornament.

legitimate bounds

been valuable

only have

could

cared not that the eye

artist-worship which

be found there

Egyptian:

the

and painted.

it.

However much we may admire

sculpture,

we

with

capital

the Corinthian

there

not so on the Egyptian capital;

as

in later times both carved

and

painted,

first,

construction,

of the

surfaces exquisitely

members of a Greek monument rather present

for the various

be constructive;

to

said

that

conscious

was

it

an abuse of means, and that the Greeks were in

to
this

us
Egyptians whose system of incavo relievo for monumental sculpture appears to

the more perfect.

The examples of

No.

Greek

12,

and

ornament are very few, with the exception of the wave ornament and

XXL, we have

Plate

Etruscan vases

little

supply

can deserve this appellation,

that

abundant

with

us

Temples, which have as yet been discovered, in no

acquainted with Greek ornament in

are

conventional rendering
it

is

difficult to

flower grows;

and some conventional renderings of

distinguish water from land in their pictures,

the fret used to

at

representative

is

much

all

its

way

phases.

removed from the

further

and

materials;

as

but of decorative ornament the

the

the Egyptian

Like

the

the

we

doubt that

little

but

few,

are

types

of

the

In the well-known honeysuckle ornament

types.

of the principle on which the

recognise any attempt at imitation, but rather an appreciation
rather tempted to believe that
and, indeed, on examining the paintings on the vases, we are
various

the

forms

the

of

leaves

of a

Greek flower have been

brush of the painter, according as the hand

the honeysuckle

slight resemblance to

the natural flower should have ever served as the model.

the honeysuckle:

and how
close

worked on the same

faint

indeed

is

of nature,

observers
principles.

The three

although they
great

XCIX.

What

the resemblance.

and

may have been an

In Plate

did

laws which

we

will

evident

is

generated

by the

turned upwards or downwards in

is

the formation of the leaf would the character be given, and

ornament were

ornaments

painted

from them, we have

differ

trees, as

not

copy,

find

it

is

more

likely that the

recognition than that

after

be found a representation of
is,

that the

or

attempt

everywhere

in

Greeks in their
imitate,

to

they

nature radiation

the tangential curvature of the linesfrom the parent stem, proportionate distribution of the areas, and
with which they are, in the most humble works as
are always obeyed, and it is the unerring perfection
in

the highest, which

excites

our astonishment, and which

Greek ornament, so rarely done with

success.

is

only fully realised on attempting to reproduce

very characteristic feature of Greek

ornament, continued

the various parts of

by the Romans, but abandoned during the Byzantine period, is, that
the Choragic Monument of
out of each other in a continuous line, as the ornament from

From

the Choragic

Monument

In the Byzantine, the Arabian Moresque, and

from a continuous

line.

We

have here an instance

of Lysicrates, Athens.

Early English

how

slight a

scroll

grow

Lysicrates.

L. Vuijjamy.

styles, the flowers

change

in

flow off on either side

any generally received principle

2

GREEK ORNAMENT.
an entirely new order of forms and

sufficient to generate

is

against this apparently fixed law.

as

type

of

springing from

Roman

other

all

stem

At the head

fitting

Roman

of the

ornament, which

scarcely

into another stem,

Roman ornament

ideas.

chapter

ever

is

is

constantly struggling

a fine example,

which may be taken

beyond

got

encircling a flower.

arrangement

of a volute

The change which took

place during

the Byzantine period in getting rid of this fixed law was as important in

the

results to the

its

development of

ornament, as was the substitution of the arch by the Romans for the straight architrave, or the introduction
of the pointed arch in

new

idea which

the

first

ornament

of

style

discovery of

any work of industry suddenly

in

XXII.

now

no difference whatever

is

taking casts

Whatever doubts may

exist

where one

will

certain,

and so small
in

of the mouldings the traces

the particular

quite

were, however,

colours

as

however, of one point,

manner

of the

In

or

No.

form

placing

these frets

at Nos.

18 and 19

imperfect frets,
is

the parent of

in

its

3,

have,

the

to

may be

must have been coloured

seen, that they

with this consideration that

It is

second

the

by the

No.

fret,

we

as gold

It

or enclosing squares, as at
is,

No. 20.

all

first;

was

derived the Arabian

'first

the

fret,

No

5^S^OOC

that

others

are

line;

formed by

back to back, as

17;

'

2,

fret,

seen,

the other kinds are

The raking

not forming a continuous meander.

be

from

running in one direction with a single

1,

All

will

fret,

interlacing of lines at right angles in this

with the

interlacing

line

15.

Greek

the

of

varieties

different

more complicated meander No.

the simple

/"^

formed by

Arabian.

Arabian.

diagonal

equidistant

lines,

which the Moors

carried

to

such

Alhambra.

the

in

differently

which have hitherto been published only

of

collection

turn gave birth to that infinite variety of

sculpture,

We

imagines gold where another sees brown.

29, 31, 32, 33,

18,

first,

with the

11,

this

intersection

perfection

vases.

plaster cast.

them

give

authorities

the other forms of interlacing ornament in styles which succeeded

all

interlaced ornaments

the

marked on the

one under the other, running in different directions, as at No.

that

From

the Greek.

which

We

No.

fret,

colouring of the

less

strongly

Different

from which they were

given

are

Plate

this

very limited.

double

the

the

be

traces of colour exist everywhere so strongly,

pattern are

the variety of arrangement of form that can be produced

is

found on

to those

will

the white marble.

generating

simple

The

render them distinct and to bring out the pattern.

to

XV.

Plate

form

It

these ornaments on the mouldings were so high from the ground,

all

in proportion to the distance

brown ornaments on

the

drawing

more or

the

to

not so certain.

is

another finds blue

green,

see

have ventured to supply the colour to

or

lucky patented

of minds to examine and improve upon

the character of the

in

there can be none as to the ornaments of the mouldings.

What

of

almost universally recognised, that the white marble temples of the Greeks were entirely covered

with painted ornament.

that in

the development

law in science, or the

general

loose thousands

lets

in

devoted to the remains of coloured ornaments on the Greek monuments.

is

seen that there

is

sudden

the

as

These changes have the same influence

crude thought.

Plate

It

Gothic architecture.

Moresque.

of the Celts differs from the Moresque interlaced patterns

The knotted work

only in

curved

adding

terminations

leading idea once obtained,

it

formation both

diagonal

intersecting

lines.

The

gave birth to an immense variety of new forms.

^^
Celtic.

The knotted rope ornament of

the

the

to

of these

the

Greeks

may

have

also

had some

influence

Moresque interlaced ornaments.

and the Arabian and

in

Greek.

The Chinese

They

meander
are

is

more

also

fragmentally,

often

elongated

in

- [pi [ml |"p] fp]

forming; a continuous

lines,

the

that
[?

there

is

not

direction.

fre(lueiltl

the

same

by the

regularity,

and

used
is

'

fret after the

meander.

are formed, like the Greek,

but they have

horizontal

m St

TZZZTZZZT^ZZ

repetition of one
Chinese

They

are less perfect than any of these.

of perpendicular with horizontal

intersection

the

frets

other,

or one below the other, without

GREEK ORNAMENT.
The Mexican ornaments and
Mexican pottery

EJJ[B

and

From Yucatan.

there

with a diagonal

The ornaments on
to

But they

Greek.

Chinese

Greek

line,

which

They are

turn upwards of that flower, but

peculiar

selected

in

all

for their effect

flowers

out

the Louvre.

parent

of this

the

stem in tangential curves.

the laurel, the ivy,

and vine

the

high

volute at

The

consider that

of

the

execute with unerring

same happy

be readily

end,

and

eaves

all

either

individual

it

all

the lines

radiate

all

depend

/C^\(J)

grow

from the centre

approaches the springing

f V

\^/^
_6ftD_

each

was

leaf

which appear we may be

state

will

Being produced by one or two colours, they

of the group.

differences

Several of

it.

present further varieties from borders, necks, and lips

of the group of leaves, each leaf diminishing in exquisite proportion as

When we

leafage

have the

leaves

they have mostly this peculiarity, that the groups of leaves or

spring from a curved stem, with

all

XXL,

XVIII., XIX., XX., and

on pure form

is,

can hardly be called an attempt to represent

Plates

Museum and

honeysuckle, that

the

to

distinguished.

the British

From Yucatan.

than attempt to represent any particular

plants,

on Plate XVII. are much nearer to Nature:

in

fret

show the various forms of conventional

to

the ornaments

of vases

thoroughly

very far removed from any natural type, and are rather

all

it

several

fragmentary, like the

approach

nearest

the

is

we have

of Yucatan

peculiar.

is

general principles which reign

2

is

be found at Yucatan a

also to

XVI. have been

Plate

The ornament No.

one.

one especially

are, in general,

is

be found on the Greek vases.

constructed on the

fret

the architecture

of

illustrations

from

a remarkable affinity with the Greek fret;

Museum, have

British

Mr. Catherwood's

in

varieties of the

BJIlia

in the

here give some illustrations

we

of which

frets,

sure

Arts which must

truth

what

it

is

done with a single stroke of the brush, and that from the

no mechanical

aids

were employed, we must be astonished

at

numbers able

to

have existed for

artists

almost beyond the

skill

to

of

be

found in

such

modern times even

to

copy with the

result.

ORNAMENTS FROM MEXICAN POTTERY

IN

THE BRITISH MUSEUM.

^^m
JEEEE
rmmmm

iim

GRAMMAR

OF

ORNAMENT

PLATE

151515151S15151E

II iHHUKE
i

\m\

ISMSIM

'.

fell

irajgjgraj

BfflBH
12

1 P1PB

II

14

13

fo aO aO a
1 3

JED

a a a a a a
O

B B B a B a B
16

naiEir^
J

nu

Lin ba^d rni

18

lEUMMfmll
22

GREEK

NI

X\

GRAMMAR

ORNAMEN

OF

PLATE

wmm.
>W4AW^l

12

it
20

REEK

N2

XVI

GRAMMAR

ORNAMENT

OF

PLATE

JliWiW^

^VUW
i

ffmrmn

33

25

GREEK N

XVII

GR

<

PLATE

m wfflm

GREEK

N 4

XVIII.

GRAMMAR

OF

ORNAMENT

GREEK N5

PLAT'E XIX

PLATE

GREEK

N6

GRAMMAR

OF

ORNAMEN

iiniiuuuauuu.u.uuuamnr
41*

4
4 *
4 +
4 *

* t
4 *

|>

l>

5;*

*i^>!

20

GREEK

7.

PLATE

XXI

GRAMMAR OF ORNAMlin
A XT >

GREEK

N8

PLATE

XXII

Chapter

V. Plates

23, 24, 25.

POMPEIAN ORNAMENT.
PLATE
Collection of Borders from different

XXIII.

Houses

Zahn's Pompeii.

in Pompeii.

PLATE XXIV.
Various Pilasters and Friezes from

different

Houses

Zahn's Pompeii.

in Pompeii.

PLATE XXV.
Collection of Mosaics from Pompeii and the

Museum

at Naples.

From

the Author's Sketches.

POMPEIAN ORNAMENT.
The Ornament
that

we have thought

to illustrate the

The

(Plate

first

relief;

the

ably

on a

ground, or light

light

(Plate

to

fully

XXIV.),

are

origin,

illustrated

in

Zahn's

magnificent

work,

two

plates,

borrow from him the materials

ornament which prevail

distinct styles of

second

and so

only necessary for this series

it

XXIII.) are evidently of Greek

dark

either painted
at

two

been so

of Pompeii has

for

in the decorations of the edifices of Pompeii.

composed of conventional ornaments

in

flat

tints,

on a dark ground, but without shade or any attempt

more Roman

in

character,

based

upon the acanthus

scroll,

and interwoven with ornament in direct imitation of Nature.

We

refer the reader to Zahn's

work*

for a full appreciation

of the system of ornamentation in use at

was carried to the very limit of caprice,

examination of this work will show that this system
decoration could be supported by authority from Pompeii.
and that almost any theory of colouring and
walls of the interior of a Pompeian house cons.sts
The -eneral arrangement of the decoration on the
pilasters, half the width
height of the wall, upon which stand broad
of a dado, about one-sixth of the
Pompeii.

An

or
of the dado, dividing the wall into three

more

panels.

The

pilasters are

of the height of the

of varying width, about one-fourth
always
The upper space is frequently white, and it is
wall from the top.
treatment than the parts below, generally
subjected to a much less severe
the ground are painted those fantastic
representing the open air, and upon
In the best
the ire of Vitruvius.
architectural buildings which excited
from the ceiling downwards, ending
is a gradation of colour
there
examples
P
Diagram of tho side of a Pompeian House.
n
n
"h o ;Tinr
a fixed
fivpH law.
lflW
being a
is very far from
this
but
dado,
the
with black in
this
several varieties which will show how little
illustrations in Zahn's work
coloured
the
from
select

united

by a

frieze

We

was the
.

result of system:

Les Plu , Bean,

On-~

~ * ** ">"" * *"* "***

* ***

^ * ^^ ""

'"

POMPEIAN ORNAMENT.
Dado.

Pilasters.

Yellow

Panels.

Frieze.

Green

Red

Black

Eed

Red

Black

Purple

Black

Yellow

Black

Red

Black

Yellow

Green

Green

Blue

Yellow

Green

Green

Blue

Yellow

Blue

Blue

Black

Green

Yellow and Red

White

alternately.

Yellow and Red

Grey

Black

Black

alternately.

Green and Red

Black

Black

White

alternately.

The most

arrangement

effective

blue

or white panels,

The

best

appears

be black

to

On

the red grounds,

and yellow

red

not effective unless heightened with shade.

masses.

in

more

still

not

used,

and

and

result

is

it

decoration

cannot be applied to

owes

It

The reason

charm

greatest

its

in

greater knowledge,

other

all

experience,

necessarily

respects,

and

to

zeal

bear upon

The ornaments which

on

borders

compared with

are

the

Greek

and

executed

are

show a marked

models, which

an agreeable contrast of colour, which

The ornaments from

rotundity,

of in

but not

sufficiently

so

In Plate
every

Roman

baths,

XXV. we

home

of

the

of the examples,

teachers.

types

Moresque

have

friezes

which

mosaics.

and

the

no one

vulgar,

it

manner of

its

every

could

admirable and

have

possibly

of that accuracy in the

realisation

The want of

with

success

perfect

his

brought

decorations

consisted in the

sufficiently individual.

They have

stencils.

inferiority;

we no

thinness

Roman

the

character

Their charm

areas.

when surrounded with

after

of

longer find perfect radiation

lies

other colours in

of
in

situ.

are shaded to give

type,

In this the Pompeian artists showed

of ornament in the round,

altogether lost sight

acanthus -leaf scroll forming the groundwork, on which are

interlaced with

in the time of Raphael,

Romans, wherever

we may

of true

and which has never been accomplished

this

on Plate XXIV.,

flowers

have gathered together

The borders formed by

from

the

here

and which,

we have

absolutely

sketchy, free-hand

light,

detach them from the ground.

to

of leaves

representations

found in the

several

We

subsequent times.

engrafted

the

in

further heightened

still

is

and

pilasters

not

range

the

the Crystal Palace, Sydenham,

in

a judgment in not exceeding that limit of the treatment

in

if

from the parent stem, nor perfect distribution of masses and proportional

lines

beyond

is

it

are surrounded.

on Plate XXIII., and which have evidently a Greek character, are

given

panels,

by which they

but,

same time too well executed and not

that his paintings were at the

generally

strongly

is

seize.

failed

which was so much desired than did Signor Abbate.

fact,

Blue, red, and yellow

the artists of Pompeii invented as they drew

Mr. Digby Wyatt's restoration of a Pompeian house

is

the

to

that

pleases,

any drawing;

obvious

is

generally

It

it.

touch of their brush had an intention which no copyist can

it

the yellow on

orange, and the red

tertiary colours

capricious

so

is

quite impossible to render in

in any restoration of the style.

as

lines

Pompeii.

at

nearly approaches

by the secondary and

however, of the

criticism

which

execution,

of Pompeii, however,

further assisted

still

style,

strict

grounds, white in thin

the blue

This neutral character of the colours enables them to be so violently juxtaposed without

oftentimes approaches vulgarity.

faithful

it.

ornaments, but also in large masses as grounds for the

the

in

quantities

The yellow

pilasters.

The whole
art,

small

only in

tinged with blue.

discord,

yellow,

coloured decorations upon

and blue in thin

white,

green,

On

so.

Almost every variety of shade and tone of colour may be found

panels

with

frieze,

arrangement of colours for the ornaments on the ground appears to be, on the black grounds,

lines,

are

and

pilasters

the upper part above the frieze being in white, with

green and blue in masses, red sparingly, and yellow

is

red

dado,

all

their

animals,

precisely

similar

became the foundation of

to

the

remains

Italian ornament.

the forms of mosaic pavement, which was such a feature

dominion

extended.

In

the attempt

at

relief

shown

in

evidence that their taste was no longer so refined as that of their Greek
a

repetition

directly

trace

of hexagons
all

that

at

the

immense

top

and the

variety

of

sides

of the

Byzantine,

page,

Arabian,

are

and

GRAMMAR

OF

T"^nr^Tm

PGMPEIA

ORNAMENT

PLATE

XXIII

GRAMMAR

OF

Q.RN
RNAME

POMPEIAM N2

EM T

POMP EI AN

N3

PLA1

Fragment

in

White Marble from the Mattei Palace, Rome.

Chapter VI. Plates

L. Vuijjamy.*

26, 27.

ROMAN ORNAMENT,
PLATE XXVI.

3.

4.

Fragments from the Forum of Trajan, Rome.

1, 2.

Pilasters

5, 6.

from the Villa Medici, Rome.

Nos. 1-5 are from Casts in the Crystal Palace

Pilaster from the Villa Medici,

Rome.

Fragments from the Villa Medici, Rome.

No. 6 from a Cast at Marlborough House.

PLATE XXVII.
1-3.
4.

Fragments of the Frieze of the Roman Temple

Fragment of the

Soffits

of the Architraves of the

5.

at Brescia.

Roman Temple

Fragment of the

Soffits

of the Architraves of the

Roman Temple

at

Brescia.

at
6.

From

the Frieze of the

Arch

of the Goldsmiths,

Rome.

Brescia.

No. 5 from Taylor and Crest's

Nos. 1-4 from the Museo Brescianorf

The

real

greatness

and other works

religion

of the

of public

Romans

utility,

is

rather to he seen

than in their temple

borrowed from the Greeks, and

in

in

their

architecture,

which probably they had

Rome

palaces,

baths,

which being
little

faith,

theatres,

the

exhibits

aqueducts,

expression

of a

a corresponding

want of earnestness and art-worship.

In the Greek temple

it

is

to arrive
everywhere apparent that the struggle was

Architect.
in Architecture, by Lewi, Vullimy,
Example, of Ornamental Sculpture
1838.
Bresciavo, illmtrato, Brescia,
f Museo

at a perfection

London,

worthy

ROMAN ORNAMENT.
Roman

In the

gods.

of the

temple the aim was

apex of the pediment every part

quantity, than
overloaded with ornament, tending rather to dazzle by

is

The Greek temples when painted were

to

excite

admiration by the quality of the work.

as

those

of the Romans, but with a very different result.

bloom over

coloured

which received

them

which were

most

other

They

unartistically.

Unlike in

it.

continued through the necking,

The

which

facilities

fatal

that

encouraged

has

it

most modern works.

into

In

acanthus

The Greeks

surface-decoration.
leaf,

and bestowed

of

ornament the

of using the

The

XXVII.

The acanthus

acanthus leaf
are

leaves

various

juxtaposition, to

of the

is

even

variety

the

out,

little

The only

principles,

but

it

have

engraved

variety the

which

from

exists

is

in

introduction

of

the

of tfie

foliation

or

flower

group

of

volute

in

the

This

leaves.

Greek refinement.

Greek

In

the

delicate at

The purely Roman method

other,

Rome.L.

as

in the

cut.

Vuixiamy.

and Cresy's work have been placed

able to produce in following out this

the proportion of the

.

the

of

ornament, which consists

may be

Composite

general form of the mass;

seen readily.

order

fails

to

in

application

How

from the

different

which arose from the modification of the general plan of the

capitals

Ionic

Palace,

Taylor

Romans were

the

and in the examples on Plates XXVI. and

capitals,

proportion from that of Jupiter Stator

of Egyptian

Roman

were, in side elevation.

Temple of the Sun, Colonna

from

exaggerated the

but

same way, but they are much more

the

it

surface.

wanting in

is

this

and the

provinces,

received

outline,

principle

typical of all

encircling

They

general

its

and they lay one over the

of the Frieze of the

difference

is

scroll,

Corinthian

seen in the

which we

show how

the decline in this

immense

another

in

of

of

supply their place.

art.

the

by

ornament,

invasion

of the

especial

their

truth.

completely a manufacture,

so

is

to

the

expressing

to

leaf is also seen, as

flattened

capitals

acanthus.

of

of

little

to

undulations

delicate

on Greek

Fragment

The

themselves

grow out of each other

scrolls

point of junction.

went much nearer

the head of the chapter

at

constructed

is

the

in

growing out

scroll

however,

example,

they

and

most unfitted

Romans showed but

cause

chief

of one

neglect

indolent

leaf the

confined

care

their

all

The ornament engraved

universally

an

the

is

thought,

little

before

of the

the top

at

manufacturing

for

gives

decoration

of

so

requires

one

where the stems of the flowers round the

any direction,

in

placed

are

same time represent a beauty and express a

the

system

and

in

conventionalised;

Greeks beautifully

at

It

architects

of the

use

the

and

The acanthus

it.

necking

by the

together

capital,

of buildings have fallen into hands

decorations

interior

Egyptian

Roman

the

applying acanthus leaves to any form

ornament

the

this

but are applied on

Corinthian capitals,

of the

bell

even bound

not

are

surface,

on

carved

ornaments

the

of

surface-modelling

elaborate

by the

destroyed

entirely

but rest upon

are

threw

it

designed surfaces

exquisitely

the

disturbed

arranged that

so

the moulded
value the general proportions of the structure and the contours of

to

under the modillions, and those round the

shaft,

bell

way

no

in

and these ornaments do not grow naturally from the

leaves

the

and

structure,

The ornament was

ornamented

as

it.

The Romans ceased

surfaces,

whole

the

column to the

the

the base of

From

self-glorification.

add

beauty, but

capital,

rather

increases the deformity

The
perfect

pilasters

from the Villa

specimens of

Medici,

Roman ornament

as

Nos.

3 and

4,

could be found.

Plate

XXVI., and the fragment, No.

5,

are

as

As specimens of modelling and drawing they

have strong claims to be admired, but as ornamental accessories to the architectural features of a building,
they most
principle,

certainly,
viz.

from

their

excessive

relief

and elaborate surface treatment, are deficient in the

adaptation to the purpose they have to

fill.

first

ROMAN ORNAMENT.

Temple of Jupiter

Arch

of Trajan,

Stator, Borne,

Ancona.

Interior of the Pantheon,

Pantheon, Rome.

Temple

Rome.

Portico.

of Titus,

continuous
side,

very limited,

is

line

was abandoned

that pure conventional

found in

St.

and

it

for

was not
the

till

adoption

continuous

stem and the turned back

stem

is

not yet

The Archileclural

fully

of Constantino,

Rome.

this principle

of leaf within leaf and leaf

of one leaf growing out of another

in

continuous stem throwing off ornaments on either

The

earliest

examples of the change are

St.

Denis, where

although

the Aohey of St. Denis, Paris.

leaf at the junction of

developed,

Anliguitie,

Rome.

Rome*

and we introduce here an example from

From

the

of

principle

ornament received any development.

Sophia at Constantinople

the swelling at the

this

Victor,

Arch of Septimius Severus, Rome.

The amount of design that can be obtained by working out

leaf

Mars

Arch

Rome.

Corinthian and Composite Capitals reduced from Tatxor and Cbesy's

over

of

Pantheon, Rome.

Arch

of Vesta, Tivoli.

Temple

as

it

stem and stem have entirely disappeared,

appears in the

narrow border top

and Cresy, Architects.

of Rome, by 6. L. Taylor

London, 1821.

and

bottom.

ROMAN ORNAMENT.
This principle became very

and

is

the foundation

The fragments on
Villa

the

Medici;

of Early

the leaves

is,

We

it

not

thought

further,

they

are

so

we have thought

figures

terminating

exist

similar

in

it

of the eleventh, twelfth, and thirteenth centuries,

MSS.

English foliage.
the

Museo

Bresciano,

are

more elegant

more sharply accentuated and more conventionally

are

Arch of the Goldsmiths

have

in the illuminated

XXVIL, from

Plate

Romans, of which remains

that

common

to

on the contrary, defective from the opposite

necessary
in

give

Roman

to

may be

to

We

any

had no

of the

reliable

and show rather what

introduce the
said

series

this

in

baths.

those at Pompeii,

sufficient

scrolls

the

to

be

two
the

subjects

foundation

painted decorations.

The Acanthus,

full size,

from

a Photograph.

to

from the
of

that

than

those from the

The

treated.

from

frieze

cause.

painted
materials

at

command

avoid than what

Forum

of

decorations

of

Trajan,

prominent

feature

to
in

in

the

and,

follow,

which
their

GRAMMAR

OF

iOMAN N

ORNAMEN

B
I

PLATE XXVI

L
rw

ROMAN

N 2

PLATE XXVII

Chapter VII.

Plates

28, 29, 30.

BYZANTINE ORNAMENT.
PLATE
1, 2, 3.

Stone Sculptured Ornament, Sta. Sofia, Constantinople. 6th

century. Salzenberg, Alt Christliche Baudenkmale, Constantinopel.

4, 5.

From

6,7.

Portions

the Bronze Gates, Sta. Sofia.

Salzenberg,

u. a.

11th century.

Portion of a Capital, St. Michael's Church, Schwabisch Hall.

12th century.
Heideloff, Ornamentik des Mittelalters.

From

17.

a Doorway, preserved at Murrhard Monastery.

en

Church of

St.

and

John, Gmund,

the

Swabia.

Heideloff.

Romanesque

21.

Wood

Leven, Cologne.

and Ivory Carving, in the Collection of Herr

Heideloff.

Sicile.

27.

From the Porch of Lucca Cathedral. Circa 1204, A.D. J. B. W.

From St. Denis (Porch) near Paris. 12th century. J. B. W.
From the Cloisters of Sant' Ambrogio, Milan. J. B. W.
From the Chapel of Heilsbronn, Bavaria. Heideloff.
From St. Denis. J. B. W.
From Bayeux Cathedral. 12th century. Pugin, Antiquities of

29.

31.

Friezes from the

19, 20.

From the Bronze Door of the Duomo, Trani. 12th century.

Barras et Luynes, Iiecherches sur les Monuments des Normands

Stone Sculpture, from the small Cloister, Huelgas Monastery, near

Burgos, Spain.
12 th century.
J. B. W.

Heideloff,

Composition of Bosses, from St. Sebald, Nuremberg,

Church of Nossen, Saxony. Heideloff.

18.

11th and 12th centuries.

the Bronze Door of the Duomo,

Ravello, near Amain.
J. B. W.

26.

30.

u. a.

From

24, 25.

28.

14, 15, 16.

the principal Bronze Door, MonPalermo. J. B. W.

reale, near

dependent.

Stone Sculptures, from St. Mark's, Venice.

J. B. W.yfrom Casts at Sydenham.

9-13.

From

ine'dits.

Portion of Bronze Door, Basilica of the Nativity, Bethlehem.

3d or
4th century.
Gailhabaud,
'Architecture et les Arts qui en

8.

22.

23.

of Ivory Diptychs, Beauvais Cathedral;

apparently
Anglo-Saxon work of the 11th century. Willemin, Monuments

Francais

XXVIII.

32.

Normandy.

W.

33.

From St Denis. J.

34.

Bayeux

35.

From Lincoln Cathedral (Porch). Close of 12th century.

From the Kilpeck Porch, Herefordshire. 12th century.-

36.

Cathedral.

B.

Pugin,

u. a.

B.W.
B.W.

PLATE XXIX.
Mosaics from Sta. Sofia, Constantinople. 6th century.
berg, Alt Christliche Baudenkmale von Constantinopel.

1-6.

Marble Pavement, Agios Pantokrator, Constantinople.

12th century.
Salzenberg, u. a.

7.

Marble Pavement,

8, 9.

Salzen-

Sta. Sofia.

Salzenberg.

Mosaics, Sta. Sofia.

12-15.

MSS., British Museum. J. B. W.

Champollion Figeac,
Borders, from Illuminated Greek MSS.

St.

25.

J. B.
10th century. Florence.
Portion of a Greek Diptych.
(The fleurs-de-lys are believed to be of later workmanship.)

Illuminated Greek

26.

Enamel of

16, 17.

The

centre, from
Middle Ages.

St.

Mark's, Venice.

Digby Wyatt,

From

the Homilies of Gregory Nazianzen.

pollion Figeac, u. o.

20.

Mosaics.

the

13th century (French).

Willemin,

W.

Monuments

ine'dits.

From an Enamelled
of St. Louis).

Digby Wtatt, Mosaics of the

a Greek MS., British Museum. J. B. W.

The border beneath from Monreale. Digby Wyatt's

u. a.

Casket (the centre from the Statue of Jean, son

Du SoMMERARD, Les Arts du Moyen Age.

Tomb

28.

From

29.

Limoges Enamel, probably of the

the Enamelled
Willemin, u. a.

From

19.

u. a.

Mark's, Venice. Digby Wyatt,

Francais
27.

Fakeographie Universelle.
18.

24.

First half of

10, 11.

From

23.

From Greek MSS., British Museum. J. B. W.

From the Acts of the Apostles, Greek MS., Vatican Library, Rome.

21, 22.

of Jean, son of

St

Louis, a.d. 1247.

Willemin,

close of 12th century.

u. a.

12th century.

Cham-

30.

Preserved at St.

12th century.
Portion of Mastic Pavement,
Willemin.
Denis, near Paris.

PLATE XXX.
Mosaics (opus Grecanicum) from Monreale Cathedral, near Palermo.
Close of 12th century. J. B. W.
Mosaics from the Church of Ara Cceli, Rome. J. B. W.

I, 2.

3.

Monreale Cathedral. J. B.

4, 5.

W.

II.

San Lorenzo Fuori, Rome.

12.

Ara

13.

Marble Pavement, St. Mark's, Venice. J. B.

14.

San Lorenzo Fuori, Rome. Architectural Art

by Waring and MacQuoid.

15. 16.

Coeli,

Rome. J.

B.

J.

B.

in Italy

and Spain,

21.

Marble Pavement, S. M.

19.

in

Cosmedin, Rome. -Hessemer,

u. a.

Baptistery of St. Mark, Venice.

Specimens of

Architectural

San Giovanni Laterano, Rome.

26.

The Duomo, Civita Castellana.

Ara Cceli, Rome. J. B. W.

27.

30.

32.

20.

18.

Mark's, Venice.

25.

31.

Palermo. Digby Wyatt, Mosaics of the Middle Ages.

St.

Mosaics of the

the

Art in Italy and Spain,

Waring and MacQuoid.

29.

W.

From the Cathedral, Monreale. J. B. W.

From Ara Coeli, Rome. J. B. W.
Arabische
Marble Pavement, S. M. Maggiore, Rome.-HESSEMER,
und alt Italidnische Bau Verzierungen.
u. a.
Marble Pavement, San Vitale, Ravenna. Hessemer,

17.

24.

28.

W.

Mosaic,

Middle Ages, Digby Wyatt.

W.

6.
Marble Pavement, St. Mark's, Venice. J. B. W.
7 - 10.
From San Lorenzi Fuori, Rome. Close of 12th century.J. B. W.

22, 23.

San Lorenzo, Rome.

Ara Coeli, Rome.

Mosaics of

Middle Ages.

Art

in

Italy

and Spain,

Waring and MacQuoid.

San Lorenzo, Rome.

San Lorenzo Fuori, Rome. J. B. W.
Digby Wyatt's Mosaics of
San Giovanni Laterano, Rome.

33. 34, 35.

Monreale Cathedral.

36, 37, 38.

Marble Pavement,

S.

J. B.

39.

St.

From
From
From

Hessemer,

u. a.

Mosaics of the Middle Ages, Digby Wyatt.

Mark's, Venice. J. B. W.
St.
Baptistery,
the
in Italy and Spain.
St Mark's, Venice. Architectural

AH

the

Duomo, Monreale.

J.

B.

tlie

W.

M. Maggiore, Rome.

Mark's, Venice.

40.

42.

the

Architectural

Middle Ages.

41.

From Digby Wyatt's

W.
1

BYZANTINE OENAMENT.

The

vagueness with which writers on Art have treated the Byzantine and Romanesque styles of Architecture,

even to within the

last

few years, has extended

to their concomitant

itself also

has arisen chiefly from the want of examples to which the writer could refer
of Herr Salzenberg's great
idea of

work on

San Vitale

what constituted pure Byzantine ornament.

to its architecture,

at

it

until the publication

could obtain any complete and definite

we

Sta. Sofia at Constantinople, that

nor was

This vagueness

decoration.

Ravenna, though thoroughly Byzantine as

afforded us but a very incomplete notion of Byzantine ornamentation

still

San Marco

at

Venice represented but a phase of the Byzantine school, and the Cathedral of Monreale, and other examples of

show the

the same style in Sicily, served only to

Byzantine Art

Mahommedan had

we

to understand that,

fully

deprived us

art,

it

is

Rome had
no

probably,

we

style,

is

at

have a graphic idea of what Byzantine decorative

desire to

we

see

more applicable than

Jit,

perceive that various schools have combined to form

all

the

what were the

more

the close

vital

civilisation

it

is

given her peculiar style of art to the numerous foreign peoples ranged beneath her sway,

hybrid art of her provinces had powerfully reacted on the centre of

of the third century had materially affected

The

and marked

change

and

its

capacity

for

the traditional

in
its

Art,

necessity

artists

and there can be

style;

civilisation

of decoration which

style

lavish

that

other public buildings of Rome.

each surrounding nation aided in giving

its

Certain as

or transformation.

found himself under, when newly settled in Byzantium, of employing Oriental

still

peculiar characteristics,

Byzantium, at the commencement

to

either of decline

state

its

in decorative art.

principal formative causes.

Roman Empire from Rome

in a

arts

characterised the magnificent baths and

liberality of the Prussian

by the

public to the world

the observation, ex nihilo nihil

transfer of the seat of the

less certain that the

and even

who

those

shall proceed to point out briefly

of the fourth century,

that

all

made

Herr Salzenberg's beautiful work on the churches and buildings of ancient Byzantium.

Thus, in the Byzantine

Even before the

executed during the best

scale,

Such an invaluable source of information has been opened to us through

and we recommend

art truly was, to study

and we

of time and the whitewash of the

required what the ravages

the enlightenment of the present Sultan, and been

In no branch of

true nature, of pure

illustrate the

but hardly to

namely, a Byzantine building on a grand

of,

period of the Byzantine epoch.

government;

influence,

which Constantine

and workmen, wrought

doubt but

little

that

impress to the newly-formed school, according to the state of

until

at

motley mass became

the

last

whole during the long and (for Art) prosperous reign of the
In this
influence

result

exercised

we

be struck

to

fail

by the great temples and

Minor during the rule of the Csesars

tendency to

curved

elliptical

one systematic

into

Justinian.

first

cannot

fused

outlines,

in

acute

theatres

these
-

with the important

we

pointed

in

built

already see
leaves,

Asia
the

and thin

continuous foliage without the springing ball

and
ornament.

On

which

flower,

Byzantine

characterise

the frieze of the theatre at Patara (a), and at the

Temple of Venus

at Aphrodisias (Caria), are to be seen examples

such as

of flowing foliage

we

allude to.

On

the doorway of the temple erected by the native rulers of Galatia at

of

Augustus,

type

temple at Patara (c),

ascribed

by Texier

and
to

is

the

the

still

pilaster

first

Ancyra

(>),

more
capital

in

honour

characteristic

of

small

century of the Christian era,

is

almost identical with

2

BYZANTINE ORNAMENT.
one drawn by Salzenberg

Smyrna

at

which he

(#),

believes to

be of the

part of Justinian's reign, or

first

about the year 525 a.d.

In the absence of authentic

dates we cannot decide
influenced the Byzantine style,
but it is certain

that

were much employed

at

Byzantium;

and

how far
workmen and

satisfactorily

Persian

Persia
artists

in the

remarkable monuments at Tak-iBi-Sutoun, and Tak-i-Ghero,

and in several ancient capitals at Ispahangiven
Flandin and Coste's great work
on Persia-we are struck at once with
their thoroughly Byzantine
character; but we are inclined to believe
that they
are posterior, or at most
contemporaneous with the best period of Byzantine art,
that is, of the sixth century.
However that may be, we find the
forms of a still earlier period
j
.
reproduced so late as the year 363 a.d.;
Bostan,

and in Jovian's column

his

retreat

Ancyra

at

with Julian's

(e), erected

army from

during or shortly after

Persian expedition, we
recognise an application of one of the most general ornamental
forms of ancient Persepolis.
also
are
Persepolis
to
be
seen the pointed and channelled
At
leaves so characteristic of Byzantine work, as
seen in the accompanying example from Sta. Sofia
and at a later period, i.e. during the rule of the
(/)
Caesars, we remark at the Doric temple of Kangovar
) contours of mouldings
their

(9
precisely similar to those affected in the Byzantine
style.

Interesting and instructive as

it

these forms in the Byzantine style,

to trace the derivation of

is
it

is

no

mark

less so to

transmission of them and of others to later epochs.

No.

Texier and

in

common

perceive the peculiar

Salzenberg, reappear

Plate XXVIII.,
so

we

Plate XXVIII.,

1,

at

Sta.

Romanesque and Gothic ornament.

as a

Thus

On

Sofia;

(St.

The

Mark's).

^T=

is

The curved and

seen reproduced, with slight variation, at No.

is

examples on the

the

all

3,

circle,

the same frieze

toothings of the leaves of No. 19 (Germany)

and between

(Sta. Sofia);

No.

at

design repeated with but slight alteration at No. 17, from Germany.
of the sixth century (Sta. Sofia)

in

as given in

leaf,

the foliated St. Andrew's cross within a

is

the

are

foliated

1 1

of the eleventh century

almost identical with those of No.

row but one (Plate XXVIII.)

last

branch of No. 4

is

be remarked

to

a generic resemblance in subjects from Germany, Italy, and Spain, founded on a Byzantine type.

The

row of

last

showing the interlaced ornament so

whilst at No. 35 (St. Denis)

the

type

column

of

at

Rome,

that

see

and

art,

new and

in

course;

and these modifying

its

was

no possible doubt

common one

Romanesque

the

in

earlier

causes,

that

how

the

works of

and other

Persia,

in
far

upon

form

systemised

27 and 36),

founded mainly on a native type;

style,

arising

The ground, whether

the

it

specific

Celtic,

being

found

Roman models;
on the Roman

is

is

of religion,

character, and

undergoing
art,

is

it

in Justinian's time,

certain

and manners

changes
in

the

or

in

its

countries

produced in some cases co-relative and

Anglo-Saxon, Lombardic, and Arabian schools.

Placing on

were employed in Europe, there can be

artists

is

very strongly impressed on

distinguished by broad-toothed and acute-pointed

is

leaves,

which

in

sculpture

throughout, and are drilled at the several springings of the

generally thin and continuous, as at Nos. 1, 14, 20, Plate

mosaic or painted work,

is

almost universally gold;

The introduction of animal

confined principally to holy subjects,

sculpture

took part as formative causes in the

and even Western Europe, which are generically termed Romanesque.

preferred to geometrical designs.

and in colour

state

workmen

Byzantine

the running foliage

in

all

the Western world,

from the

are bevelled at the edge, are deeply channelled

teeth with deep holes;

countries,

character of the Byzantine school of ornament

central

Pure Byzantine ornament

in

or other figures

conventional

stiff,

thin
is

XXIX.

interlaced patterns

are

very limited in sculpture,

style,

exhibiting

little

variety

of very secondary importance.

Romanesque ornament, on the other hand, depended mainly on

and shade, deep cuttings, massive
foliage

style (Nos.

accompanying decoration, which, complete as we find

of ornament

one side the question of

or feeling;

nations,

Romanesque

have one instance out of numbers of the reproduction of

frequently gave

received,

yet distinct styles

the

by the Northern

affected

Syria,

its

reacted

all

especially the

Cussy, between Dijon and Chalons-sur-Saone.

Byzantine style of

it

we

the present subject,

Thus we

where

more

subjects in this plate illustrates

and conventional ornament.

projections,

The

place

sculpture for effect:

it

is

rich

in

light

and a great intermixture of figure-subjects of every kind with

of mosaic

work

is

generally supplied

by paint;

in

coloured

BYZANTINE ORNAMENT.
XXIX.

ornament, animals are as freely introduced as in sculpture, vide No. 26, Plate
gold alone, but blue, red, or green, as at Nos. 26, 28, 29, Plate

much

differences, it retains

down

it

and thirteenth

twelfth

glass into a complicated

means of
simpler

than

those

near Palermo.

It

we have

such as

one,

may be

noted, consisting

which serve
peculiar

in

in Nos.

examples

as

Some

style.

from the

the

of

Local

the

common

Veneto- Byzantine

at

Sta.

limited

style;

in

being

range,

its

character,

in

as

Nos. 33,

at

down from

on the system of marble

which bear

thirteenth

Romanesque churches

of the

are rich

Italy

Rome

the Augustan age of

relation

little

either

are the pavements

centuries

Roman

or

of the Baptistery

these the effect

in

to

existed

inlay,

several parts

in

and marble inlay ornament are

sway, and especially

are given in Plate

Important as
eleventh

it

is

we

century,

XXIX.
or glass mosaic work,

design)

is

examples of this class

in

Roman

be found in ancient

to

is

No. 20, from San

Vitale,

and San Miniato, Florence, of the eleventh, twelfth,

and white marble only

produced by black

is

Romanesque

of Italy during the

the principles both

of the

every province under

Roman

Italy,

inlay, in

with these

remarkable in the various mosaics found at Pompeii, of which striking examples

and

still

there

later,

who propagated
even

the

no

is

creed of Mahomet,

In

Europe.

in

the

Cordova, and

The

Byzantine school affected more or

Sicily,

remained almost unchanged to a very

whom

people

Alexandria, Jerusalem,
of the

Europe, from the sixth to

perceive the influence of Byzantine Art to have been in

obtained a footing

traditions

and

XXV.

spreading Arab race,

finally

and

a good idea of the nature of

Such

Byzantine models.

and those produced by Moresque influence in the South of

exceptions,

circles

(that of complicated geometric

in

local,

given in Nos. 19, 21, 36, 37, and 38.

is

such

the principle

almost

No. 23, with interlaced

as

seen at Nos. 3, 10, and 11, Plate

as

Sofia,

nature of the material;

The pavements

styles,

Ravenna;

all

the

not the hand, at least the influence, of Byzantine

if

more markedly Byzantine, however,

are

different

same.

ornament

glass

Sicily

of interlaced curves, as

opus Alexandrinum, or marble mosaic work, differs from the opus Grecanicum,

and

much

are

from Monreale,

coexistent in

and eminently Moresque

consisting

by

defined,

31,

27,

5, 33,

1,

The

period,

now

introduced their innate

artists

ornament, so

this

to

11,

9,

distinct styles of design

other,

which we may recognise,

the tradition of which was handed

and

the

7,

stopped,

step

chiefly

the

Nos.

as

where Saracenic

Sicily,

two

now

is

of

Altogether of a different character, though of about the same period, are Nos. 22, 24, 39, 40, 41,

artists.

still

of small diamond-shaped pieces

which

such

Italy,

of diagonal interlacings,

XXXIX.;

Plate

to

34, 35, also from Monreale, in

the

central

This art flourished principally in

some ordinary examples of which are to be seen

by reference

seen

direction of

the

to be remarked, that there are

is

XXX.

arrangement

the

in

and

southern provinces

of the

of intricate designs,

love

of diagonal lines;

The examples from

colours.

different

handed

work, belongs particularly to the Romanesque period,

given in Plate

are

it

and consists

centuries,

series

In other respects, allowing for local

close of the thirteenth century.

numerous examples of

in Italy;

no longer

is

in the case of painted glass, for example,

and

style of ornament, that of geometrical mosaic

especially

the

and even the

to the middle,

One

of the Byzantine character;

XXIX.

the ground

the

influence

late period,

the

less

Byzantine
the

than

the

great

the finest countries of the

style

adjacent

and they have served,

by them

executed

buildings

all

more

affected

conquered

earlier

of

it

in

is

at

and
East,

Cairo,

very strongly marked.

countries

in

a great degree,

Greece they
as the

basis

decorative art in the East and in Eastern Europe.

J.

B.

WARING.

September 1856.

%*

For more information on

this subject, see "

Handbook"

to

Byzantine and Romanesque Court at Sydenham.

Wyatt and Waking.

BOOKS REFERRED TO FOR ILLUSTRATIONS.

Salzknberg.

Alt Christliche Baudenkmale von Constantinopel.

Flandin et Coste.
Texieb.

Description de VArmenie, Perse,

Heideloff.

Kreutz.

La

Gailhabaud.

Du

Sfc.

Die Ornamentik des Mittelalters.

Basilica di San Marco.

L Architecture et

Sommerard.

les

Arts qui en dependent.

Les Arts du Moyen Age.

Barras et Luynes (Due

de).

Becherches sur

les

Monuments des Normands

en Sidle.

Voyage en Perse.

Champollion Figeac.

Paheographie Universale.

Monuments Francois inedits.

Hessemeb. Arabische und alt Italidnische Bau Verzierungen.
Digby Wyatt. Geometrical Mosaics of the Middle Ages.
Waring and MacQuoid. Architectural Art in Italy and Spain.
Willemin.

Waring.

Architectural Studies at Burgos

and

its

Neighbourhood.

GRAMMAR

OF

ORNAMENT

PLATE

XXVIII

l/^^^S

l^

zSfjcr J1L
1(

fe

/N>~ -N

^<0a

^y^i2ra
i.^L

^y^|
*

-liir

"JF^'1B-/^^I

Sv*j/^i L^L'

i.^Srvfl

KsJ

saiffHJB^
^jj^^jiJvOTiiK

|^3L

^^

J^vA

^31^ j
II

'1,111,,

ImS

|ffnvs\

^* "

^ji||inR^y 1

gJS^^S>%

y^K

^ir^
'

f/jto

ISP SPIlti
6p9l

HD
^^JS
i

^^^sjl^

wlSwiiiSlv

iiv^j^tll

__

BYZANTINE

SIlIl
Jfe^^!?3j5j3

Ma\c\^TK.

I.

v-

finUr j

//

18

'

'/n5

M ^,

"*-

"

IF** Jl

GRA

,,

31
j

**,,

.,.-,...

- ,

.i^S

ji

r*

VV
"^

. , *

<* JHL *=?

is

\.

.-1 *"*-

'

i-Th

R OF ORNAMENT

jr? ^-S^g

o%A
WV W;/
v^

--'

.'

^-a

;|
',

i
i

'

?A AAA' fc>

5>

c^k_jic>e^itjie^oNo^^'*'->

_-^

_ \

Qa

cs*.

-*\

.*-"

-^a^
&3

27

LATE XXIX

GRAMMAR

OF

GRNAMEN

BYZANTINE:

::3

PLATE

Chapter VIII. Plates

31, 32, 33, 34, 35.

AEABIAN OENAMENT.
FROM

CAIRO.

PLATE XXXI.
This Plate consists of the ornamented Architraves and
executed in plaster, and nearly

all

but only a fragment of one of the

soffits

Soffits of

Windows in the Interior of the Mosque of Tooloon, Cairo.

They are
The main arches of the building are decorated in the same way;
make out the design. This is given in Plate XXXIIL, No. 14.

the

the windows are of a different pattern.

now

remains, sufficiently large to

The

Nos. 1-14, 27, 29, 34-39, are designs from architraves round the windows.

The Mosque
is

of Tooloon

specially interesting as

was founded

a.d.

one of the earliest

rest of the patterns are

876-7, and these ornaments are certainly of that

date.

It is

from

their soffits

and jambs.

the oldest Arabian building in Cairo, and

known examples of the pointed arch.

PLATE XXXII.
Mosque of Sultan Kalaoon.
Ornaments round Arches in the Mosque En Nasireeyeh.
Ornaments round curved Architraves in the Mosque of Sultan

From

1-7.
9, 10.

11-13.

the Parapet of the

14.

22.

one of the Main Arches in the Mosque of Tooloon.

Ornaments on the Mosque of Kalaoon.

Soffit of

15-21.

Wooden Stringcourse
From the Mosque

23-25.

Kalaoon.

Pulpit.

of Kalaoon.

plaster, and seem to have been

The Mosque of Kalaoon was founded in the year 1284-5. All these ornaments are executed in
parts of the same pattern,
There is too great a variety on the patterns, and even disparities on the corresponding
while still wet.

cut on the stucco

to allow of their

having been cast or struck from moulds.

PLATE XXXIIL
From

1-7.

8-10.
12.

13.

14.

the Parapet of the

Mosque

Curved Architraves from

Soffit of

Arch, Mosque

En

Soffit of

15.

of Sultan Kalaoon.

16, 17.

ditto.

Nasireeyeh.

From Door in the Mosque El Barkookeyeh.

Wooden Architrave, Mosque En Nasireeyeh.

Window, Mosque

Wooden

18.

Frieze round

19.

Wooden

20-23.

of Kalaoon.

Architrave.

Tomb, Mosque En Nasireeyeh.

Architrave.

Ornaments from various Mosques.

PLATE XXXIV.
copy of the Koran
These designs were traced from a splendid

in the

Mosque El Barkookeyeh, founded

A.n.

1384.

PLATE XXXV.
rnva Houses and Mosques in Cairo.
,
r,
-d
* *nA
and Walls in Private
Pavements
Consists of different Mosaics taken from
marble, with red

are executed in black and white

tile.

t *
10
oloK nnrl
the wh.te marble slab, and
Nos. 14-16 are patterns engraved on

The ornament on

centre of No. 21
the white marble on the

materials for

is

filled in
failed

with red and black cement.

wi

slightly in relief.

William Wild, who passed considerable time

.
nrflv fnrnished by Mr. James
been kmd
ornament
,
these five Plates have
faithfal transcripts of Cairean
ve
^ very
they may be regarded as
and
honses,
Arabian
the
,

The

They

the interior decoration of

'y

in Cairo stndying

ARABIAN ORNAMENT.

When

the

religion

wants of a new

of

civilisation

Mohammad
naturally led

the early edifices of the

own

uses, or buildings constructed

new wants

the

that

to

such astounding

the formation of a

to

Mohammadans were

that

certain

spread with

either old

new

Roman

rapidity
style

over the

of Art;

East,

growing

the

and whilst

certain

is

it

or Byzantine buildings adapted to their

on the ruins and with the materials of ancient monuments,

it

equally

is

be supplied and the new feelings to be expressed must at a very early

period have given a peculiar character to their architecture.

In the buildings which they constructed partly of old materials, they endeavoured in the new parts of
the structure to imitate the details borrowed from old buildings.

taken place in the transformation

But

imperfect.

this

of the

very imperfection

Roman

gave birth to a

Plate

XXXI.

itself,

previous
in

retaining,

style.

it

This

another direction.

and

the imitations

order of ideas

style

as

had already

were crude and

they never returned to

entirely freed

Mohammadanism, and we
is

true,

result
It

traces of

is

its

in this

The ornaments on

of Art peculiarly their own.

origin,

very remarkable

mosque already

find a style

after

of architecture complete

but being entirely freed from any direct imitation of the

when compared with

the

can hardly be said that Christianity produced an

from traces of paganism,

the

The Mohammadans,

from the Mosque of Tooloon in Cairo, which was erected in 876, only 250 years

are

the establishment of
in

new

Byzantine:

result followed

which the original model imposed.

original model, but gradually threw off the shackles

very early in their history, formed and perfected

the

to

style

The same

results

of the

architecture

Christian religion

peculiarly

its

own,

until the twelfth or thirteenth century.

Spandril of an Arch from Sta. Sophia, Salzenberg.

The mosques
at

of Cairo

are

amongst the most beautiful buildings

the world.

They

are

remarkable

the same time for the grandeur and simplicity of their general forms, and for the refinement and elegance

which the decoration of these forms

are

in

displays.

This elegance of ornamentation appears to have been derived from the Persians, from

whom

supposed to have derived many of their

influence

arts.

It

is

more than probable that

this

the Arabs

reached

ARABIAN ORNAMENT.
The Art of Byzantium

them by a double process.

already

an Asiatic influence.

displays

The remains

Bi Sutoun, published by Flandin and Coste, are either Persian under Byzantine influence, or

must be much of Byzantine Art which was derived from Persian

there

date,

We

in general character of outline.

here introduce from Salzenberg's work on Sta.

we

arch which

much

decoration totally at variance with

are

foundation

surface

of the

throwing

the

off

distributed

is

is

that

Arabs and Moors.

It

all

over the

There

the aim of the Arabs and Moors.

so

spandril,

edge of the arch are ornamented from the surface, and the
the

soffits

The

of

distribution

the

of Arabian art the

stage

early

this

The

They

decoration.

surface

an even

face,

the

leading

the

forms,

the

had been

it

it,

the

is

although

the

attempt at

first

continuous without

is

tint,

the

which was ever

mouldings on the

way

decorated in the same

is

the

XXXL,

which

differences

principles

are

arrangements of form which reached

those

all

from

result

exist

the

less

They represent the

same.

the

very remarkable as

are

making the

incisions

stage

of

brought

first

a plastic

in

still

We

rounded the edges.

slightly

of

first

be decorated being

to

perfection

once

at

of the radiation of the lines from a parent stem and the tangential curvature

recognise that the principles

of those lines

leaf,

may

it

itself

is

that

were either stamped or traced upon the material whilst

patterns

with a blunt instrument, which in

state,

of

types

and the surface of the part

of plaster,

are

observed,

of the arch

soffit

spandril

this

produce one even

to

seen a system of

arches.

culminating point in the Alhambra.

their

to

in

as

and on the spandril

be

the scroll

ornaments from the Mosque of Touloon, on Plate

of

collection

exhibiting

Moresque

of Arabian and

be

will

another feature connected with

also

is

may,

it

reminiscence of the acanthus

still

as

they

similar are

of that building, and which

growing out one from the other

of leafage

principle

The pattern

break.

of the

decoration

which surrounds the centre

leafage

Be

influence.

of earlier

if

an ornament on a Sassanian

to

Sophia, will

of the Grseco-Roman features

the result of some Asiatic

not be impossible

as

referred

III.

No. 16, Plate XIV., which appears to be the type of the Arabian diapers;

capital,

of the

have already in Chapter

sources, so

at

retained

either

by Grseco-Roman

was

or

tradition,

by them from observation

felt

of nature.

Many

of the patterns, such as

flowers, or a flower turned

Greek.

3,

4,

5,

12,

13,

32, 38,

retain traces of this

still

upwards and another downwards from

Arabian.

derived from

was transformed

Romans, with the

the

into an intermediate

division

at

this

scroll,

but grow out of

it,

No. 37 shows the continuous

leaf.

each turn of the

The ornament we engrave here from

ornament, omitted.

two

Moresque.

with the Greeks the flowers or leaves do not form part of the

whilst with the Arabs the scroll

Greek origin:

end of a stalk; but there was

either

Arabian.

Arabian.

difference, that

scroll

2,

so

scroll,

characteristic

of

Roman

Sophia would seem to be one of the earliest

Sta.

examples of the change.

The upright patterns on

upright tendency in their
of this

Many

of the

many

varieties

ornament

the

on

style

which

is

on

patterns
as

may
Plate

this

possible

chiefly

from the

the

last
i.e.

had made

of windows,

soffits

be considered as the germs of

by

side

plate,'

an

produces another or several others.

should be double in the lateral direction;

centre ornament

the

whole of the

on Plate XXXIL, which

ornaments

on

Plates

four hundred years later than those of the

in

all

those exquisitely- designed patterns

all

side

and therefore having

our anxiety to exhibit as

preventing the engraving of the repeat.

exception of the

thirteenth century,

the

lines,

Plate,

where the repetition of the same patterns

class,

With

this

this

period

may be

seen at a glance.

of the same period, they are very inferior.

is

from the same mosque

XXXIII. and XXXIV. are of the

Mosque

of Touloon.

The progress which

As compared, however, with

The Arabs never

as the

arrived

at

that

the Alhambra,

state

of perfection

ARABIAN ORNAMENT.
the distribution of the masses, or in the ornamenting of the surfaces of the ornaments, in which the

in

Moors

so

The guiding

excelled.

ornament the relation of the

any gaps or holes;
skill,

there

No.

12,

was

instinct

To

monotony.

less

the

clearly

exhibit

another

introduced

there

much

Arabian

the

repeat

diapers from

are never

greater

ornament,

the Alhambra.

Moresque.

ornament,

surface

their

into

feature

In Moresque

they exhibited

also

we

of lozenge

varieties

always perfect;

is

difference,

very inferior.

is

Moresque.

Arabian.

also

ground

the

to

the decoration of the surfaces of the ornaments

in

from Plate XXXIII., compared with two

The Moors

the execution

but

same,

ornament

the

of

areas

the

is

that

viz.,

were

there

often

two and sometimes three planes on which the patterns were drawn, the ornaments on the upper plane being
themselves with the

boldly distributed over the mass, whilst those on the second interwove

the

on a lower

surface

of effect

when viewed

we

such as
metal,

and

see

Nos.

at

17,

never broken by the

its

the

the feathering which forms

on Plates XXXII., XXXIII., was intermixed with plain surfaces,

XXXII.

The ornament No.

of

perfection

the

to

distribution

XXXIII.,

13, Plate

Moorish

the

of

constructive

of

features

forms;

and that
the

intricate

pierced

in

is

finely

it

fixed

pattern,

law,

it

can

root.

that

differences

breadth

its

and oftentimes most ingenious, decoration

however distant an ornament, or however

branch and

Generally, the main

thus,

retains

diminution of the forms towards the centre of the pattern,

Moors, that

always be traced to

up

exquisite,

ornament

of

piece

contrivance

most

affords

Plate

32,

18,

approach

very near

the proportionate

exhibits

and

at a distance,

feature on the ornaments

is

admirable

Generally there was more variety in their surface treatment:

for close inspection.

so prominent

by which

level;

enriching

first,

between the Arabian and Moresque styles may be summed

exist

the

Arabs

more grandeur,

possess

and those

Moors more

of the

refinement and elegance.

The

Arabian decorative
the

style,

XXXIV., from

ornaments on Plate

exquisite

Were

art.

it

not for

and which betray a Persian

As

Arabian ornament.

it

The immense mass

is,

however,

of fragments

the

is

great

number

the

of

of marble

patterns, arranged

which

varieties

obtained of what style in ornament

Roman

mosaics,

a form

to

the

aspect

Plate

XXV.

derived from

It

like

is

Roman

on a geometrical

XXX.

exist

in

cord,

the

the

of

destroy the unity

of

find

specimen

of

all

and

colour.

the

crossing

led

must have very early

of their

floors

No

Arabs.

mosaics

on

better

the others.

idea

XXXV.

Plate

There

Yet how strangely

the

houses

XXXV.

and we have on Plate

an idea expressed in four different languages.

the interlacing of lines,

perfect

better

the Moresque, Plate XLIII.

from each the same modified conception, by the sounds so widely

The twisted

to

ruins

system;

produced with

than by comparing

be found in any one which does not

of these plates!

which rather

Romans, of covering the

of the

Byzantine, Plate

the

flowers,

would be impossible

fashion

this

consists

of

idea

give

a very perfect lesson, both in form

Arabs to seek to imitate the universal practice

and monuments with mosaic

it

Koran, will

copy of the

introduction

influence,
it

can be

with the
is

scarcely

different

The mind

is

receives

differing.

of two

squares

<

>

the equilateral triangle

arranged within a hexagon, are the starting-points in each; the main differences resulting in the scheme
of colouring, which

The Arabian and

the

the

material

Roman

the brighter hues, on Plate

employed and

the

uses

to

which

are pavements, and of lower tones

XXX.,

are decorations

the

they were

applied

Moresque are dados

mainly suggested.

w hilst
T

on the constructive features of the buildings.

those of

tx

^ **

> A\\uVuuuUUUuuu^ ^\\^\\\MW\

ARABIAN

MG
I

GRAMMAR

OF

GRNAMEN

ARABIAN N2

PLATE

XXXI

GRAMMAR OF ORNAMENT

ARABIAN N

PLATE

XXXIII

UKAI\

>F

rl -T\

UniNAMLN

'

'

PLATE

XXX

ARABIAN N

Chapter IX. Plates

36, 37, 38.

TURKISH ORNAMENT.
PLATE XXXVI.
1, 2, 3,

4.

From

16, 18.

From

a Fountain at Pera, Constantinople.

9, 12, 14, 15.

Mosque of Sultan Achmet, Constantinople.

the

From Tombs

5, 6, 7, 8, 13.

1 0, 1 1 , 1 7, 1 9,

at Constantinople.

21

From

20, 22.

From the Tomb of Sultan Soliman I., Constantinople.

From the Yeni D'jami, or new mosque, Constantinople

a Fountain at Tophana, Constantinople.

PLATE XXXVII.
1,

2 6, 7,

3.

From

8.

the Yeni

D>mi, Constantinople.
Dome of the Mosque of Soliman I.,

Rosace in the centre of the

Ornaments

4j 5 .

in

Spandrils

Const.

Soliman

I.,

under the

Dome

of

the

Mosque of

Constantinople.

PLATE XXXVIII.
Portion of the Decoration of the

The

architecture

of the Turks, as

upon the early Byzantine monuments

same

Arabian, bearing about the

When
character

the

and

art

Arabs

of the

the

two people as

We

are,

public

belief

and

that

their

And

believe

commanded

present

Persian

these

mixed

floral

buildings

the

of ornamentation,

style.

mostly

it

structural features mainly based

however,

is

modification

of the

all

religion,

but differing in natural

those qualities in which the borrowing

with the art of the Turks as compared with the

is

amount of elegance and refinement

the

in

in

the

art

of

character.

the Turks

that

execution

ornaments,

have

thus

difference

national

however, inclined to

buildings

Arabian

in

Constantinople.

I.,

in all its

is

expect to find a deficiency in

the same

is

exists

they have rather

that

In

we should

there

art

system

of Soliman

adopted by another having the same

is

are inferior to their predecessors.

people

at Constantinople,

their

Tomb

of the

relation to this style as Elizabethan ornament does to Italian Renaissance.

of one people

instincts,

seen

Dome

On
we

the

than been themselves executants.

same

find

been

more recent times, the Turks have been the

have rarely themselves practised the arts;

building, side

debased

executed
first

Roman and

by

of the

by

artists

All their

Renaissance

Mohammadan

races

details,

religion

in

mosques and

ornaments derived from

side with

differing

but

to

leading to

the

from themselves.

abandon the

traditional

of their forefathers, and to adopt the prevailing fashions of the day in their architecture
but designed in the most
the modern buildings and palaces being not only the work of European artists,
style

of building

approved European style.

The productions of the

Mohammadan

exhibiting

Turks

at

the

Great

Exhibition

of

1851

were the

least

perfect

of

all

the

nations.

state of the Industrial Arts of the Nineteenth Century,

In Mr. M. Digby Wyatt's admirable record of the
exhibited in 1851, and which may be compared with the many
will be found specimens of Turkish embroidery
It will readily be seen, from the
in the same work.
valuable specimens of Indian embroidery represented
that of the
art-instinct of the Turks must be very inferior to
simple matter of their embroidery, that the
ornamentaUon,
distribution of form, and in all the principles of
Indians.
The Indian embroidery is as perfect in
of decoration.
as the most elaborate and important article
carpets; but these are
ornamentation are to be found -m Turkey
The only examples we have of perfect
9

TURKISH ORNAMENT.

from Persian carpets

differing

By comparing

Plate

perceived.

The general

differences

that

The

it

in being

XXXVII. with

designs

thoroughly Arabian,

are

conventional in the treatment of foliage.

XXXII. and XXXIII.

Plates

of the

principles

of form

distribution

are

of style will be readily

the

differences

the

same, but there are a few minor

be desirable to point out.

will

enrichment of the surface

the

much more

and Moresque

of an ornament both in the Arabian

surface

The

and most probably not by Turks.

executed in Asia Minor,

chiefly

plain, the additional pattern

obtained by

is

on

sinking lines

styles

this surface

only

is

slightly

or where the

rounded, and

was

surface

left

upon pattern was obtained by painting.

The Turkish ornament, on

we

the contrary, presents a carved surface, and such ornaments as

find painted

Turkish.

Turkish,

Turkish.

Elizabethan.

Arabian MSS., Plate XXXIV.,

the

in

black lines on the gold flowers, are here carved on the surface,

in

the effect being not nearly so broad as that produced by the sunk feathering of the Arabian and Moresque.

Another

peculiarity,

and one which

made

the great abuse which was

is

This

of the re-entering curve

a piece

of Turkish ornament from

Moors

the

no longer a

it is

Arabian,

a a.

very prominent in the Arabian, but more especially in the Persian

is

With

once distinguishes

at

See Plate

styles.

XLVI.

and appears only exceptionally.

feature,

This peculiarity was adopted in the Elizabethan ornament, which, through the Renaissance of France and

was derived from the

Italy,

spiral

be seen on reference to Plate XXXVI., that

will

It

swell

this

always

at that period

on the inside

occurs

very

is

them,

detects

almost

nay,

difficult,

thoroughly to

impossible,

explain

by words

differences

much

found

peculiarity

curves, a fondness

for

form

of

general

delicacy,

refined

is

the
fact,

as

proportions

the

in

Roman

the

and

spiritual

conventional

XXXVIII.

Persian,

of

the

directions in the

particular

or coarseness, with which

statue

leafage

these

more

or

less

grace

leading lines, and a peculiar

ever

remaining

drawn, will

are

the not less

masses,

refined

at

the

same.

in

mode

of

The general

The

relative

once distinguish them

as

the most perfect specimen of Turkish ornament with which

we

are acquainted,

Arabian.
in the

One

a portion of the decoration of the

great feature

modern decoration
examples where blue

of Turkish

of Cairo the
is

flowing

of

the

degree of fancy,
the

works of the

but reflective Arabian, or the unimaginative Turk.

tomb of Soliman

is

the

of interweaving forms,

the

in ancient

ornament

is

same thing

is

the

I.

at Constantinople

and nearly approaches

predominance of green and black

observed.

Green

is

and,

in

much more prominent than

chiefly used.
2

style

yet the eye readily

from a Greek.

distinguished

is

dome of

Plate
it

same way

the

in

in

remaining the same in the Persian, the Arabian, and the Turkish styles of ornament, there will

principles

the

of the

outside.

ornament having such a strong family resemblance as the Persian, Arabian, and Turkish;

be

common.

so

curve of the main stem; with Elizabethan ornament the swell often occurs indifferently on the inside

and on the
It

work which was

East, in imitation of the damascened

GRAMMAR

TURKISH

UK

-N?

PLATE

1.

mmm

XXAVI

AMMAR

OF

TURKISH

ORNAMENT

N .2.

PLATE

XXXVII

plate: xxxviii

TURKISH N3
FROM THE DOME OF THE TOMB OF SOLIMAN

CONSTANTINOPLE

Chapter X.

Plates

39, 40, 41, 42, 43.

MORESQUE OENAMENT.
FROM THE ALHAMBRA.

PLATE XXXIX.
INTERLACED ORNAMENTS.
1-5, 16, 18, are Borders on Mosaic Dados.

Square Stops

13, 15.

Plaster Ornaments, used as upright

enclosing Panels on the Walls.

6-12, 14.

and horizontal Bands

in the

Bands of the

Inscriptions.

Painted Ornament from the Great Arch in the Hall of the Boat.

17.

PLATE XL.
SPANDRELS OF ARCHES.
From
From
From

1.

2.
3.

the centre

Arch of the Court of the Lions.

Divan Hall of the Two

the Entrance to the

4.

From

the Entrance to the Court of the Fish-pond from the Hall of

the Boat.

Sisters.

the Entrance to the Court of the Lions from the Court of the

5, 6.

From

the Arches of the Hall of Justice.

Fish-pond.

PLATE

XLI.

LOZENGE DIAPERS.
Ornament

1.

in Panels

2.

from the Hall of the Boat.

from the Hall of the Ambassadors.
Arch, entrance

3.

in Spandril of

4.

in

Doorway

5.

in

Panels of the Hall of the Ambassadors,

6.

in Panels of the

7.

in Panels, Hall of the Abencerrages.

of the

to

8.

Court of Lions.

Divan Hall of the

Two

Ornament over Arches, entrance to the Court of

Ornaments in Panels, Court of the Mosque.

Lions.

9, 10.
1

Sisters.

12.

Court of the Mosque,

PLATE

Soffit of

Great Arch, entrance

Ornament Sides

of

to

Court of Fish-pond.

Windows, Upper Story, Hall

13.

in Spandrils of Arches,

14. 15.

in Panels,

16.

in Spandrils of Arches,

of

Two

Sisters.

Hall of the Abencerrages.

Hall of the Ambassadors.

Hall of the

Two

Sisters.

XLII.

SQUARE DIAPERS.
1.

Frieze over Columns, Court of the Lions.

2.

Panelling in

3.

4.

Windows, Hall of the Ambassadors.

of the centre Recess of the Hall of the Ambassadors.

Panelling on the Walls,

6.

PLATE

Tower

of the Captive.

on the Walls, House of Sanchez.

5.

Part of the Ceiling of the Portico of the Court of the Fish-pond.

XLIII.

MOSAICS.
Hall of the Ambassadors.

1.

Pilaster,

2.

Dado,

3.

Dado, Hall of the

4.

Pilaster,

5. 6.

ditto.

Two

Dados, Hall of the

Two

Sisters.

Hall of Justice.

7.

Pilaster,

8.

Dado, Hall of the

10

Sisters.

Hall of the Ambassadors.

Two

Sisters.

9.

Dado

in centre

Pilaster,

1 1

Dado, Hall of

12. 13.

Window, Hall

of the Ambassadors.

Hall of the Ambassadors.

10.

Justice.

Dados, Hall of the Ambassadors.

14.

From

a Column, Hall of Justice.

15.

Dado
Dado

in the Baths.

16.

in

Divan, Court of the Fish-pond.

MORESQUE ORNAMENT.
Our

illustrations

only because

it

of the ornament of the

Moors have been taken

we

the one of their works with which

is

which their marvellous system of decoration reached

in

summit of perfection of Moorish

to

Grammar

illustrate

of

as

art,

Ornament

that

as

are best acquainted, but also because

which every ornament

in

the Greeks,

Alhambra the

the

in

speaking art

the geometrical combinations

can find no work so fitted

a

contains

grammar

in

is

of the

Egyptians, the

Romans, the Byzantines, and the Arabs.

of the

Moors forbade; but the want was more than supplied by the
and complex involutions, and

curious

not only

delighted

the

when

imagination

of

The ornament
This the

inscriptions, which, addressing

themselves to the eye by their outward beauty, at once excited the intellect by the
their

itself.

grace and refinement

natural

wanted but one charm, which was the peculiar feature of the Egyptian ornament, symbolism.
religion of the

very

at the

is

of any other people

art

the one

is

it

but was by the Moors more universally and truly obeyed.

ever present here,

find

We

art.

Every principle which we can derive from the study of the ornamental

We

The Alhambra

culminating point.

its

Parthenon of Greek

the

is

from the Alhambra, not

exclusively

deciphering

difficulties of

read,

by the beauty of the

of the

beauty to which they

sentiments they expressed and the music of their composition.

To

the

gave a

and those provided with a mind

artist

they repeated, Look and

life

To

deeds of the king.

He

God, that

alone was

and that

conqueror,

builders

asserted

of

in

of

that

poetry,

wonderful

this

the inscriptions

wonderful domes

its

the stars

all

We
of the

have

general

principles

in

their

the

was

alone

due praise and glory.

Arabic inscription from the Alhambra.

were

aware

fully

building

this

of

the

surpassed

greatness

the

in

of their work.

other buildings;

all

playful

through envy of so much beauty;

light

and good

majesty,

was none powerful but

there

that

ever

for

who should study them with

he

endeavoured

obey the

which appear

principles

Moors

to

theirs

ever

alone,

regarded

construction,

but the

injunctions

of the

have guided

to

common

but

the forms only

that

exaggeration

and what

would reap the

attention

is

at

It

is

sight

of their

more

to

benefit

of a

to

poet,

Moors

the
all

and
in

will

the

attempt here to

explain

some

decoration of the

the best periods

of art.

The

Alhambra

principles

which

differ.

what we hold

construction, never to construct decoration,

from

no conqueror but God."

declaring

might,

decoration.

which are not

The

Him

to

structure

ceased

domes vanished and disappeared;

other

that

are everywhere the same;

1

never

on the walls, that

grew pale

our purpose, they declare

commentary on

is

value

the

the people they proclaimed the

the king himself they

" There

The

To

learn.

estimate

to

in

to

be the

first

principle

in

architecture to

Moorish architecture not only does the decoration

constructive

idea

is

decorate

arise naturally

out in every detail of the ornamentation of

carried

the surface.

We
eye,

believe

the intellect,

that

and

true

beauty in

architecture

the affections are satisfied,

from

This essay on the general principles of the ornamentation

results

from that " repose which

the absence of

of the Alhambra

is

any want"
partially

reprinted

When

the

mind feels when

an object

is

the

constructed

from the "Guide Book to the Alhambra

Court in the Crystal Palace," by the Author.

MORESQUE ORNAMENT.
falsely,

appearing to

repose,

and

derive or give support without doing either the one or the other,

Mohammadan

can

never

therefore

pretend

and Moors

races,

and

was observed in

is

disregarded;

an age

in

or,

of

of art;

copying,

which animated the

without the spirit

it

in

in

itself:

they do not stand alone:

this

when

only

the

like

may be

find a useless

or

They ever

the same principle

come

art declines that true principles

when

present,

the

be

to

works of the past are reproduced

the

originals.

grow out of each other

All lines

2.

the best periods

afford this

we never

rule;

this

it

to

and naturally from the surface decorated.

quietly

arises

regard the useful as a vehicle for the beautiful;

all

however harmonious

beauty,

have constantly regarded

especially,

ornament; every ornament

superfluous

true

to

fails

it

in gradual undulations

there are no excrescences

nothing could

be removed and leave the design equally good or better.

In a general sense,

word here

use the

construction be properly

if

a more

in

limited

attended

the general

sense:

could be no

there

to,

might follow truly the construction, and

lines

might be excrescences, such as knobs or bosses, which would not

yet there

and yet would be

beauty of form,

fatal to

violate the rule of construction,

they did not grow out gradually from the general

if

we

but

excrescences;

There can be no beauty of form, no perfect proportion or arrangement of

lines.

which does not produce

lines,

repose.

All

of curved lines

transitions

would cease

the transition

be agreeable

to

proportion to the curves,

in

a break
parallel

(as
to

in

an imaginary

depart from

to

case)

this

as

at

case

the

d,

must be gradual.

straight,

a were too deep

at

curves

separated by

are

and with the Moors

at

from

lines

always

(c) where the curves would be

the

in

the break

if

Where two

b.

they must,

line

as

this,

from curved, or of curved

eye, instead

Thus
J

J'

run

do,

tangential

to

each

other;

of following gradually

down

were either

for

the

would

curve,

run outwards, and repose would be lost*

The general forms were

3.

were then

for;

carried out this principle with the greatest refinement,

derive

their chief success

greatest

distinctness

on a closer inspection,

Harmony

4.

the

lines;

interstices

strike

we

see

of form

the

eye;

the

never interferes with

detail

we approach

as

all their

ornamentation

Their main divisions contrast and balance admirably;

observance.

its

and the harmony and beauty of

They

the

nearer,

general

the

form.

When

comes into the

detail

seen

the
a

at

composition;

further detail on the surface of the ornaments themselves.

still

appears

consist

to

proper

the

in

and contrast of the

balancing

the

straight,

and the curved.

inclined,

As

from

obtained;

is

the main lines

distance,

were subdivided by general

these

with ornament, which was again subdivided and enriched for closer inspection.

in

filled

cared

first

colour there

in

can be no perfect composition in which either of the

wanting, so in form, whether structural or decorative, there

of the three primary figures

wanting

is

and the

primary colours

is

can be no perfect composition in which either

and harmony

varieties

three

composition and design depend

in

on the various predominance and subordination of the three.f

In

surface

any

decoration,

arrangement

of

forms,

monotonous, and affords but imperfect pleasure;

and

now

you have
form

leading

at

add

the

to

follow

only

the

by

circles,

the
1

as at f,

eye

giving a circular

lines

harmony.

In

angular and curved are

the

square

the

straight

lines,

at
is

is

o a

9^e^
^O^

at once

tendency, as

case

this

of

which

lines

and you have

b,

only

o. o:

o
o -?
oxo o
o.
*& o
o.

c,

-X

the

e-K
vl/

subordinate.

>

vl/

>

produce the same result in adopting an angular composition,

as

for

complete

or tonic;

We may
d

Then add

consisting

a,

at

but introduce

tend to carry the eye towards the angles, as at

an increased pleasure.

as

has

lines

as

at

and we

e,

at

once

angular direction of the inclined lines;

and we have

now no

longer

more

still

the

correct

but unite these

perfect harmony,

any want that

These transitions were managed most perfectly by the Greeks in

tendency

i.e.

repose,

could be supplied.J
all

their mouldings,

which exhibit

this

refinement in the highest degree

so do

also the exquisite contours of their vases.

There can be no better example of

relation to each other.

counteracted by the angular or the curved

lines; so the gable contrasts

this

Gothic architecture also

:

harmony than the Greek

offers

thus, the

temple,

capping of the buttress

we

find

where the

illustrations of this principle

admirably with the curved window-head and

It is to the neglect of this obvious rule that

lines of papers generally

many

so

many

its

is

exactly

straight, the

angular, and the curved, are in most perfect

every tendency of lines to run in one direction

what

is

required to counteract the

is

immediately

upward tendency of the

straight

perpendicular mullions.

failures

in

paper-hangings, carpets, and more especially articles of costume

run through the ceiling most disagreeably, because the straight

is

not

corrected

the

by the angular, or the angular by the curved

3

MORESQUE ORNAMENT.
In

5.

however

the

surface

decoration

can be traced to

distant,

Moors

of the

and

branch

its

flow out

lines

all

of a parent

stem:

They have the happy

root.

every ornament,

adapting

of so

art

the

ornament to the surface decorated, that the ornament as often appears

to have suggested the general form
as to have been suggested by it.
In all cases, we find the foliage flowing out of a parent stem, and

we

are

never

offended,

as

down, without a reason

commence by

dividing

modern

in

for

existence.

its

equal

into

it

by the random introduction of an ornament just dotted

However irregular the space they have to fill, they always
and round these trunk-lines they fill in their detail, but

practice,

areas,

invariably return to their parent stem.

They

we

see

stem

appear

the

to

extremities,

even

distribution,

stem,

we may

as

see

in

The

parent

see

in proportion

perfection;

the

are

a series

the

So,

distribute

main

again,

which

lines,

minute

of

filling- in

another principle;

the

how

example

beautifully

Greeks

these

all

generally the

is

one

out

from

of the cactus

with

case

other

the

in

equal

from

marvellous

We

ornament.

which

ornament,

ornament;

continuous

the

and how each area

where one

tribe,

Greek
a

of

radiate

lines

principle with

this

Chapter IV., a peculiarity of Greek

plants

law

is

leaf.

honeysuckle

their

each area

sap- feeders.

towards the extremities,

in

as

leaf

that of radiation from the parent

The Orientals carry out

the

as

parent

the
the

same

the

nature,

from

sap

would divide

follow

all

of

minor divisions;

the

of

that

to

the

stem

hand, or in a chestnut

leaf.

did

in

This

growing

of leaves

most

principle of the

of another.
scrolls

areas.

to

the

each leaf diminishes

also

already remarked,
to follow

the

in

to

so

evident

is

human

being

object

follow

also

how

stem;

it

the

to

Moors

may

the

intermediate

nature with the

We
is

by

work by a process analogous

to

into equal

subdivided

6.

this

vine-leaf;

may be

near as
again

the

in

in

acanthus

whilst

line,

appears

grows out

leaf

the

have

leaf-

the Arabian

and Moresque ornaments always grow out of a continuous stem.

7^ All junctions of curved
other;

which

may
shall

Many

these

find

of a feather
in

laws

of

equal

and

perfect

all

in

ornaments

radiation

on the same principle

are

the articulations

of every leaf;

ornamentation, which

we have

distribution,

attention

call

we

eye to

to

the nature

we

from

parent

stem,

the

call

before described constitutes

of the exquisite curves in use

its

and to
graceful.

this
It

harmony.

continuity

of

line,

and

case,

detect

;*

that in the

of the higher order,

by the Arabs and Moors.

think that those proportions will be the most beautiful which

so

we

think that

where the mechanical process of describing them

universally the

Moorish

the

ever present in natural leaves.

proportion,

the

for

of

be called the melody of form, as what

would

As with
difficult

be a law found everywhere in nature, and the Oriental practice

it.

observable in the lines

is

curvature,

We

8.

consider to

due that additional charm found

is

tangential

we

always in accordance with

is

We

also

this

with curved, or of curved with straight, should be tangential to each

lines

compositions

be least

shall

best periods of art,

such as the conic sections;

those

of

curves will

apparent;

and we

it

be most

will

be most agreeable,
shall

find

to be
mouldings and ornaments were founded on curves

all

when

whilst,

art

declined,

circles

it

and compass-work were

much more dominant.

The
all

researches of Mr. Penrose have

of curves of

portions

exquisite curves of the

architecture,
as

very high order,

and that segments of

circles

lines

in the

this

curves of a high

refinement

order;

is

and

lost;

we

the

find,

Romans were probably

therefore,

their

Parthenon are

were very rarely used.

Greek vases are well known, and here we never find portions of

on the contrary,

appreciate

to

shown that the mouldings and curved

as

circles.

little

able

In
to

mouldings mostly parts of

The

Roman
describe
circles,

which could be struck with compasses.

so of carpets, the lines of carpets are constantly

running in one direction only, carrying the eye right through the walls
of the apartment.
Again to
human form a custom detrimental to the public taste, and gradually
lowering the tone of the eye for form of this generation. If children were born and bred to the sound of
hurdy-gurdies grinding out of tune, their ears
would no doubt suffer deterioration, and they would lose their sensibility to the harmonious in sound.
This, then, is what is certainly taking' place
with
regard to form, and it requires the most strenuous efforts to be made by all who would take an interest in the
welfare of the rising generation to put a
this

we owe

stop to

all

those abominable checks and plaids which constantly disfigure the

it.

All compositions of squares or of

are

very apparent.

circles will be monotonous, and afford but little pleasure, because the
means whereby they are produced
So we think that compositions distributed in equal lines or divisions will be less beautiful than
those which require

a higher

mental

effort to appreciate

them.

MORESQUE ORNAMENT.
In

the

more
would

later

which

period,

from

departs

Greek Art,

to

by the Mohammadan

delighted in

it

the

in

common

(a)

curve

is

much

so

than

tracery would

the

period,

appear

has

have

to

most

much

been

appropriately

been

less

the

termed

the

from the immoderate use of compass-work.

Geometrical,

Here

Gothic

of the

compass - work

of

offspring

works

early

which

curve

the

This becomes graceful the

races.

of two

union

the

Gothic period, and

the

to

parts

of circles

give.

9.

charm

further

still

is

found in the works of the Arabs and Moors v

from their conventional treatment of ornament, which, forbidden as they were by their creed to represent
forms,

living

they

carried

avoided a direct transcript;

In

by the

ideal

Thus,

They

perfection.

worked

ever

every period

in

of faith in

worked, but

nature

as

do, attempt

art,

always

copy her works.

to

ornamentation was ennobled

all

never was the sense of propriety violated by a too faithful representation of nature.

Egypt,

in

carved in stone was never such

a lotus

an one as you

conventional representation perfectly in keeping with the architectural

it

we

they took her principles, but did not, as

they do not stand alone;

again,

this,

highest

the

to

was a symbol of the power of the king over countries where the

might have

members of which

plucked, but a

formed a part;

it

grew, and added poetry to what

lotus

would otherwise have been a rude support.

The

colossal

representations
his

Egyptians were not

of the

of Majesty,

men

little

on a large

carved

which were symbolised the power of the monarch, and

in

but architectural

scale,

abiding love of

his

people.

In Greek
in

statues

the ornaments, no longer symbols, as in

art,

sculpture

their

applied to

they adopted

architecture,

Egypt, were
conventional

and

further conventionalised;

still

of pose and relief

both

treatment

very different to that of their isolated works.

In

the

imitation
in

best

periods

of nature

Gothic

of

never attempted;

is

the

art

floral

but as

ornaments

treated

they became

declined,

art

are

and

conventionally,

direct

and more direct

idealised,

less

imitation.

The same

conventionally

first

had

transmitted,

In
tints,

the

with

may be

decline

but

early

the

as

own

their

traced in stained glass, where

art

MSS.

ornaments were

the

shade and no shadow;

little

and

figures

which

through

draperies,

was

light

to

be

and shadows.

shades

illuminated

declined,

both figures and ornaments were treated at

whilst

in

and

conventional,

those

of

the

were

illuminations

in

flat

period highly -finished representations

later

of natural flowers were used as ornament, casting their shadows on the page.

ON THE COLOURING OF MORESQUE ORNAMENT.

When we
so

with colour,

they held in
styles
all

examine the system of colouring adopted by the Moors, we

of art, practised

somewhat of a

who have

those nations

all

during periods of

the

faith,

the

practised

with

arts

same true principles prevail

temporary character, we yet discern in

local or

find,

that

with form,

as

founded on observation of nature's laws, and which

they followed certain fixed principles,

common with

shall

much

all

that

In

success.

archaic

all

and although we

and immutable

eternal

is

find in

the same grand ideas embodied in different forms, and expressed, so to speak, in a different language.

The

10.

ancients

always used colour

to

assist in the development of form,

always employed

it

a further

as

means of bringing out the constructive features of a building.

Thus,
the

capital,

appearance

in

the

buds

Egyptian column, the base

and flowers

strength

of

in

of

the

the

of which
or

lotus

the

represented

papyrus,

the

root

the

colours were

several

column was increased, and the contours

shaft,

the

stalk

applied

so

of the various

lines

the

that

more

the
fully

developed.

Gothic architecture,

In

panel- work

present

and tracery;

colourless

elevation

was

still

and

condition
further

this

art,

again,

it

of the

always employed

effected

to

buildings.

also

In

the

helped to define

we always

find

the

to

assist

an extent of which

increased by upward-running

apparent height of the column,

In Oriental

colour was

also,

slender
spiral

its

it

shafts

lines

developing

in

is

of

difficult

their

forms

of

the

form an

idea, in the

edifices,

the idea of

lofty

of colour, which, while adding to

the

form.

constructive

lines

of the building

an apparent additional height, length, breadth, or bulk always results from

10

to

the

its

well

defined

judicious

by colour;

application
5

and

MORESQUE ORNAMENT.
ornaments

the

with

without

relief

in

have

artists

form

of

transition

by

more

as

the

monotonous

It

aspect.

in

glorious

sun,

parent of

11.

The

colours

secondary

The

purple,

colours,

and

stalks,

every change of form

and

lashes,

the

distinctness,

and

the eyelids,

producing

in

assist

all

producing

in

leaves

their

figure

eyes,

from which

grass

the

which

in

and the

springs,

it

shines.

it

and

green,

form as well

in

indistinct

that perfects the modelling and defines

employed by the Moors on their stucco-work were,

and yellow (gold).

assist

the absence or impairment of these colours,

from

lily

from the firmament

colour,

all

the

the boundless variety of her tints

is

to

would have been

they

objects,

all

as

proper meaning and expression.

of their

features

colour to

cheek,

know how much

all

whose works every

human

the

the hair,

the

of

detaching equally the modest

each;

of

outline

red,

We

deprive the

to

contributes

nature applied but one

Had
as

the rosy bloom

lips,

visibly bringing out the form.

sickness,

in

the

of

sanguine complexion

in

by colour from
in

also

of

colour

the

thus

change of colour;

So

which they grow.

in

Nature,

disposed

so

colour,

separated

are

of

inspiration

of

modification

example, flowers

For

and these again from the earth

marked

by

accompanied

is

guiding

the

followed

but

this

in

of expression.

distinctness

in

altogether lost

it.

The

is

new forms which would have been

constantly

developes

it

in

only

occur

orange,

the primaries,

cases,

all

Mosaic dados,

the

in

blue,

It is true
the more brilliant colouring above.
which, being5 near the eye, formed a point of repose from
the ornaments are found to be green; it will always
that, at the present day, the grounds of many of
originally employed was blue, which, being
be found, however, on a minute examination, that the colour
This is proved by the presence of the
of time.
a metallic pigment, has become green from the effects

made by the

may be remarked

almost

were

colours

among

that,

we

the

secondary colours became of more

found

are

in

Thus, in Egypt, in Pharaonic

importance.

the Ptolemaic temples, the

primary colours, whilst

the

so also on

secondary;

and

shade

every variety of

Pompeii

at

whilst,

art;

of

periods

early

the

during

employed,

exclusively

It

and the Moors, the primary

and the Greeks, the Arabs

primary colours predominating;

find the

Greek temples

early

not

if

and purple.

both green

were repainted

ornaments

which were

also,

the restorations,

in

crevices:

the

in

of the

Egyptians

the

entirely,

during the decadence, the

temples,

grounds

the

kings,

Catholic

everywhere

which occur

colour,

of blue

particles

tone was employed.

where blue would have been used

This

though

glass,

we have

other

secondary

on the

and

of shade

Moors,

as

a general

and

tertiary

on

the

earth;

also

as

the

in

in

rule,

flowers,

The

the

fact,

that

building,

secondary

would necessarily be coloured green;

temple

Egyptian

of an

Pharaonic

of the

In

from

and lotus

give

leaf capitals

from

roof,

convince us that

light

they

felt

dark,

to
it

as

gives

Roman

Although

especially,

are

at

the
the

ornaments

in

later

whilst

stained

times

upper portions

of objects,

we

ending with the tertiaries

on the

and

buds

flowers,

law

law.

which

temples,

is

true

primaries

the

more

periods

but this

arises

we do

see

from

the

were used on the upper part of a

leaf

lotus

In Egypt, however,

in

the main;

above

especially,

the

general

aspect

and the secondaries below;

this

order

was

and

inverted,

superabundance of green in the upper portions of the temples.

ending

examples of black immediately under the

13.

the

fields,

art.

the

of

Pompeii we find sometimes in the interior of the houses

the

periods

if

but the

period

but in the buildings of the Ptolemaic and

the palm

and

of

periods

best

upper portions

the

ornaments in Egypt were symbolical;

it

in

stalks.

used in

green

on

primaries

the

find

generally

always observed this rule in the

ancients

occasionally

we

where

and the secondaries on the leaves and

and

be in accordance with a natural law;

to

secondary green in the trees and

sky, the

used;

chiefly

primary colours were used

the

This also appears

lower.

were

primaries

the

manuscripts

early

the

but rarely used with equal success.

tint,

the

In

Middle Ages.

the

of

were not excluded,

colours

have the primary blue

times.

earlier

the works

of

true

every variety

With

12.

the

equally

is

in

green constantly appearing side by side with red,

we have

In modern Cairo, and in the East generally,

with

We

black

but

downwards

a gradual gradation of colour

this

is

by no means so universal

have already shown in Chapter V. that there

as

to

are

many

the

Lions

ceiling.

are

found

in

the

Alhambra,

present day covered with several thin coats

and

in

the

Court

of

of the whitewash which has

at various

been applied to them, we may be said to have authority for the whole of the colouring of our

reproduction

for

not only

may

the colours be seen

in

the

interstices

of the ornaments in

many
6

places

MORESQUE ORNAMENT.
by scaling
that anv

the whitewash, but the colouring U1f

the
cne A1
Alhamh
a
namora *o
=
was carried
out on
one who will make this a studv Can
can Wlth
with almost
al e + absolute
i
i
}
off

certainty,

>

in

white,

define

once

at

so

perfect

system,

time a piece of Moorish ornament

first

on being shown for the

the

manner* in which it was coloured.

designed with reference to their
subsequent colouring, that
the surface alone will indicate the colours they were
destined to receive.
Thus, in using the colours
blue, red, and gold, they took care to place them
in such positions that they
should be best seen in
themselves, and add most to the general effect.
On moulded surfaces they placed red, the strongest colour
three
xn
the
the
depths,
where
it might be softened by
of
shadow, never on the surface; blue in the shade,
and gold on all surfaces exposed to light ; for it is evident that
by this arrangement alone could their
true value be obtained.
The several colours are either separated by white
bands, or by the shadow
caused by the relief of the ornament itself-and this appears to
be an absolute principle required in
colouring colours should never be allowed to impinge upon each other.

So completely were

In colouring the grounds of the various diapers the blue

always occupies the largest area; and
in accordance with the theory of optics, and the
experiments which have been made with the

14.
this

is

prismatic

The rays

spectrum.

and 8 blue;

5 red,

thus,

produce a harmonious
the

the architectural forms

all

"Alhambra/'
increased,

further

requires

it

quantity of

and prevent the

effect,

yellow

of light are said to neutralise

by

replaced

is

equal

the

to

which

of the

towards

tends

of 3 yellow,

and yellow put together

red

predominance of any one

gold,

counteract the tendency

to

blue

each other in the proportions

colour over the others.

reddish-yellow,

red to overpower the

the

to

As

blue

is

in
still

other colours.

INTERLACED PATTERNS.

We

have

already

suggested,

Chapter

in

the

IV.,

probability

that

immense

the

Moorish

of

variety

ornaments, which are formed by the intersection of

'ig/BKmmBamKR

equidistant lines, could be traced through the Arabian

to the

Greek

The ornaments on

fret.

two general

are constructed on

16-18, are constructed

No.

No.

1),

In the

XXXIX.

is

are

lines

equidistant

be

infinite,

increased

The number

and

be

will

it

of patterns

on

seen,

MS
Diagram No.

by the mode of colouring

we have engraved might be made

other general

equidistant,

Plate

to

XXXIX.,

ground or the surface

the
to

are

change

iHngruin

1.

and the diagonal

aspect,

its

that

by bringing

the

variety

Any one

lines.

into

lines

No

-.

cross only each

two systems would appear

can be produced by these

that

reference

<iRK3

>> :-'

But the system on which No. 14

square.

dia-

constructed, the perpendicular and horizontal lines

alternate

.it

2).

gonally crossed by horizontal and perpendicular lines

on each square.

in

on one principle (Diagram

the

series

-ar.iav.a.ar.B .r.i <*r

MIKIf.lIt.lltlliaiKlltlXII <I1'4IIIIII

principles; Nos. 1-12,

on the other (Diagram No.

14

first

Plate

may be

to

further

still

which

of these patterns

prominence different chains or

masses.

LOZENGE DIAPERS.
The
the

general

of Plate

effect

ornament of the

collection,

various

for

upon

principles

another,

the

flowing off of the

division

think,

at

of but three

once justify the superiority

colours,

it

and possesses a peculiar charm which

which we

gradual

we

will,

Composed

Moors.

any other in our

XLI.

have

transitions

the

contended,

from

curve

to

constructive
curve,

the

is

we have claimed

more harmonious and

all

idea

the others

fail

to

effective

approach.

whereby each leading

tangential

curvatures

of

line

for

than

The
rests

the lines,

the

ornaments from a parent stem, the tracing of each flower to its branch and root, the
every ornament on the page.
of general lines, will readily be perceived in

and subdivision

SQUARE DIAPERS.
The ornament No.
produce repose the

1,

lines

on Plate XLIL,
of a

is

good example of the principle we contend

composition should contain in equilibrium the straight, the

for,

inclined,

that

to

and the

MORESQUE ORNAMENT.

We

curved.

in

opposite

any direction

is

immediately corrected by lines

upon the patterns

centres,

So that the most perfect repose

directions.

the

obtained,

again

contrasted

circles

produces

eye

most cheerful and

strikes

and ornamental panels and

of the inscriptions

feathers,

by

tendency of the eye to run in

giving an opposite tendency, and wherever the

ground by the blue

red

the

over

being carried

is

The blue ground

dwell.

to

inclined

is

it

and diagonally,

perpendicularly,

running horizontally,

have lines

brilliant

effect.

The

leading

ornaments on Plate

XXXIX.

by the arrangement

of the

by form

that produced

Pattern No.

the

are

will

it

produced

be seen

and how,

coloured grounds;

how

by

also,

the

way

same

the

in

repose

as

the

of the pattern

interlaced
is

obtained

means an additional pattern

this

besides

from the arrangement of the colours.

a

of

portion

produced by divisions of the

in

2-4

Nos.

In Nos. 2 and 4

results

is

ornaments

the

of

lines

which

of

ceiling,

there

crossed by intersecting squares.

circle

Koran,

copy from the illuminated

Plate

XXXIV., and

immense

are

It

is

the

in

Alhambra,

the same principle which exists

common on

very

also

is

varieties

the

ceilings of

Arabian houses.

The ornament No.

constructed.
design,

one

repetition

of extreme delicacy,

is

being similar,

All the pieces

it

and

illustrates

one

of

the

to

it is

most important principles in Moorish

the general

happy

result,

viz.,

that

by the

of a few simple elements the most beautiful and complicated effects were produced.
disguised,

the

whole of the ornamentation

Their fondness for geometrical forms

imagination had

full

play.

is

However complicated the patterns on

of equidistant lines round fixed centres.

on the other

side,

system

and

is

may be

of

the

Moors

No.

is

is

Plate

once understood.

constructed on the

the principle which produces the greatest variety

said

to

be

infinite.

constructed geometrically.

is

made

evidenced by the great use they

very simple when the principle of setting them out

this

remarkable for the ingenious system on which

which more perhaps than any other contributed

However much

on

is

of mosaics, in which their

XLIII. may appear, they are

They

all

arise

principle of
;

in fact,

all

from the intersection

Diagram No.

2,

cited

geometrical combinations

IAR

ORNAMENT

MORESQUE

NI

r r r/
t

G RAM-MAR

RN M ^ M 7

MORES

LA'

GRAMMAR

OF

GRNAMEN

MORESQUE

NO

PLATE X

AMMAR

OF

ORNAMEN

[.[ORES QUE

-r

'or k

AM MAR

OF

ORNAMENT.

PLATE

""""SB hhhH
P$&dtt K+++H

w w#

WW*
Wi**

T<<
13

MORESQUE

5.

XLI11

___

^h

Chapter XI. Plates

44, 45, 46, 47, 48.

PERSIAN OENAMENT.
PLATES XLIV. XLV. XLVI.
Ornaments from Persian MSS;

PLATE

PLATE
From

as

the

does

animal

and

and

life,

want, and therefore

and Turkish

have

appear to

it

is

reached

ever

With

and

is

unlike

Persians,

and

the Arabs

life

their structures,

even

felt in

portions of the Alhambra.

style.

The

affinity

less

free

decoration led to

is

similar to the Arabian,

The

to

pure than
introduce

much

is

in

mixed

panels

Mohammadan
groups

style;

of conventional

is

an example of

and probably

referred to.

The geometrical
less

countries,

would

readily

this

of natural flowers

Arabian ornament.

mixed

the outside

style.
is

are

The

In a book-cover

treated

in

the pure

quite Persian in character.

Plate XLIV., from illuminated

with the Arabian, but are

MSS.

patterns

in the

British

Museum, present

are purely conventional

perfect in distribution.

grounds of pictures, representing tapestry on the walls

also the

mixed

ornament, and have great

Nos. 1-10, on the contrary, are from back-

they possess great elegance, and the masses are well

contrasted with the grounds.

11

less

great attention paid to the illuminating

also feels this ever-present influence of the Persian

Arabian manner, whilst the inside (Plate LIV.)

we have

this

exhibit

enclosed

from the India House (Plates LIII. and LIV.)

character

much

decorations of the houses of Cairo and Damascus, the mosques

especially,

growing from a vase and

The ornaments on

features

constructive

and reached a higher point of elaboration.

combining the conventional, which

and fountains of Constantinople more

ornament of modern India

the Arabian

with an attempt at the natural which sometimes has influenced both the Arabian

spread the influence of this mixed

found

the

all

Moors, were

their

in

of

the general outlines are

features,

the

of manuscripts in Persia, which, doubtless, were widely disseminated in

constantly

perfection

the Arabs and Moors, ornaments with their inscriptions had to supply every

a mixed style
origin,

the

be a great want of elegance in

became of more importance in

common

styles,

to

mixing up of subjects drawn from real

pure style of ornament.

derived from a

The

Moresque.

this

Persian ornament

the representations published in Flandin

we may judge from

if

Their system of ornamentation also appears to us

compared with those of Cairo.

Arabian

not

and there would appear

pure,

less

,,

XLVIII.

Although presenting considerable grandeur in the main

buildings of Cairo.

much

XLVII.

MS. Marlborough House.

Persian

architecture of Persia,

and Coste's "Voyages en Perse,

Museum.

a Persian Manufacturer's Pattern-Book, Marlborough House.

From

The Mohammadan

in the British

PERSIAN ORNAMENT.
The

on Plate XLV. are

patterns

intended for glazed

will

be observed

dominant than

in

the Arabian

both in the distribution of form and in the arrangement of colour

Plate

XXXIV.), or

(Plate

much more

XLVI. have

common ornaments

great similarity will be found in

much

for the

numerous

variety to be found in these,

Moresque, where blue, red, and gold, are the

the

in

seen at a glance, with much-increased

may be

prevailing harmonies, and, as

23-25, are very

inferiority,

throughout our Persian subjects, the secondary and tertiary colours are

that,

The ornaments on

Compared with the Arabian and Moresque

abundantly used by the Persians.

marked

mosaics, they exhibit a

it

so

tiles

and dados, and probably were

of pavements

representations

chiefly

as

greater

affinity

effect.

with the Arabian:

Nos.

heads of chapters in Persian MSS., indeed there

Compared with the Arabian MSS.

they are.

16,

7,

is

17,

but

21,

little

(Plate XXIV.), a

the leading lines of the construction of the ornaments, and also in the

all

surface decoration of the ornaments themselves

but the masses are much

less

evenly distributed.

However

the same general principles prevail.

XLVII.

Plate
to

be

arranged

is

very curious Persian book at Marlborough

The designs

are used

natural flowers

exhibit

as

decoration,

throughout,

that

MSS.

later

floral

papers and

so

much

we have

simplicity

and Plate XLVIII.

floral carpets

of

inferior to the

in

LXXIII.

modern

conjunction with the

considered as characteristic of the Persian style,

Arabian and the Moresque.

MMMB^^H

great

of the Medieval School, see Plate

mixed character of pure ornament, arranged

rendering of natural forms, which

it

this Plate

is

times.

the top of Plate XLVIII., which forms the title-page to the book as well as the borders

present

think, renders

Both

and there

conventional rendering, reached, but not exceeded.

this

without falling under that reproach so justly due to the

at

elegance,

House, which appears

and subjected to a geometrical arrangement, they can have

was the case with the

neither shade nor shadow, as

The ornament

much

in the conventional rendering of natural flowers.

showing the extreme limit of

are very valuable, as

When

pattern-book.

manufacturer's

and ingenuity displayed

from

__^^^^^

ornamental

and which, we

A^

xx

x ^

xx

xx'x,

s \
x X

\^ X

X.

* r-"
-1

T
PLATE

Mm

4^

Hr
xfe

:fc

>

v,

S^a
fia

feS
I

-*

* * *

12

If

/W-;

PERSIAN
M MSS. OF

>

rr

16 th
t

N"

& 17 CENTURIES

XLft

GRAMMAR

ORNAMENT

OF

^^nT^^
/

>

r\

^^^^^

/^

PLATE XLV

f \

^^^^^

/\ I

^^^^ ^^^

tJHU
S

/^^ \/^W

^A

^totoioxoiojoioioiok

AvCXxvC
I+iXj+l

+X + y\ + X +

l JTxl+ JC
+

^^^^-^>V-<^T<A>-<C>^<>X<>X<C>^<>^^

*'
PERSIAN N2
FRG M

OF THE I<5&17* CENTURIES

INk PS

GRAMMAR

OF ORNAMEN

PERSIAN N

GRAMMAR

OF

ORNAMENT
PLATE

PER Si

TO

XLV1I

GRAMMAR

OF

ORNAMENT

PERSIAN N5

PLATE

XLVI1I

Chapter XII. Plates

49, 50, 51, 52, 53, 54, 55.

INDIAN OENAMENT.
FROM THE EXHIBITIONS OF

1851

AND

1855.

PLATE XLIX.
Ornaments from Works

in Metal, exhibited in the Indian Collection in 1851.

PLATES

L. LI. LII.

Ornaments from Embroidered and Woven Fabrics, and Paintings on Vases, exhibited

in the

Indian Collection in 1851, and

now

at

Marlborough House.

PLATES

LIII. LIV.

Specimens of Painted Lacquer -work, from the Collection

PLATE

LV.

Ornaments from Woven and Embroidered Fabrics, and Painted Boxes, exhibited

The
attention

Exhibition of the

was directed

Amid
of so

the

much

to

the gorgeous

of design,

refinement in the execution,

much

so
as

in

and the
the

public,

works

irrespective

of fitness,

Tunis,

contributed

of the vast
that

all

and judgment
in

application of Art to manufactures, the

in its application, with so

the works, not only

all

of elegance and

but of

its

all

the

nations

there

could

other
artists,

fruits.

of

Europe, there

was

everywhere

principle in the application of Art to manufactures,

structure

design was

of India,

much

presence

Egypt, and Turkey, excited a degree of attention from

by the various

common

1855.

of India.

which has not been without

observed an entire absence of any

one end to the other

skill

in the Indian Collection at Paris in

Nations in 1851 was barely opened to the public ere

all

contributions

was observable

contributing countries,

manufacturers,

Whilst

of Industry of

general disorder everywhere apparent in the

unity

Mohammadan

Works

House.

at the India

be found but a

fruitless

struggle

to

be

whilst from
after

novelty,

based upon a system of copying and misapplying the received

forms of beauty of every bygone style of Art, without one single attempt to produce an Art in harmony

with our present wants and means of production

the

carver in

stone, the

worker

in

metal, the weaver

and the painter, borrowing from each other, and alternately misapplying the forms peculiarly appropriate
each

there
12

were to be found

in

isolated collections

at

the four corners of the transepts

all

to

the principles,
,

INDIAN ORNAMENT.
the unity,

all

we had looked elsewhere

the truth, for which

all

a people practising an art which had grown up with their

United by a common

Moors, who created the Alhambra

mixed population over which they

rule

art,

their growth.

expression varying in each

this

The Tunisian

Turk exhibiting the same

the

we were amongst

and strengthened with

civilisation,

each nation was subject.

the influence to which

according to

because

this

had necessarily a common expression,

art

their

faith,

and

in vain,

retaining the

still

of the

art

but modified by the character of the

uniting the severe forms of Arabian art with the graces

the Indian

of Persian refinement.

Ornament

work

find everywhere at

From

be found in the productions of India.

are equally to

most elaborate work of the loom,

we

which we have already observed

of the distribution of form

All the laws

form, the same absence of

same guiding

the

there

general lines, which form the charms of Moresque ornament,

the

style

The same

somewhat more flowing and

conventionalised,

less

division

and subdivision of

their

equally to be found here; the difference which

is

In the Indian style ornaments are

not one of principle, but of individual expression.

is

toy or earthen vessel,

child's

always the same care for the general

is

without purpose, nor that could be removed without disadvantage.

creates

of embroidery, or

ornament; we find nothing that has been added

superfluous

excrescences or

all

principles,

work

the highest

and decorating of a

constructing

the

to

Arabian and Moresque

in the

and have, doubtless, been more subjected

to direct Persian

influence.

The ornaments

on

variety exhibited in 1851, and

of the

way

in

remarkable for great elegance of outline, and for such a judicious treatment

all

it is

which are treated

8,

of nature

imitation

direct

unnecessary

4, 5, 6,

1,

which the full-blown flower

back of the

leaf in

No.

general form.

are

these latter

one strictly architectural and conventional:

No.

in

intention

of the

object decorated

unity of the surface of the

artist

fully expressed

is

not destroyed, as

is

the European method of making the flower as near like a natural flower as possible,

and shade and shadow, tempting you

to pluck

seen a similar treatment of natural flowers

in

this

In

the

judgment

is

narrow

the

application

of

at

the

The ornament

shown.

always
necks

of

the

Hookhas

are

is

the

the lower

at

same time, forming a continuous

Whenever narrow

to

the

small

pendent

edge, again, appear

excited universal

fabrics,

admiration in

so as to

perfect

that

obtain what they

in the production of our Plates

is

able

to

it

the

ground;

be found the most

there

is

greatest

on

occupies;

it.

lost sight of.

on Plate

1,

exhibit

Indians

grounds, the

The way

in

all

in

is

show the

nicest

colours

that

viz.,

very remarkable.

amount of ornament

that

perfectly

instinct

from an embroidered

L.,

the

gold

coloured

embroidery
to

The Indian

collection

harmonised

it

is

objects

copy
in

all

when

due regard to economy

at

we have

not always

Marlborough House

any way connected with the production of woven

brilliant

an

which the colours are fused

always appear to seek,

In this

fabrics.

impossible to find there

adjustment of the massing of the ornament to the colour of

every colour or tint from the palest

receiving just the

it

was beyond the power of a European hand

obtain the proper balance of colour.

All the examples

moment

never for a

has necessarily limited the number of printings, and

should be visited and studied by

discord.

be

forms of the base are

swelling

The exact balance obtained by

1851.

viewed at a distance should present a neutralised bloom,

collection will

will

ornaments having an upward tendency,

The ornament No.

with the same complete balance of form and colour.

therefore been

light

round the form to prevent the eye running out of

line

marvellous.

perfectly

on the green and red grounds, was so

woven

the

flowers,

the

objects

of the

portions

different

invariably in perfect scale with the position

the general repose of the decoration

and perfection of drawing

their

own

On the Persian, Plate XLVIL,

shows how much of Persian influence

In the equal distribution of the surface ornament over the

it

its

flowing borders are used, as in No. 24, they are contrasted by others with lines flowing in

an opposite direction

saddle-cloth,

with

would be by

surface.

comparison

ornaments

various

the

occupied by the larger patterns;

and,

the

from the

it

by means

of India.

style

floral

it

The ingenious

three positions in Nos. 14 and 15, the folding

15, in

The

showing how

lessons

very valuable

us

to

indicate the general idea of a flower.

more than

to

shown

is

the

diagrams; and the other, such as Nos. 13, 14, 15, in which a

are very suggestive.

20,

The

as simple as elegant.

as

attempted:

is

any work of decoration

for

an immense

there was

Hookhas, of which

from

taken

chiefly

be seen that there are two kinds of ornament,

such as Nos.

more

are

decoration that every ornament tended to farther develope the

surface

It will

XL1X.

Plate

it

is

and most

delicate

to

the

deepest and

richest

adapted to bear.
2

shades,

INDIAN ORNAMENT.
The following general

When

1.

ground

When

2.

into

which are applicable to

Where

the gold

is

When

3.-

woven

ornament alone

a gold

observed:

is

used in large masses, there the

is

lighter

and more

delicate.

on a coloured ground, the colour of the ground

used

is

in the

ground-colours on the gold

When, on

the contrary, ornaments

in

all

carried

is

itself.

ornaments in one colour are on a ground of a contrasting colour, the ornament

from the ground by an edging of a lighter colour, to prevent

4.

may be

fabrics,

used more thinly, there the ground

by ornaments or hatchings worked

it

all

gold ornaments are used on a coloured ground, where gold

darkest.

is

rules,

separated

is

harshness of contrast.

colour are on a gold ground, the ornaments are separated

from the gold ground by an edging of a darker colour, to prevent the gold overpowering the ornament.
See
No. 10, Plate L.
In other cases, where varieties of colour are used on a coloured ground, a general outline of gold,

5.

of silver,

or

of

white

or

yellow

separates

silk,

ornament from the

the

ground,

giving

general

tone

throughout.

In carpets and low-toned combinations of colour, a black general outline

The

object always

not harshly, denned;

each
are

step

nearer

appears to be, in the

that coloured objects

should

exhibit

fresh

woven

viewed

at

distance
close

this purpose.

ornament should be

fabrics especially, that each

and a

beauties;

used for

is

softly,

should present a neutralised bloom;

inspection,

the

means whereby these

that

effects

produced.

In this they do but carry out the same principles of surface decoration which
of the Arabs and Moors.

The

we

find in the architecture

spandril of a Moorish arch, and an Indian shawl, are

constructed precisely

on the same principles.

The ornament on No.

example

of painted

distribution

of the

the lines of the

cover,

No.

2,

decoration.

flowers

stalks,

Plate

Plate

3,

The

over the

place

it

LIII.,

far

from

general proportions
surface,

Persian.

marked

the outside

the

India

leading

lines

before any European effort of this class.

LV., the ornaments are

styles,

of

the

less

Plate

LIV.,

House,

conventional
flat

surface

in
!

their

the

On

treatment;

is

perfect

very

brilliant

the

skilful

continuity

of

the inside of the same

but

how charmingly

This book-cover offers in

being after the Arabian manner,

the pattern,

of

notwithstanding the intricacy,

and,

observed the limit of the treatment of flowers on a

of two

book-cover at

and the

itself a

inside

is

specimen
after

the

GRAMMAR

OF

INDIAN

ORNAMENT

W.I

PLATE

XLIX

GRAMMAR

OF QRNAM

PLATE

m
^j + j j 4

J>

jy

J J ***-**

INDIAN N

* J

* 4

*>

^ J

* *

t* **

**

^ * * * ^ * * *

~* <*

** **

* * * * * w w

CRAM MAR

OF

INDIAN

ORNAMENT

.ATE

LI

GRAMMAR

OF

OR NAM i

INDIAN- N 4

Jl

T
x

PLATE

RAM

'

p-

D.

MO K
:

>i

v_y

..

GRAMMAR OF GRNAMEN

[NDIAN

M6

PLATE LIV

GRAMMAR

OF

INDIAN

ORNAMENT

::

PLATE

LV

Chapter XIII.

Plates

56, 57, 58.

HINDOO OENAMENT.
PLATE LVL
Ornaments from a Statue

PLATE
1.

Burmese, of Glass.

2.

Burmese Shrine.
Burmese Standard.

C. P.

From Burmese

C. P.

3.

4-6.

7-10, 12-17.

Ornaments from the

walls of the Caves at Ajunta.

C. P.

11.

PLATE
Burmese.

1.

East India House.

Burmese.

13.

Hindoo. E.

14.

Hindoo. U.
Hindoo. E.

5.

Hindoo.

15.

6-9.

Hindoo Ornaments. E.
Burmese. C. P.
Hindoo. U. S. M.

11.

We

have

illustrations

United Service Museum.

not
a

for

been
fair

I.

H.

with

appreciation

the

materials

C. P.

British Museum.
I.

H.

M.

S.
I.

H.

Burmese. C.
22-25. Burmese. U.
Burmese. C. P.

16-19,21.

P.

20,

S.

26.

able,

on the

Crystal Palace.

Burmese, from a Monastery near Prome.

12.

4.

10.

Copies of the Paintings

LVIJI.

Burmese Shrine. Crystal Palace.

Burmese Gilt Chest. C. P.

2, 3.

the Royal Asiatic Society.

LVII.

Crystal Palace.

Shrine.

House of

in Basalt at the

command

at

of the nature of Hindoo

in

this

M.

country,

procure

to

sufficient

ornament.

In the works hitherto published on the ancient architecture of India, sufficient attention
has not been
directed to the ornamental portions of the buildings to enable us to recognise
the true character of

Hindoo

ornament.

In

early

rendered,
existed

publications

that

so

has

it

much

on the art of Egypt

taken

considerable

time

the works

all

for

of sculpture

European public

the

Egypt,

in

and

the

more

the same thing shall have

better position than

fine

art,

we

become persuaded that there

is

taking

its

this

have

country,
of

the

others

true place in the estimation of the public.

form an opinion how

Hindoos are only heapers of

of

casts

been published, have

late

been done for the ancient architecture of India,

are at present to

or whether the

to

trustworthy representations which

placed this beyond doubt, and Egyptian art

When

falsely

grace and refinement in the works of the Egyptians.

The Egyptian remains, however, which have been transported

existing

to

and ornament were so

stones,

far

it

is

entitled to

we

be in a

shall

take rank as a really

one over the other, adorned with grotesque

and barbaric sculpture.

Had we
we

possessed only picturesque views of the Parthenon and the Temples of Balbeck

should unhesitatingly have

the contour

loudly that

said

that

the

of a single moulding from the

we were

viewing the works

Romans were

Parthenon would

of a

people

far
at

greater

architects

and Palmyra,

than the Greeks.

once reverse the judgment, and proclaim

who had reached

the

highest

point in

civilisation

and refinement.
13

But

HINDOO ORNAMENT.
ornament

Although

and

architecture,

accessory to

most properly an

is

should

be allowed to

never

Matures, or to overload or to disguise them, it is in all cases the

P r P er structural
the ornament alone can we judge truly of the amount
very soul of an architectural monument; and by
All else in any building may be the result of
to the work.
of care and mind which has been devoted
architect was
of a building we can best discover how far the
rule and compass, but by the ornament

usurp

at

the

of

ace

the same time an

artist.

by Ram Raz* without feeling that a higher state

one can peruse the Essay on Hindoo Architecture
published up to the present time would lead
perfection has been reached than the works

No

of architectural

down

In this work not only are precise rules laid

us to believe.

arrangement of structures,

for the general

and subdivisions of each ornament.

but also minute directions are given for the divisions
be cited, as showing how much the general
the precepts quoted by Ram Raz deserves to

One

of

was cared

perfection

"Woe

for:

In building an

of symmetry.

them who dwell

to

edifice,

let

therefore,

a house not

in

from the basement to the

parts,

its

all

according to the proportions

built

roof,

be duly

considered."

Among

Ram Raz
and

one

of

that

the

apparent

many

the base by as

at

parts

these

was

parts

the

there were

as

invariably

column

the

higher

adopted by the Hindoo

rule

that the general

says,

column

that

capitals,

is

a rule for finding

to the lower.
diminution of the upper diameter of a column in proportion

the proper

of the

and

of columns, bases,

for the various proportions

the directions

deducted

less

in

is

From which

diameter.

and that

proportion
apparent diminution of the diameter in columns of the same

the diameter

divide

the whole height of the column,

the upper

diminish;

will

it

diameters

form

to

was to

architects

it

is

was done because the

this

always greater according to the

height.

from

statue

the

or

Surga,

of

belong to a period between the

Greek

evidently betray

and

LVL,
ornament we have been able to procure are represented in Plate
supposed to
Sun, in basalt, at the house of the Asiatic Society, and

best specimens of Hindoo

The

fifth

The ornament No. 8

influence.

with the buds in side elevation:

plan,

In the sacred books quoted by

members with

The

features

architectural

of

Ram Raz

several

are

by

On

but,

we

as

Plate LVII.

said

we have

before,

Ram Raz

seen

lotus,

as

it

were

in

ornament the various architectural

for

chiefly

of

mouldings heaped up one over the

the varying proportions of each, and

more or

perfection with

less

opportunity of judging

we have no

gathered together

directions to

consist

that the whole value of the style will consist in the

are effected;

the

represents

be the chief types of the decorations on the mouldings.

to

Hindoo buildings

Definite instructions are quoted

other.

are very beautifully executed,

held in the hand of the god.

is

it

and jewels; which seem

lotuses

The ornaments

and ninth century a.d.

how

far

which these
this

is

the

the examples of decorative ornament that

all

it is

we

evident

transitions
case.

could find

India Company at the Crystal

on the copies of the paintings from the Caves of Ajunta, exhibited by the East
European hand, it is
these copies, notwithstanding that they are said to be faithful, are yet by a
Palace.

As

difficult

to

at

all

say

how

events, there

far
is

they

so

may be

little

marked

that in these paintings there should be

ancient

paintings in

the possession

of

relied

character,
so

the

In the subordinate portions, such as the ornaments,

upon.

little

that

they might belong to any

ornament;

Asiatic

Society.

a peculiarity that

There

is

we have

a remarkable

even on the dresses of the figures.

* " History of the Architecture of the Hindus."

By Ram

Raz.

It is

style.

London, 1834.

very singular,

observed in several

absence of ornament

DAM

H::.DOO

NI

GRAM MAP
^ a

vj

P) t3 \i

.<j

'

S-<7

PI:'

'*>'*..

>
!

I.

V
N
IMIIIMIIHTIIIITT IIMTT

^|f ifc l|f

[^
I* m
^! L'J rX

j;

OOOOOOOO
OOOOOOOO

;>:

'

niiiiiiiiiiiiTiiir iinii

miiiiiii iiiiiiiiiiiiiii

>te f *

iiiiiiniiiniiiiiiiiiiiiJ

IIITIITIIIIIIIIIT TTTTn

liriTITTTTTTTTTIMMIMIll

imtitm iimmtmimiii

I6

*> *
>

^fj f

v^

jr

w jp

llllTTTTTITIMIllli.
2

Q*>O0SK
1 11

T T T T T T T T T t

1 1

III

10

Y T

T
1

N D

ww

!
J

GRAMMAR

ORNAMENT

-OF

PLATE

mmM\MMm(\(WM(\(\(v

<\

<\U <NM/

(\1. <\1,0

<\k> <\ta C\

BfHErr3ElElElEiBrEJ[zrrEJ

nii i iiimiimmP

H ND
I

'

'

'

'

.u,jj

iiiinrTjOTB

LVffl

^M

^1

XIV.Plates

Chapter

59, 60, 61, 62.

CHINESE ORNAMENT.
PLATE
The Ornaments,

Nos.

1,

LIX.

8-17, 24-28, 33-35, 40, 42, are Painted on Porcelain.

Nos. 2-7, 18-23, 29-32, 36-39, 41, are from Paintings.

PLATE
The Ornaments, Nos. 1-12,

LX.

16, 19-21, 24, are Painted on Porcelain.

Nos. 17, 18, from Pictures.

Woven Fabrics.
Wooden Boxes.

Nos. 13, 22, 23, from

Nos. 14, 15, Painted on

PLATE
The Ornaments, Nos.

LXI.

1-3, are Painted on

Wood.

Nos. 4-6, 9, 10, 12-15, 17, 18, are Painted on Porcelain.

Nos. 7, 8, 11,

Woven

Fabrics.

No. 16, from a Picture.

PLATE

LXII.

Conventional Renderings of Flowers and Fruit, Painted on Porcelain.

Notwithstanding

the high antiquity of the civilisation of the Chinese, and the perfection which

all

their

manufacturing processes reached ages before our time, they do not appear to have made much advance in

Mr. Fergusson, in

the Fine Arts.

scarcely anything

the land

is

his admirable

" Handbook of Architecture," observes that " China possesses

worthy of the name of Architecture, " and that

of every kind which have been imported into

point which

behind the

neither

New

artists

at

progression

to

As

so familiar through the

with which

this

more a

is

faculty

instincts,

improving on each other's

The general forms

of

many

or of the

is

numerous manufactured

articles

not appear to have gone beyond that

country, they do

nor retrogression.

an appreciation of pure form

endowed natural

highly

this

Zealander; but they possess, in

harmonising colours.
the arriving

is

reached by every people in an early stage of civilisation

is

subject

is

their great engineering works,

covered, " are wholly devoid of either architectural design or ornament."

In their ornamentation, with which the world

and

all

their art,

such as

it

is,

is

fixed,

In the conception of pure form they are even

common with

all

Eastern nations, the happy instinct of

than an acquirement,

it

a more subtle process,

development of primitive

is

just

and

is

ideas,

what we should expect

the

result

of

either

more

by successive generations of

efforts.

of the

Chinese porcelain

vases

are

remarkable for the

beauty

of

their

but not more so than the rude water-bottles of porous clay which the untutored Arabian potter

outline,

fashions

daily

on the banks of the

form of the Chinese vases

14

is

Nile,

assisted

often destroyed

only by the instincts

of his

gentle race;

and the pure

by the addition of grotesque or other unmeaning ornaments,

l

CHINESE ORNAMENT.
upon

up

built

the

from

growing

not

surface,

appreciation of form, but in a minor

we

which

from

it:

argue,

that

can

an

possess

degree.

much

only just so
In their decoration, both painted and woven, the Chinese exhibit

art as

would belong

Their most successful efforts are those in which geometrical combinations form the

to a primitive people.

the intersection of equal lines

but even in these, whenever they depart from patterns formed by
Their instinct of colour enables
appear to have a very imperfect idea of the distribution of spaces.

basis;

they

them,

some measure,

in

The

successful.

by

generated

more upon

depends

of this

patterns

distribution,

which ensure an equal

figures

on the

class

of this aid they do not appear to be equally

when deprived

balance form, but

to

Patterns

on Plate XLIX. will furnish us with examples.

diapers

arrangement

the

they

than Nos.

perfect

13,
2,

18,

4-7,

being

19,

41,

where

on the other hand, Nos. 28, 33, 35, 49, and the other

caprice;

amount of balancing colour

instinct of the

which the

are examples in

Plate,

more

are

8,

1,

The Chinese share with the Indian this happy power in their woven
and the tone of the ground of any fabric is always in harmony with the quantity of ornament

required would determine the mass.

fabrics;

which

They
most

and the most

fullest tones of colour

both the

delicate shades.

only successful in the use of the primaries, but also of the secondaries and tertiaries;

are not

perhaps, of

successful,

and are able to balance with equal success

are certainly colourists,

The Chinese

has to support.

it

all

the

in

management of the

tones

lighter

of pure

colours, pale blue, pale

pink, pale green, prevailing.

purely ornamental or conventional forms, other than geometric patterns, the Chinese possess but very

Of

On

few.

we

such as

is

all

find

in

some examples

are
all

interwoven with

flowers

In

LX.

Plate

other
lineal

in

1-3,

ornament:

7,

They have no flowing conventional ornament-

8.

of this

the place

styles;

5,

is

always supplied by a representation of natural

such as Nos. 17,

however, their instinct restrains them within the

cases,

generally unnatural

and

they never, by shades

unartistic,

the

however we may

that

legitimate

feel

it

In their

bounds of decoration.

floral

figures,

patterns,

are

of the

Chinese

fidelity

in

copying:

upon

is

Nos.

as

not

it

fruit,

see Plate

LXII.

with

us,

violate

consistency.

and ornament,

is

so

far

shocked by an overstepping of

the

could not well be otherwise, as

this close observation

a continuous meander, like the Greek;

of

landscape,

and we hence

have already referred in the Greek chapter to the

LXI.,

Plate

their

It is the taste to idealise

observers of nature.

We

is

or

moreover, they always observe the natural

laws of radiation from the parent stem, and tangential curvature;

peculiarity

and although the arrangement

limit;

"true

we

be unartistic,

to

LXI.

and shadows,

In their printed paper-hangings, the whole treatment, both of

conventional,

Plate

18,

peculiarities

infer

which
of the

that
is

they

must be

close

wanting.

Chinese fretwork.

2-9, 18, specimens of irregular frets;

No.

1,

No.

4,

Plate LX., a curious instance of a fret with a curved termination.

On
its

Chinese ornament

the whole,

characteristic feature

lively

imagination

is

oddness,

is

we

a very faithful expression

cannot

call it capricious,

but the Chinese are totally unimaginative, and

the highest grace of

art,

the

ideal.

of the nature

for caprice
all

their

is

of this

peculiar people

the playful wandering of a

works are accordingly wanting in

PLA

i.

ib-C^C^D^
16

17

raxxm
tl

24

8S8m

29

25

/\/\/\
27

32

in
CHINESE

N?J

LIX

GRAMMAR OF ORNAMENT

*_

ate

l:

GRAMMAR OF

QRNAJ

CHINESE N3

iJCLjl

PLATE

LKT

GRAMMAR

OF

ORNAMElAi

CHINESE N4

PLATE

LXII

XV.Plates

Chapter

CELTIC

63, 64, 65.

ORNAMENT.
PLATE

LXIII.

LAPIDARY ORNAMENTATION.
1.

2.

The Aberlemno

Cross, formed of a single Slab, 7 ft. high.

Chalmers, Stone Monuments of Angus.
Circular Ornament on the Base of Stone Cross in the Churchyard of
St. Vigean's, Angusshire.
Chalmers.

3.

Central portion of Stone Cross in the Cemetery in the Island of

Inchbrayoe, Scotland (unpublished).

4.

Ornament on the Cross

in the

Churchyard of Meigle, Angusshire.

Chalmers.

Ornament of Base of Cross near the old Church of Eassie, Angusshire. Chalmers.
5.
ln ad t on to *ne various ornaments observed on the stones here figured, a peculiar ornament occurs only
on many of the Scotch crosses
'Z~
i.,^ ] L
which
has been called the Spectacle Pattern, consisting of two circles, connected by two curved lines, which
latter are crossed by the oblique stroke of
a decorated Z.
Its origin and meaning have long puzzled antiquaries
the only other instance which we have ever met with of the occurrence of
this
ornament is upon a Gnostic (rem engraved in Walsh's Essay on Christian Coins.
On some of the Manx and Cumberland crosses as well as on that at Penmon, Anglesea a pattern occurs analogous to the classical
one
represented in our Greek Plate VIII. Figs. 22 and 27.
It was probably borrowed from the Roman tessellated pavements, on which
it is occasionally
J
found: it never occurs
MSS. or Metal-work.
CE

F?

<

PLATE LXIV.
INTERLACED STYLE.
1-5, 10-22, 26, 42-44, are Borders of Interlaced

Ribbon Patterns, copied

from Anglo-Saxon and Irish MSS. in the British Museum, the
Bodleian Library, Oxford, and the Libraries of St. Gall and Trinity

30.

Ornament formed of four Triquetrae conjoined, from the FrancoSaxon Sacramentarium of St Gregory, in the Library of Rheims.

31.

Part of Gigantic

9th or 10th century.

Silvestre.

College, Dublin.
6, 7.

Ribbon

Interlaced

Patterns,

from the Golden Gospels in the

Humphries.

St

Harleian Library in the British Museum.

8.

Terminal Ornament of Initial Letter, formed of interlaced and spiral

lines, from the Copy of the Gospels in the Paris Library, No. 693.

Silvestre.

9.

23.

Interlaced Ornament, from Irish

Terminal Ornament of

MS.

at St.

from the Coronation Book of

the Anglo-Saxon Kings, a production of Franco-Saxon artists.
Humphries.

24.

Terminal Interlaced Ornament, from the Tironian Psalter in the

25.

Terminal Ornament, with Foliage and naturally-drawn Animals

introduced, from the Golden Gospels.
Humphries.
Angulated Ornament, with interlacement, from the Bible of

Paris Library.

27.

Silvestre.

Denis.

33.

Angularly

Pattern of Angulated Lines, from

End of 7th century.

29.

Interlaced Pannel, from the Psalter of St. Augustine in the British

Museum. 6th or 7th century.

the

Gospels

of

Lindisfarne.

Rheims Sacramentarium.

Interlaced
(Magnified.)

34 and 37.

Ornament,

from

the

Interlaced Ornaments, formed of red dots,

Golden

Gospels.

from the Gospels

of Lindisfarne.
35.

Interlaced Triquetral Pattern, from the Coronation Gospels of the

Anglo-Saxon Kings.

36.

Circular

Ornament of four conjoined Triquetrae, from the Sacramentarium of Rheims. (Magnified.)

38 and 40.

Initial Letters from the Gospels of Lindisfarne, with interlaced Patterns, Animals, and Angulated Lines.
End of 7th
century. (Magnified.)

9th century.

28.

from the Franco-Saxon Bible of

Silvestre.

Letter,

Quatrefoil Interlaced Ornament, from the

Silvestre.

St

Initial

9th century.

32.

Gall. Keller.

Initial Letter,

Denis.

39.

Terminal Ornament, with Dogs'-heads, from the Franco-Saxon

Sacramentarium of Rheims. Silvestre.

41 and 45.

Quadrangular Interlaced Ornaments, from the

Leofric in the Bodleian Library.

Missal of

PLATE LXV.
SPIRAL, DIAGONAL, ZOOMORPHIC,
1.

Initial Letter,

British
2.

from the Gospels of Lindisfarne.

Museum.

End

of 7 th century.

Interlaced Animals, from the Book of Kells, in the

Trinity College, Dublin. (Magnified.)

4.

Diagonal Pattern.

5 and 12.

Q, formed of an elongated Angulated Animal, from Psalter of

Ricemarchus, Trinity College, Dublin. End of 11th century.

Initial

Gospels of Mac Durnan, in the Library of

9th century. (Magnified.)

18.

One Quarter

19.

Ditto,

20.

Ditto, from the Gospels of

10th century.

21.

Ditto, from the Benedictional of iEthelgar.

22.

Terminal Ornament of

Spiral Patterns,

from Gospels of Lindisfarne.

7.

Interlaced Ornament, from ditto.

8.

Interlaced Animals.

MS.

at

St.

Gall.

(Magnified.)

(Magnified.)

9th century.
J

Mac Durnan. (Magnified.)

Gospels of Mac Durnan. (Magnified.)

Gospels of

Diagonal Patterns.

Diagonal Patterns, from Gospels of Lindisfarne.

15

Pannels of interlaced Beasts and Birds, from Irish Gospels

8th or 9th century.

at St. Gall.
16.

Diagonal Patterns, from Irish

11.

British

15 and 17.

Library of

6.

9. 10, 13.

Terminal Border of Interlaced Animals, from Gospels of Lindisfarne.

(Magnified.)

3.

Palace.

14.

(Magnified.)

Ornament of Angulated Lines, from the Gregorian Gospels,

Museum. (Magnified.)

Lambeth

AND LATER ANGLO-SAXON ORNAMENTS.

(Magnified.)

of Frame, or Border, of an illuminated

Benedictional of ^Ethelgar at Rouen.
10th century.

from the Arundel Psalter, No.

Humphries.

Initial

Letter in

Humphries.

155, British

Page of the
Silvestre.

Museum.

Canute in British Museum.

End

of

spiral Pattern, with Birds.

Part of large
the Gospels of Lindisfarne.
(Real size.)

CELTIC ORNAMENT.

The
of a

or

class

been indicated by productions

Peculiarly

world.

our

are

as

equally so.
present time, those of our forefathers, from the remotest ages, have been

at the

characteristics

of the rest of the

those

with

variance

at

singularly

style

ages,

British Islands has, in all

of the

genius of the inhabitants

In the Fine Arts, our immense Druidical temples are

and in succeeding

the wonder of the beholder;

still

carved and ornamented with devices

ages gigantic stone crosses, sometimes thirty feet high, most elaborately
erections under a modified
of a style unlike those of other nations, exhibited the old genius for lapidary

form inspired by a new

The

than

into

Christianity

would

persons
these

ornamental

of

relics

of

generality

the

of

introduction

and

monuments

earliest

numerous

faith.

art

are

conceive,)

islands *

that

we

we

which

compelled

are

performed, although

be

from

possessing,

(and

refer

to

are

far

more

with

the

early

they

connected

intimately

so

the

to

in

latter

extreme nationality, a degree of interest

its

our

a task which has hitherto been scarcely

endeavours to unravel the history and peculiarities of Celtic Art:

attempted to

possess

equal,

one would have thought, to that connected with the history of ornamental art in other countries.

Historical Evidence.

1.

made by

the

to

as

historians

Without
precise

most ample evidence, not only that

missionary sent by

are

one

They

common

or rounded characters

This statement

are

of the

copies

and

in that country,

from the ordinary writing of the

scarcely differing

a classical manner.
case

and

moreover,

as

antiquity.

we

is

true,

name, which the early

of the volume.
of St.

been

destitute of

ornament;

text, the first line

is

we must

annals

to

enter

that none

have

Italy,

in

the

large

uncial

the initial letter of each Gospel

or two being merely written in red ink,

remains, namely, that of St. Luke),

still

foliage arranged in

of our theory of the independent origin of Celtic ornament,

by doubts

into

little

of them are

as

to

the

great age which has

palseographical

dated;

but

detail

St.

in

fix

been assigned to

proof of their venerable

some the

in

and thus to

enabled us to identify,

Nathi; the Bodleian Gospels, written by

satisfactorily assigned to periods

scribe

the period

has

inserted

of the

his

execution

Columba; the Leabhar Dhimma, or Gospels

Mac Regol; and

not later than the ninth century.

the

Book of Armagh have

Another equally satisfactory evidence

proof of the early date of the volumes, in the unrivalled collection of contemporary Anglo-Saxon

Charters

more

constantly opposed

indeed,

in

of Corpus

Library

the

in

with the most ancient manuscripts known to have been written in these

In this manner the autograph Gospels of

Dimma Mac

exists, in

up

are

documents,

It

existing

still

Italian manuscripts are entirely destitute of ornamental elaboration.

these are the chief supports

and

precious

most ancient

totally different

is

islands;

these

All the

other

the

upon marble columns, and ornamented with

seated under a round-headed arch, supported

as,

the

the arrival of St. Augustine

to

Holy Gospels, written

each Gospel preceded by a portrait of the Evangelist (one only

The

we have

most completely borne out by

is

Oxford, and

Bodleian Library at

the

in

Cambridge.

College,

Christi

Britain,

Gregory sent into England various copies of the Holy Scriptures, and two of these

St.

preserved;

still

of religion into

had been long established previous

Gregory the Great.

St.

evidences.

artistic

manner of the introduction

but that in several important points of doctrine the old British religionists differed from the

a.d. 596,

in

it

attempting to reconcile the various statements which have been

existing

the
free

in

the British

Norman Conquest

Museum and

other libraries, from the latter half of the seventh century

and although, as Astle observes, " these Charters are generally written in a

and expeditious manner than the books written in the same

ages, yet a similarity

of character

observable between Charters and books written in the same century, and they authenticate each other."

The Pagan

Celtic remains at Gavr' Innis, in Brittany,

New

Grange, in Ireland, and I believe one Druidical monument near Harlech, in Wales,

exhibit a very rude attempt at ornamentation, chiefly consisting of incised spiral or circular and angulated lines.

CELTIC ORNAMENT.

Now

to compare,

quite impossible

is

it

under the name of the Psalter of

670 (Casley's

a.d
or,

Catal.

MSS.

being perfectly convinced that the

third

by the
the

many

of

of them being

and Anglo-Saxon

Irish

King of Kent, dated

founded, but

even

establishment,

now

at Reculver,

Mac Regol

or

The

missionaries.

number

great

transferred

which

in

as

relics

of the

and that of

Fulda with religious care;

preserved at

Book

In like manner, the

founder.

of this

of the oldest manuscripts in

Europe,

was discovered in his tomb, stained with his

and

blood,

of

is

Gospels

the

of

(an Irishman), the

Kilian

St.

and long

islands,

Boniface

St.

Apostle

is

still

of Franconia,

preserved at Wurtzburgh,

still

the case

cite

The monastic books

situated.

many

by our

monastic establishment which he

the

to

is

it

comprise

the public library,

to

afforded

is

founded

and we need only

record;

and include a number of fragments of elaborately -ornamented volumes executed in these

venerated

Chad; without

St.

of monastic establishments

matter of historical

is

Canton of Switzerland

the

to

679;

a.d.

preserved in various places abroad, whither they were carried by

still

an Irishman, whose name has not only been given

Gall,

King of the East Saxons,

of Sebbi

are coeval with the Charters.

countrymen in different parts of Europe

of St.

known

generally

1,

of evidence of the great antiquity of our very ancient national manuscripts

species

fact

Charters

of Lotharius

xxiv.);

p.

the

Vespasian,

of iEthelbald, dated a.d. 769, with the Gospels of

again, the Charter

Augustine, with

St.

MSS.

of

example, the Cottonian MS.

for

where

it

is

annually exhibited on the altar of the cathedral on the anniversary of his martyrdom.

Now

thus proved

these manuscripts,

all

end of the ninth century, exhibit

the

have been written in these islands at a period prior to

to

ornamentation

of

peculiarities

totally

variance with those of

at

may have

other countries, save only in places where the Irish or Anglo-Saxon missionaries

own, or have modified the already existing

are

from the

derived

chiefly

early

ornamental metal or stone- work

those of the manuscripts,

as

supplied

for

stone

the designs

also

that

crosses,

to

the

lead to

the

we might

manuscripts,

the

here

we may

results

many

almost fancy

applicable

cases

we were examining

is

contemporary

the

to

entirely the

so

counterparts of

of the one class of ornaments

conclusion that the designers

So completely, indeed,

other.

introduced their

observe that, although our arguments

equally

are

of which are in

the designs

And

styles.

all

the

this

in

case

some of the great

one of the pages of an illuminated volume

with a magnifying glass.

Peculiarities of Celtic Ornament.

2.

in the entire absence of foliage

first,

being entirely ignored;

the various

endless

and secondly, in the extreme

and

animals

birds,

long

and

elaborate

and

tongues,

top-knots,

patterns

glass

will

with

all

compartments, the

in

commencement of each of the four

the

the care

not detect an error

this

for

instance

Chad, and some of the manuscripts at

St.

must have been very great

tails,

intertwining

in

infinite,

the truth

St.

whole forming

from the

Book of

the

as

have

Gall,

beautiful

almost

in

Kells,

entire pages

cruciform

the

Gospels

of

covered with the

designs,

one

of

these

such a mass of work*

Gospels.

The labour employed

since the

most scrutinizing examination with a magnifying

of the lines, or

the

in

and

of the interlacing;

regularity

yet,

minuteness, the most harmonious effect of colouring has been produced.

Contrary to the older plan of commencing a manuscript with a

pages

acanthus

diagonal or spiral lines, and

consisting of interlaced ribbon-work,

with

classical

knots.

Lindisfarne

facing

the

consist,

and excessive minuteness and elaboration, of

intricacy,

The most sumptuous of the manuscripts, such

most

of the Celtic ornamentation

chief peculiarities

or other phyllomorphic or vegetable ornament,

patterns, mostly geometrical,

monstrous

strange

The

remainder of the

was ornamented

text,

an

in

commencement

the

equally elaborate

of

letter

each Gospel

manner.

The

initial

in

noways or scarcely

opposite

to

was

letter

differing

these grand tessellated

often

of

gigantic

size,

occupying the greater part of the page, which was completed by a few of the following letters or words,
each

letter

generally

cruciform designs,

The

most

manuscripts,
their

we

averaging
find

and

universal

an

inch in

height.

In

these

and

often

singularly-diversified

symmetrical and

examples of this ornament in varied

coloured or black ground,

By

styles.

many charming

ornament

geometrical.

pages,

as

in

employed

Plates

by

artificers

knotted,

often

in

those

metal,

excessively

of

we have

produced.

Of

stone,
intricate

LXI1I. and LXIV. exhibit

colouring the ribbons with different tints,

effects are

* In one of these pages in the Gospels of St. Chad, which

of the most fantastic animals.

initial

the

the various styles of ornament employed in more or less detail.

of one or more narrow ribbons interlaced and

consists

convolutions,

all

about

the curious intricacy of

or
in

numerous

either

upon a

some of these

taken the trouble to copy, there are not fewer than one hundred and twenty

CELTIC ORNAMENT.
designs, an

may

idea

be obtained by following the ribbon in some of these patterns;

easily

the upper compartment in

in

up

fill

of this pattern of course

is

Greek and Syriac MSS.,

in

form

known

that

is

Roman

the

as

which four of these

in

the double oval, seen in the

which

is

angles of Fig.

extremely

common

occurs

Plate

are introduced

triquetral

Fig.

Plate

in

MSS. and

in

LXIV.,

Fig.

to

each other,

ribbon

is

dilated

The

11.

27,

parallel

the

and

simplest modification

LXIV.

This occurs in

MSS.

Another simple

pavements, but rarely in our early

tessellated

triquetra,

allowable

LXIV.,

in Plate

spaces in the design, as

particular

When

12 of Plate LXIV.

but are interlaced alternately, as in Fig.

angulated to

Sometimes two ribbons run

5 of Plate LXIII.

Fig.

for instance,

as,

metal- work;

36.

an instance

30 and 35 in

Figures

the same Plate are modifications of this pattern.

Another

monstrous animals, birds,

into

work of

early

kind

all

and snakes of various kinds, generally extravagantly elongated, with

lizards,

of

consists

tails,

and tongues, extended into long interlacing ribbons, intertwining together in the most fantastic

top-knots,

manner; often symmetrical, but often

but

profusely introduced

ornament

distinguishing

very

human

the

occurrence,

of rare

irregular, being

figure

so as to

up a required

fill

introduced;

thus

also

is

drawn

on

as

one

space.

of

the

Occasionally,

panels

the

of

Monasterboice Cross in the Crystal Palace, where are four figures thus singularly intertwined, and on one
the

of

of

bosses

LXIII.

Plate

and the most elegant

Lambeth

16)

is

neck with

no other than the

1088.

a.d.

row of

and a knotted

claws,

heads

LXV.,

(Plate

15) from one of the

Fig.

8) from the

Fig.

will

It

The strange design

be seen that

intended

is

it

for

monstrous

other spiral

and Fig.

which

point,

LXV.,

Plate

lines.

22,

however, of

characteristic,

Figs. 1, 5,

and

off

12, are instances of this

LXIII.,

Fig.

In the MSS., and

to

LXIII.,

Plate

certain

Fig.

amount

was not drawn by an

1,

of carelessness

either

broad

the

trumpet, the mouth of which

Irish

unknown

use,

plates of early

work,

Instances

end.

the

of the

Deerhurst Church.

we may

pattern

therefore, evident,

is,

that the central ornament

forming a long, curved design, like an

lines

of England.

England, as

in

conclude that this

characteristic

It

This pattern has also been called the

as

far

we

in

also
It

are

is

is

is

small,

more

MSS.

on

as

may be

geometrical
Figs.

and

seen

and

in

Plate

regular,

LXV.,
but

in

Figs.

6,

composed of diagonal

rude work

9,
it

10,

11,

iiSSi

the

and

degenerates

font

of

England

lines,

never

interlacing,

pattern.

13.

into

but generallyletter Z,

or

It is capable of great modification,

In the more elaborate MSS.

it

is

purely

an irregular design, as in Plate LXIII.,

3.

* Several of the patterns given in the upper part of the Chinese Plate
as well as in our

in

stone-

the oldest ornamented font in this country.

may be termed
4,

the

executed

of

enamelled

rarely found in

arranged at equal intervals apart, forming a series of Chinese-like patterns,* and which, as the
reversed, seems to be the primary element,

of bronze

circular,

aware, being

Bearing in mind that this ornament does not appear in

after the ninth century,

Another equally

different parts

occurrence

its

may

ancient metal and stone-

of this pattern occur in several circular objects

Anglo-Saxon work, found in

of

pattern

this

the genuine Celtic patterns, but indicates

in

about a foot in diameter, occasionally found in Ireland;

only instance

itself,

magnified;

less

represented by the small pointed oval placed transversely at

is

metal -work

in

skilled

or of extraneous influence.

between any two

trumpet pattern, from the spaces

ancient

artist

S.

spiral

formed by

of coils

more or

all

more

always take the direction of a C, and never that of a

lines

also,

by two or three

centres

ornament,

not only from this circumstance, but also from the irregularity of the design
in

the

the finer and

all

often,

finish.

shows how ingeniously

3,

grim

of which various examples

a pattern,

that produced

is

going

extremities

Plate

size.

be converted into the diagonal pattern.

work, these spiral

the Celtic patterns,

all

and

legs

Very

indeed, for the animal to unravel.

difficult,

opposite

their

of the real

is

top-

and a second forming an extraordinary whorl above the head, the

would be

it

LXV.,

(Plate

with one

animal,

body long and angulated, terminated by two contorted

the

which

from a fixed

starting

lines

Mac Durnan,

Gospels of

occur in Plate LXIV., the gaping mouth and long tongue forming a not ungraceful

The most

MSS.,

Gall

St.

of

of the Psalm, Quid Gloriaris, from the Psalter of Ricemarchus, Bishop

nose,

its

pearls,
tail,

initial

of birds or beasts form the terminal ornament of

alone

In

groups.

fantastic

examples are the groups

intricate

and much more confused.

far less geometrical

knot extended in front over

the

The most

such

several

In the later Irish and Welsh MSS. the edges of the interlaced ribbons touch each

Palace.

David's,

of St.

are

crozier

intertwined.

the marginal ornament

is

and the designs are

other,
Fig.

thus

of animals

groups

are

Lismore

Devonshire's

of

dogs (Plate LXV., Fig. 17) and eight birds (Plate LXV.,

eight

at

Duke

the

MSS.

LIX. occur with

scarcely any modification in

our stone and metal- work,

CELTIC ORNAMENT.
Another very simple ornament occasionally used
at

distances apart, forming a series

equal

This

Fig. 2.

MSS.

in our

of steps.

See

consists of a series of angulated lines, placed

Plate LXIV., Figs.

28 and 36;

and Plate LXV.,

however, by no means characteristic of Celtic ornament, occurring elsewhere from the

is,

earliest

period.

The

ornament we

last

shall

notice

indeed,

is,

simplest

the

of

These were in great use as marginal ornaments of the great

points.

ornamental

MSS.

and

details,

Sometimes,

are,

indeed,

one

initial

chief characteristics

The

various

the tenth or eleventh

to

fifth

We
their

the

of

and

the

of ornament from the early British Christians,

styles

Anglo-Saxon MSS.,

early

and

of

question.

It

Churches were identical in their

indeed,

well

as

the

as

famous Gospels of Lindisfarne, or Book of

Museum,

and the

peculiarities,

Anglo-Saxons,

the

that

was executed by Anglo-Saxon

the

in

is

at Lindisfarne

artists

north

of

not at

all

by

certainly

Germany

no

MS.

Italian

grand stone

the

than

older

resemblance

slightest

examination

of

the

Government,

in

which

represented,

will

fully

to

the

crosses

ninth

those

all

of Iona,

support to

origin,

were

executed

of Ireland

century,

nor

country,

work

upon the

prove that

ornamented, and

are

we need

The

But

the

British

volume

that this

equally true

is

it

disciples of the

Irish

when

they

own; and no such remains

idea

the

they were

as

the ornamentation

that

of

were derived by the early

overthrow the independence

Roman
a

single

can

be

and has even gone so

piece

Catacombs

of

in

of

produced,

the
It is

early

Christian

true that

the

art

stone

Italian

we

at

Rome,

ancient

far as to

suppose

not

sculpture

deny the

once

lately

of the

however,

As,

Italy.

published

and ornamentation of

grand

tessellated pages

single

having

the

An

assertion.

by

the

French

clearly

traceable

to

Irish

Rome had no

share in

MSS. above described

of the

pavement of the Romans, and had they been found

from which the illuminator of the MSS. had taken

MSS. which

the

known

who were

The Saxons, pagans

and which in the seventh and eighth centuries must

originals

It is true,

ornamentation.

of

styles

and Irish

British

monuments.

their

Anglo-Saxon MSS., we might have conjectured that such pavements

England,

and

inscribed

Anglo-Saxon scholars should have adopted the

their

least

bear a certain general resemblance to the tessellated

in

in

satisfactorily

is

it

origin

local

the inscriptions and mural drawings executed by the early Christians are elaborately

developing that of these islands.

only in

Christian

end of the seventh century.

anxious to

to a

of this

magnificent

Ireland that

in

of the

us, that the

these peculiarities of ornament

all

of writers,

class

was

think, materially assist in determining

these

all

instance received

origin.

and Irish Churches, has referred them

of

longest

first

it

early

of ornamental design of their

would give the

as

One

of these islands.

some

that

and

monks

the
that

peculiarities

Various have been the conjectures whence

British

at the

surprising

Anglo-Saxon MSS., &c, was of a Teutonic

Christians

employed

Irish,

used by their Irish predecessors.

had

arrived in England,
exist

it

of ornamentation

styles

races

Cuthbert, preserved in the Cottonian Library in the

St.

Lindisfarne was an establishment founded

Columba, so that

we

like identity occurs

an unquestionable proof of such employment;

is

and as

Celtic

careful examination

our argument that Venerable Bede informs

sufficient for

is

or whether

Roman, Romano-British, and

the

sculptured stones of the western parts of England and Wales, would,

St.

old

centuries;

not hesitated to give the Celtic as their generic name.

were originated, and thence dispersed over England.

latter

that

the

purposely, indeed, avoid entering into the question, whether the Irish in the

letters

this

above were practised

described

they appear in their purest and most elaborate forms in those parts where

we have

Anglo-Saxon and Irish

distinguishing

of ornament

styles

throughout Great Britain and Ireland from the fourth or

prevailed,

more

as well as of the

letters,

they were even formed into patterns, as in Plate LXIV., Figs. 34 and 37.

also,

Origin of Celtic Ornament.

3.

of the

merely of red dots or

consisting

all,

his

Roman

have

we

remained

but

idea;

that

influence,

hardly say that there are no

still

it

is

these

find

tessellated

existing

in

in

various

parts

uncovered, were

the

MSS., and

the Irish

pages

of

most elaborately

pavements in Ireland, the Romans

never having visited that island.

It

may, again, be said that the interlaced ribbon patterns, so common

from the

most

Roman

tessellated

inartificial character,

instance,

in

Plate

each other,

15

class

MSS., &c, were derived

but in the latter the interlacing was of the simplest and

bearing no resemblance to such elaborate interlaced knotwork as

In

fact,

whilst in the Celtic

Another
perpetually

LXIII.

and mosaic work;

in the

in

the

Roman

designs they

remains

the

ribbons

are

simply

is

to

be

alternately

seen, for

laid

over

are knotted.

of writers insists upon the Scandinavian origin of these ornaments, which

we

accustomed to hear called Runic knots, and connected with Scandinavian superstitions.
5

are

still

It

is

CELTIC ORNAMENT.

upon

Scandinavian

nations were Christianised

unlike those

still

work

given in that
a

our

of

Scandinavian

one

(No.

figure

That the Scandinavian

quite

are

crosses

Museum

published,*

lately

whole

the

in

excellent

of

of

series

sufficient

is

460 representations

the

asserting

in

to be

it

adopted Celtic ornamentation, especially such as

artists

centuries,

from

evident

is

the

between

similarity

same period,

Irish metal-work of the

M. Dahl) and

carved wooden churches (illustrated in detail by

such as the Cross of Cong in the

398)

very

and we have no hesitation

was practised about the end of the tenth or eleventh

Royal Irish Academy in Dublin.

of the

more polished

the Scandinavian, but also the earlier and

Not only

our

as

the

in

Copenhagen Museum,

the

in

contained

those

of our MSS.,

the patterns

exhibits

reliquary of Irish work.

their

and

these islands,

the

moreover, they are several centuries more recent

as,

with

plates

relics

Only

an assertion.

such

disprove

comparison

ancient

of the

illustrations

to

by missionaries from

however,

As,

described.

our MSS., there can be no grounds for asserting that the ornaments of the MSS.

finest of

Scandinavian.

are

above

ornaments

peculiar

Denmark and Norway;

existing in

than the oldest and

the

of

and Bewcastle, we find Runic inscriptions

as at Lancaster

as well

many

with

ornamented

crosses,

Man,

of

in the Isle

certainly true that

schools of Charlemagne

of the

artists

and his successors, together with those of Lombardy, adopted many of the peculiar Celtic ornaments in their
They, however, interspersed with them classical ornaments introducing the
magnificently illuminated MSS.

work

absolutely painfully intricate,

often

Golden Gospels in the British Museum, a

in

we

which

such

perceive

Fig.

copied from the

is

Frankish art of the ninth century,

of

and

The Anglo-Saxon

ornament.

of

LXIV.,

Plate

in

25,

magnificent production

combination

Our

of our artists.

look for in vain in the elaborate, but

we

acanthus and foliage, giving a gracefulness to their pages which

were,

patterns

Irish

however, so closely copied (always, however, of a much larger size) in some of the grand Frankish MSS.
Such is the case with the Bible of St. Denis in
that the term Franco-Saxon has been applied to them.

Plate LXIV.,

is

copied from this

MS.

of the real size.

remains to inquire, whether Byzantium and the East

It

Celtic

early

31,

fig.

Christian

the

developed in

artists

The

which we have been examining.

fact

Museum.

the Library of the British

the Bibliotheque Nationale, Paris, of which forty pages are preserved in

the elaborate patterns

of their monasteries into

retirement

that this

not have afforded the ideas which the

may

of ornament was fully developed before the end

style

of Art from the

of the seventh century, taken in connexion with that of Byzantium having been the seat

middle of the fourth century, will suggest the possibility that the British Or Irish missionaries (who were
constantly travelling to

Holy Land and Egypt) might have there obtained the

the

some of these ornaments.

To prove

much

by H. Salzenburg,

elaborately illustrated

so

of St. Sophia,

greater resemblance

10,

of spiral lines

or ropes, which

Plate

X.,

Fig.

11,

may have

Moresque

however,

wide

although

patterns,

ornamentation,

it

enough
agree

Figs.

suggested

the

and

6,

will

7,

arranged

is

to

from

detail

in

C-wise,

certain

and as

all

a similar

these,

origin

probably, had

in

the idea,

origin

their

worked

out,

The

them.

with

extent

in

and thus

spiral

the

Silvestre,

ornaments

and

in

ornaments

line

is

of

but

arranged like

degree

common

so

Ethiopic,

Sclavonic,

our PalaograpMa

it

S.

our

with

agrees

interlacements,

elaborate

Mount Athos,

In our Egyptian

Celtic

a greater

to

patterns;

Celtic

be perceived patterns formed

of our

pattern

spiral

of

that the ornamentation

Dim.

in his IconograpUe de
4,

1,

MSS., numerous examples of which are given by

Syriac

it is

known

is

little

no analogy with our

be perceived that in the majority of these Egyptian examples the

will

because so

Certain, however,

exhibits

by M. Didron,

and Plate XL,

13-16, 18-23,

Plate X., Figs.

difficult,

however, between the latter and the early monuments of

exists,

of some of which are given

representations

be

indeed,

will,

Byzantine Art previous to the seventh or eighth century.

real

In

assertion

this

or principles of

ideas

in

and

Sacra Pictoria

Byzantium or Mount Athos, we might be led

to

infer

however, in a different manner by the Irish and Anglo-Saxon

artists.

We

obtained

have

national

eighth
state
*

have

thus
the

endeavoured

germ of

their

genius, they had, between

century,

prove

to

peculiar

even

styles

of

distinct

CO

the

early

ornament from

some

and

this,

manner, and with but few very

inartificial

of fantastical-intertwined animals also represented on metal-work.

of ornamentation,

systems
too,

at

In the division of this Danish work devoted to the Bronze age

arranged in the

supposing

artists

other

of these

source

might

islands

than

their

own

the period of the introduction of Christianity and the beginning of the

formed several very

those of any other country;

that,

we

combinations.

a period
find

when

perfectly

nearly

unlike in

their

developed

the whole of Europe,

various examples of spiral ornaments on metal -work,

In the second division of the Iron period,

we

owing

but always

also find various

examples

Nowhere, however, do the interlaced ribbon patterns, or the diagonal Z-like patterns,

or the trumpet-like spiral patterns, occur.

CELTIC ORNAMENT.
to

up of the great Roman Empire, was involved

the breaking

artistic

Later Anglo-Saxon Ornament.

striking

of ornament was

style

the page,

middle

These frames were ornamented with

decorated with elegant circles,

England

that

this

most magnificent

darkness

regards

as

the tenth century another and equally

now

quatrefoils.
fully

in

gold bars

the

grandest

also

in

the British

There

Museum

can

be

doubt

little

that

was introduced, were the

introduction of foliage

angles being, moreover,

among

was

it

examples

in the south

having

of Rouen,

library

the Archceologia,

in

are

close

been

of

rivals

Of
the

is
it

LXV.

grand MSS. of the Frankish schools of Charlemagne, in which

the

originals

whence our

later

Anglo-Saxon

artists

adopted the idea of the

their ornaments.
J.

O.

WESTWOOD.

BIBLIOGRAPHICAL REFERENCES.
Ledwick.

Antiquities of Ireland.

O'Conor.

Bibtioth.

vols.

Hibernicarum Scriptores
Petrie.

Essay on

the

Irish Antiquarian Researches.

O'Neill.

Illustrations

1818.

veteres.

Bilder

Manuscripten
in Zurich.

und

Also,

Rerum

Large 8vo.

Schriftziige

in

Bd.

7,

Goodwin, James, B.D.

Evangelia Augustini Gregoriana

Cambridge Antiq. Soc. No.

4to.

1843-1845.

de.

Ornaments

et

Francaises.

of Man.

4to.

Monuments of Angusshire.

Imp.

fol.

1847,

Worsaae,

J. J.

A.

Miniatures des Manuscrits

Imp.

Afbildninger fra det Kong.

fol.

Paris.

Museum i Kjobenhavn.

8vo. 1854.

And the general works of Willemin, Strutt, Du Sommerard,

of the Isle

in Trans.

13, 4to.

with eleven plates.

Bastard, Le Cointe

1851.

Illustrations of the Crosses

Stone

Account of Cadmon's Paraphrase of Scripture History,

in the Mittheilungen der Antiq. Gesellsch.

Palceographia Sacra Pictoria.

Fol. 1856.

logia, vol. xxiv.

Ellis, H. Sir.

den Irischen

[In the press.

Chalmers.

Sculptured Stones of Scotland.

Dissertation on St. JEthelwold's Benedictional, in Archceo-

in Archaologia, vol. xxiv.

Folio, in Parts.

Cambrensis.

Cumming.

J.

vols. 4to.

In Journal of the Archceological Institute, vols. vii.

and x. Also numerous articles in the Arch&ologia

Gage,

vols. 8vo.

of the Crosses of Ireland.

Keller, Ferdinand, Dr.

J. O.

4 to.

Round Towers of Ireland.

Betham.

Westwood,

Spalding Club.

4to.

Stowensis.

as

The Gospels of King Canute

another example which has afforded us the Figure 20 in Plate

is

composed

the latter half of the tenth century.

in

copy of the Gospels in the library of Trinity College, Cambridge.

is

of their

to the old interlaced ideas

would appear that

It

elaborated,

public

the decoration

the

of Devonshire, fully illustrated

the

for

being introduced into the open space

titles

and buds; but true

St. iEthelwold,

Duke

however,

others,

or

artists,

consisted of a frame-like design,

It

or

foliage

was most

belonging to the

two

of

as well as with the

lozenges,

Monastery of

the

in

Benedictional

squares,

of ornament

style

executed at Winchester,
the

miniatures

the

and stems were interwoven together,

the leaves

foliage

the

employed by some of the Anglo-Saxon

entirely surrounding

in the centre.

these

About

MSS., and equally unlike that of any other country.

of gold bars

of

complete

productions.

4.

finest

almost

in

Langlois,

Shaw, Silvestre and Champollion, Astle (on Writing), Humphries, La Croix, and Lysons (Magna Britannia).

GRAMMAR

OF

ORNAMENT

CELTIC N

PLATE

LXIII

P'P

7f.

-RNAMENT

CELTIC

G RAM MA

ORNAMENT

CELTIC N

plat 2

!.::'

Chapter

XVI. Plates

66, 67, 68, 69, 70, 71, 72, 73.

MEDIEVAL ORNAMENT,
PLATE LXVI.
Conventional Leayes and Flowers, from

PLATE

MSS.

of different periods.

LXVII.

Collection of Borders from Illuminated MSS., from the 9th

PLATE

to the 14th century.

LXVIII.

Diapers on Walls, from Miniatures in Illuminated

MSS. from

the 12th to the 16th century.

PLATE LXIX.
Stained Glass of different Periods and Styles.

1, 5, 6, 8.

Chapter House, York Cathedral.

2, 4.
7.

14, 15.

Canterbury Cathedral.

16, 26.

Abbey

North Transept, York Cathedral.

9, 11.

Cathedral of Troyes.

13,

Southwell Church, Nottinghamshire.

3.

St.

Thomas

of St. Denis.

18-24, 25, 27, 29.

Cathedral of Soisson.

Cathedral of Bourges.

Cathedral of Angers.

28.
10.

St. Cunibert, Cologne.

12, 17.

Church of Attenberg, near Cologne.

at Strasburg.

PLATE LXX.
Encaustic Tiles.

13th and 14th centuries.

PLATE LXXI.
Illuminated MSS., No.

1-12 are of the 12th century; 13

is

of the 13th century.

The remainder

of the

1.

12 and 13 are from the

Ornaments on

this Plate

Ululated

Books of the Middle

^.-Humphreys.

from the British Museum.

PLATE LXXII.
Illuminated MSS., No.

2 a

2,7,12,15.

14th century.

* a 11

. rx ?* 12*-' t
i

13

2.

The remainder from

the British

from a

MS

in the

Of the

15th century.

*"** of " AuthOT

Museum.

PLATE LXXIIL
Illuminated

MSS. from

the Beginning to the

End

of the 15th eentnry.

The remainder from

16

MSS., No.

3.

11-15 from the

the British

Museum.

I****,* Books oft,.

UmU Ag*

'

Early English.

Warmington Church. Northamptonshire.

Wells.

Collins.

W. Twoteny.

Warmington Church, Northamptonshire.

Decorated.

Wei's.

Collins.

MEDIEVAL

The

transition

thirteenth

passage

not

so

century,

from

All

style

of ornament

style

is

of their

found

readily

traced in

Romanesque Ornament

clear.

traces

of

the

the

from

the

Greek

buildings

that which

to

acanthus

universally prevalent

in the illuminated

features

ORNAMENT

from the round arch, characteristic of the Romanesque

is

MSS.

in

leaf

all

the

W. Twopbny.

in 'which

prevailed

have

the two
so

buildings

of the

are

styles

universally

disappeared,

to the pointed style of the

style,

and
time.

in

we

intermingled;

the

find

thirteenth

purely

but the

century

conventional

The nearest approach

to

of the twelfth century, which appear to have been derived in

MSS.

The ornaments

Stone Church, Kent.

are

is

this

some

formed of a continuous stem, throwing

Published by the Topographical Society.

off

MEDIAEVAL ORNAMENT.
OH the outer

leaves

any given space

in

and terminating

side,

exactly

is

as

is

much

the

to

arrangement

general disposition and arrangement of

the lines
of Early English sculptured

ornament.
the most perfect, both in principle and in
execution, of the Gothic period.
elegance and refinement in modulations of form as there
is in the ornament of the
Greeks

Early English Ornament

There

similar

The

in a flower.

is

always in perfect harmony with the structural features, and

always grows naturally from them.
It
fulfils every one of the conditions which
we desire to find in a perfect style of Art. But it remained
perfect
only so long as the style remained conventional.
As this style became less
It

is

idealised

imitation

its

peculiar beauties

disappeared, and

it

and more

direct

in

ceased to be an ornamentation of structural

features, but

became ornament applied.

In the capitals of the columns
shaft,

which above the necking

analogous

is

mode

the

to

of

part of the shaft

and,

up

splits

into a series

decorating

where a much nearer approach to

as

the Early English

in

architecture

of stems, each

the Egyptian

capital.

Nature was attempted,

therefore, the shaft

the ornament arises directly from the

it

stem terminating

in

a flower.

In the Decorated style, on the

was no longer possible

This

contrary

to treat a natural leaf

terminated by a bell-shape, round which the leaves

are

is

The more and more

twined.

natural these were made, the less artistic became the

arrangement.
The same thing occurs in the bosses which cover the intersection
of the ribs.
On the vaulting in the
Early English bosses the stems of the flowers forming
the bosses are continuations of the mouldings
of the
ribs, whilst in subsequent periods the
intersections of the ribs were concealed by the
overlaying of "the boss,
which was here as much an application as was the acanthus
leaf to the bell of the Corinthian capital.
In the spandrils of the arches, so long as the
conventional style was retained, one vigorous main
stem was distributed over the spandril, from
which sprang the leaves and flowers; but when the natural
was attempted, the stem ceased to be the guiding
form of the ornament, and lost all grace in the
endeavour to represent in stone the softness of nature.
The main stem as a leading feature gradually
disappears, and the spandrils are often filled with
three immense leaves springing from a twisted stem
in
the centre.
;

From
to

the few remains which

form a very complete idea of

illuminated

MSS.

are

and there were so

is

often

this

class

not a safe guide,

many

of the decorations of the interior of buildings,

exist

still

as,

of ornament of the thirteenth century.

the

after

twelfth century, the style

schools of illumination, and they borrowed so

great mixture in the same illumination.

It is unlikely,

is

are unable

The ornaments from

rarely very architectural,

much one from

that while the

we

the other, that there

sculptured ornament was so

universally conventional, that the decorated

portion of the

On
to the

Plate

LXVII. we

fourteenth century

give

a selection

same building could have departed from the style.

of borders found on illuminated MSS., ranging from the
ninth

and on Plate LXVIII. diapers from

walls,

chiefly taken

of illuminations, from the twelfth to the

sixteenth.

There are very few of either

accompaniments to the pure conventional ornament of the
Early English style.
In the thirteenth century, beyond

all

others, architecture

Alhambra, Salisbury, Lincoln, Westminster,

effects

all

possess

combined with the most elaborate decoration.

the

was

in its

zenith.

from the back-grounds

class that could

be worthy

The mosques of

Cairo, the

same secret of producing the broadest general

In

all these buildings there is a family likeness

although
the forms widely differ, the principles on which
they are based are the same.
They exhibit the same care
for the leading masses of the composition,
the same appreciation of the undulations of form, the
same
correct observation of natural principles in the
ornamentation, the same elegance and refinement in all the
decoration.
:

The attempt
washed

walls,

to reproduce in our time a building of the thirteenth century

with stained glass and encaustic

when every moulding had

roof,

not an inch

beyond conception.

its

of space

tiles,

colour best adapted to

but

So glorious a

had

its

appropriate

point, indeed,

cannot alone sustain the

develope

its

effect

White-

which was arrived

form, and when, from the floor to

ornament, an

had the

must be vain indeed.

effect

style reached

that

at

the

which must have been glorious

it

was exhausted by the

effort,

-the light burnt out:

not only architecture, but all the decorative arts which accompanied it,
immediately
began to decline, a decline which never stops till
the style dies out.
In the examples of encaustic tiles on Plate LXX. it
will be seen that the broadest in effect, and the
best adapted to their purpose, are the
earliest, such as Nos. 17, 27.
Although there was never so much
decline as to attempt an appearance of relief,
yet a near approach to a representation of the natural forms

__

MEDIAEVAL ORNAMENT.
of leaves

be seen in No. 16;

may

and a very marked decline

observed

is

of buildings were represented.

where tracery and the structural features

On

Plate

LXVI.

only to show
leaves

how

or flowers

possible
to

it

is

we have

highly illuminated,

in the originals

By

separate ornaments on the page.

many

almost as

styles

No. 23,

By

adapting these

appearance could be produced as there are

in

a combination of different

as

printed them here in two colours

character of leaves.
to represent in diagram the general

a volute stem,

sueh

patterns

and flowers from illuminated MSS.

of conventional leaves
are arranged a great variety

Although many of them are

in

varieties,

they might be

still

further increased,

the same
the form of any natural leaf or flower on
and by adding to the stock by conventionalising

principle,

invention.
there need be no limit to an artist's

styles
to gather together types of the various
LXXII., LXXIII., we have endeavoured
There is here, also, evidence
century.
twelfth to the end of the fifteenth
the
from
illumination
ornamental
of
any example
On Plate LXXI. the letter N is not surpassed by
of decline from the very earliest point.
in every way,
Here the true purpose of illumination is fulfilled;
the subsequent styles we have reproduced.
from this sprmgs a mam stem,
The letter itself forms the chief ornament;
it is pure decorative writing.
point best adapted to contrast
into a grand volute exactly at the
sweeping boldly from the base, swelling out
again by the green volute, which embraces
is beautifully sustained
with the angular line of the letter; this
nicely proportioned that it is able to sustain
it falling over, and is so
the upper part of the N, and prevents
balanced and contrasted; and
colours, also, are most beautifully
The
it.
from
flows
which
volute
red
the
positive relief, is a fruitful
the stems is expressed, without attempting
the way in which the rotundity of
finest kind of
in this style, and we consider it the
There are an immense number of MSS.
lesson
probably a development of
is certainly Eastern, and was

LXXI

In Plates

The

illumination.

general character of the style

the illumination of the Byzantines.

same

of the

principle so

We

believe

that,

from

its

universal prevalence,

it

exactly the
ornamentation of the Early English, which follows

universally in the

.,.,,,-

in the general distribution of form.

same laws

led to the adoption

which it had derived

lost the peculiar beauty and fitness
This style, from constant repetition, gradually
elaborate, as we see in
scroll-work becoming too minute and
from first inspiration, and died out by the
but the four series of scrolls
have no longer the same balance of form,
No. 13 of the same plate.

We

repeating each other most monotonously.

From

this period

we no

longer find the

initial letters

forming the chief ornament on the page, but the

or with tails on
borders round the page, as at No. 1, Plate LXXII.,
general text becomes enclosed either in
The border gradually comes to be of more importance,
12.
one side of the page, such as 9, 10, 11,
through the manner of No. 15
first general, we gradually arrive
and from the vignette form which was at
a red line, and the border
the border is bounded on the outer edge by
to that of Nos. 7 and 2, where
No. 8 is a specimen of a
tint.
stems and flowers, so as to produce an even
is filled up by intermediate
It is generally to
character.
century, and which is very architectural in
style very prevalent in the fourteenth

very beautiful miniatures.

be found on small missals, and surrounding
ornament, Nos. 13 and 14, to the attempt at rendering
The gradual progress from the flat conventional
There is also
be traced through Nos. 9, 10, 11.
natural forms in Nos. 15, 7, 2, will readily
the relief of
to be

remarked a gradual decline

group of leaves in Nos.

Up

15, 7, 2,

to this period the

with a black

line

the office of the

in the idea of continuity of the

may

still

ornaments are

be traced to their
still

main stems, and although each flower or

roots, the

arrangement

is

fragmentary.

within the province of the scribe, and are

all

first

outlined

find that the painter began to usurp

and then coloured, but on Plate LXXIII. we shall
more does the legitimate object of illumination
scribe; and the farther we proceed the

seem to be departed from.

We

have the

first

stage in

No.

5,

where

geometrical

arrangement

is

obtained

with conventional

In 6, 7, 8,
painted groups of flowers slightly conventionalised.
ornament enclosing gold panels, on which are
flowers arranged in a fragmentary way.
conventional ornament intermingled with natural
9, 10, 15, we find
flower and a
abandoned, we arrive through this to No. 11, when a natural
All

continuity

of design being

to Nos. 12, 13, where the painter has full sway, and represents
conventional ornament appear on the same stem,
on the page. When the art of illumination had arrived at this stage
flowers and insects casting their shadow
copy an insect so faithfully that
ideality had fled, and it ends in the desire to
it could go no farther, all
it

should appear to be alighting on the page.

MEDIEVAL ORNAMENT.
Nos.

are specimens of a peculiar style of Italian MSS., which was a revival in the fifteenth century

2,

1,

of the system of

It led to the style

twelfth.

ornament so prevalent in the

No.

3,

where the interlaced pattern

This style also died out in the same way, the interlacings,
became highly coloured on the gold ground.
from being purely geometrical forms, became imitations of natural branches, and, of course, when it arrived
thus far there could be no farther progress.

The

character

illuminated

MSS. than

the ornaments of the

the

same way

century

is,

we have

as

it

fact

it

The ornaments

considerably suffers.

of scale

On

is.

of

Plate

and

effect

LXIX.

all

Nos.

to

the

belong to a true style of

straight, the inclined,

2,

4,

6,

5,

from No.
8,

viz.,

which ended

like

art.

We

we

need only

call

1,

in

style,

12 to

we have

6,

8,

of the fourteenth

century

we

this

common

see

place

the

which

from which

is

Now

as

such perfect

in

seems a very curious

fact,

Nos.

and we think a mere

here advanced.
all

the principles which

attention here to the very ingenious

and the curved, are balanced and contrasted

thirteenth

28 are of the twelfth century.

we have shown

way

in

which the

in all the diapers.

principle,

with
a continuous ground-pattern forms a tint interlacing
5,

of the

general masses.

that the ornament

decorates,

it

always find

shall

constructed

is

LXXI.

10, 11, are of the fourteenth,

9,

In Nos. 2 and 4 we have an example of a very

In Nos.

same period, and,

The same change has taken

out of scale with the

members which

the ornaments
1,

are

Early English

the

In the stained glass of the twelfth century

character,

the

led to an over-elaboration of detail,

same forms has gradually

repetition of the

glance at the general effect of the plate will establish what

to

of the

of

that

closely

whilst the stained glass

the sculptured ornament of the thirteenth,

are of the thirteenth.

3 and 7

much more

appears to us to be always in advance of structural ornament.

it

one of the most beautiful features

relation in point
if

MSS.,

already observed on comparing No. 13 with No. 12, Plate

general effect
is

follow

to

sculptured ornament of the monuments

does the

illuminated

appears

stained glass

according to our view, already in a state of decline.

The constant
the

it

on

ornament

the stained glass of the twelfth century possesses the same breadth of effect and

For instance,
in

the

of

which
a

thoroughly

more general surface

commencement

the total neglect of the true principles of stained glass,

is

of

the

direct

Eastern in
pattern.

natural

when both ornaments and

style,

figures

them over-true, had their own shades

through which light was to be transmitted, in the attempt to render
and shadows.

Wells Cathedral.

16

Coumt

GRAMMAR

finf
.

OF

QRNAMEN

PLATE

LXVI

MIDDLE

GRAMMAR

OF

QRNAMFR
g

PLATE

BSSQ

'y
p ^

Ifo

m DDLE AGES N
i

t\

GRAMMAR

OF

QRI

17 C
28 * 2

24

STAINED GL/
OF DIFFERENT

TYLEa

GRAMMAR

OF

ORNAMENT

M IDDLE AGES N

PLATE LXX

X X

>->AR
PLATE

Aa

X
x

'

LK

mU
it

kx

<
,

GRA

OF

ill;:.;.:.

mss.n3

XVII. Plates

Chapter

74, 75, 76, 77, 78, 79, 80, 81, 82.

RENAISSANCE ORNAMENT.
PLATE LXXIV.
from the Church of

Bas-reliefs

1. 8, 9.

Sta.

Maria dei Miracoli, Venice.

San Marco, Venice.

2.

Bas-relief from the Scuola di

3.

Bas-relief forming the continuation upwards of Fig.

4, 6.

Bas-reliefs from the

5, 7.

Bas-reliefs

Church of San Michele

in

Murano, Venice.

from the Scala dei Giganti, Venice.

2.

PLATE LXXV.
a Collection of Casts taken under the superintendence of Professor Varny, from the principal Cinque-cento Monuments of

4, 5, 8, 9, 11.

Genoa.

7.

From

1, 2.

From

3.

the

first

Ghiberti Gate of the Baptistery, Florence.

6.

10.

From
From
From

From Genoa.

Venice.
the

Church of Santi Giovanni e Paolo, Venice.

the Hotel Bourgtheroulde, Rouen.

PLATE LXXVT.
Bas-relief

1.

by Andrea Sansovino, from the Church of

Sta.

Maria del

Popolo, Rome.
2.

Bas-relief from the

3.

Bas-relief

5, 7, 8, 10.
6.

Church of

Sta.

Maria

dei Miracoli, Venice.

9.

from the Hotel Bourgtheroulde, Rouen.

Bas-reliefs

from Genoa.

Bas-relief from the Martinengo

Tomb,

Brescia.

Bas-relief from the Base of the "Trois Graces" of

the Louvre.

Germain

Pilon, in

Bas-relief from a Collection of Casts of the best Cinque-cento Ornaments

of Genoa, taken under the superintendence of Professor Varny.

4.

PLATE LXXVII.

4-8.
9.

10,

12.

14.

29.

Limoges Champleve Enamel on Copper, from the Hotel Cluny.

Ditto, of a later period.

30.

Painted Ornaments, Hotel Cluny.

31.

From

32.

Ornaments from the background of a Picture, in the Hotel Cluny.

Enamels on Gold Ground, from the Louvre.
11.
Silver Inlay in Ivory, of the Sixteenth Century, from the Hotel

From
From

15-17.

Similar Objects in Boxwood, from the same

18-20.

From

Sixteenth

Century

Limoges

Enamels,

the

in

same

22-24.
25.

26.

ditto, in

the Louvre.

Enamels on Gold Ground, Sixteenth Century, Louvre.

Portion of an
Cluny.
Inlaid

Ebony Cabinet

of the Sixteenth Century, in the Hotel

Ornament on a Dagger Sheath of

the Sixteenth Century, in

same Museum.

Copper, from the Hotel Cluny.

Repousse Ornaments

40, 41.

Limoges Champleve Enamel, from the same Museum.

45 46.

in

From Goldsmiths' Work of the Sixteenth Century, in the Louvre.

From a Picture in Limoges Painted Enamel, Sixteenth Century,
in the Hotel Cluny.
in Copper,

from the above.

47.

Ornament

48.

Ivory Inlay in Ebony, from the above.

Painted Ornament, from the above.

49.

54-56.

Limoges Champleve Enamel, from the above.

From Accessories to Pictures, from the above.

57-61.

Limoges Champleve Enamel.

50-53.

the Hotel Cluny.

of Henri III., in the Louvre.

in the

37-39.

Museum.

From

Armour

From Metal Work, in the Louvre.

From the Armour of Francois II., in the Louvre.

42-44.

Museum.

the

Metal Plate

33-35.
36.

a Casket in the Hotel Cluny.

a Powder-horn in Iron of the Sixteenth Century, in the

Hotel Cluny.

21.

Pottery of the Sixteenth Century, in the Louvre.

27, 28.

Cluny.
13.

From

Ornaments enamelled on Copper in the early Limoges Champleve

style, from the Hotel Cluny Museum, Paris.

1-3.

PLATE LXXVIII.
1-36.

the Marlborough House

from Specimens of Hispano-Arabic, Castilian, French, and Italian Earthenware, preserved in
towns of the Fifteenth,
Museum, and principally from the Majolican Wares of Pesaro, Gubbio, Urbino, Castel Durante, and other Italian

Ornaments

taken

Sixteenth, and Seventeenth Centuries.

17

RENAISSANCE ORNAMENT.

PLATE LXXIX.
Ornaments selected from the faience, or Enamelled Earthenware, of
Bernard de Palissy, in the H6tel Cluny.

1-3.

From Specimens of Majolica, in the Hotel Cluny.

11-13.
From faience of the Fifteenth Century, in the Hotel Cluny.
14-18, 21. From faience of the Sixteenth Century, in the Louvre.
From Porcelain of the Seventeenth Century, in the Louvre.
19, 20.

4-10.

the German Pottery, en gr4s, with Painted Glaze of the

Sixteenth Century, in the Hotel Cluny.

22, 23.

From

24-33.

From Earthenware, French,

Spanish, and Italian, in the Hotel

Cluny.
34.

From

the Louvre.

PLATE LXXX.
From faience of the Sixteenth Century.
From a Carved Wood Panel of the Seventeenth
34-38. From Enamelled Earthenware.
39^2. From Silk Embroidery on Velvet.

I, 2.

Ornaments horn faience.

28-32.

3-6.

Ornaments from faience of the Sixteenth Century,

33.

Ornaments from faience of the Seventeenth Century.

7-10.

From faience with Metallic' Lustre.

13.
From a Vase in Venetian Glass of the Sixteenth
14-21. From faience of the Sixteenth Century.
From faience of an Earlier Date.
22, 23.
24-27. From Grds Flamand, or Earthenware,
II, 12.

Century.

Century.

N.B.

The whole

of the Specimens on this Plate have been derived

from the Hotel Cluny, Paris.

PLATE LXXXI.
Carved Ornament, from

19.

From

the Hotel Cluny,

22.

Stone Balustrading, from the Chateau d'Anet.

of the Fifteenth Century, in the H6tel

23.

Stone Carving, from the Louvre.

24.

From

From

a Sideboard carved in wood, dated 1554, in the H6tel Cluny.

2.

Wood

Panels of the Sixteenth Century, in the Hotel Cluny.

3.

4-6.

From an Oak Chair-back, in

From Carved Wood-stalls
Cluny.

From

7-10, 25, 26, 35, 36.

11.

End

of a

Beam

Furniture, in the Hotel Cluny.

From

Furniture of the Sixteenth Century, in the

Hotel Cluny.

Boxwood Comb,

in the Hotel Cluny.

a Chimney-piece, in the Hotel Cluny.

27-30.

Carving in Marble from the celebrated Bason of the Fountain of

the Chateau Gaillon, now in the Louvre.

31, 32.

Stone Carving, Seventeenth Century, in the Louvre.

of the end of the Fifteenth Century, in the Hotel

Cluny.
12, 13, 20, 21, 39, 40.

the Louvre.

18.

1.

Wood

33.

Carving from the Hotel Cluny.

From the Fountain of the Chateau

From the Stock of an Arquebuss of

34, 38.

16.

From Furniture of the Fifteenth Century,

From a Sideboard, in the Hotel Cluny.

17.

Shutter Panels of the end of the Fifteenth Century, in the Hotel Cluny.

14, 15.

in the

Hotel Cluny.
37.

Gaillon, Louvre.

the Sixteenth Century in the

Hotel Cluny.

PLATE LXXXII.
1-9.

Carved Ornament, from Oak Furniture of the Sixteenth Century,

in

From a Sideboard of the Fifteenth Century.

18.
From an Oak Sideboard, dated 1524, in the Hotel Cluny.
20-29. From Furniture of the Sixteenth Century, in the Hotel

in

30, 31.

the Hotel Cluny.

10, 11, 19, 34.

From the Bed of Francois I., in the Hotel Cluny.

From Oak Furniture of the Sixteenth Century,
33.

12, 13, 14, 32,

the H6tel Cluny.

15-17.

Cluny.

Panels of Shutters of the end of the Fifteenth Century, in the

Hotel Cluny.

RENAISSANCE ORNAMENT.
If two intelligent students of Italian Art and Literature diligently set themselves to trace, the one the latest
date at which the direct, though lingering, light of

which

it

had once shed

most historians declare

its

Roman

greatness

to

dazzling rays, and the other the earliest effort

its

that the material

monuments of the

and majestic, that

it

was impossible

and marble, were

and thus they were, from time

ancient

to live
to be

glimmer in the land over

to excite a veneration for

classical

beauty

in the progress of their researches.

Romans, scattered

thickly over the soil of Italy,

under their shadow and

had

feeblest

made

to have almost utterly died out in the lapse of ages

doubt that they would not only meet, but cross one another

in stone, bronze,

waned

to forget them.

for the trouble of turning

to time, pressed into service for tombs,

up the
and

there

The

is

what
little

truth

is,

were so substantial

Fragments of exquisite beauty,

soil that scarcely

covered them

as accessories in buildings, in the

2

RENAISSANCE ORNAMENT.
owed

construction of which the principles of Art to which those fragments

sight

Hence, the Gothic style was at once slow to take root in

of.

and destined to bloom

Italy,

Almost concurrently with the introduction of the pointed arch

for a short season.

Englishman, in the construction of

works of Magister Jacobus,

had been

their beauty

entirely lost

brilliantly,

but

Northern Italy by an

into

Andrea, at Vercelli, early in the thirteenth century, and with the German

St.

at Assisi, a protest

was commenced

The

great reviver of antique sculpture, Nicola Pisano.

close of the thirteenth century

Dante, in his time, was scarcely less

a complete revolution in the world of letters.

and

in favour of the ancients

by that

their arts,

was further marked by

known

as

than as an emulator of the great Mantuan, and a profound student in classical learning.

a Christian poet

In the fourteenth

century, Petrarch and Boccaccio, intimate friends, spent long and laborious lives, not in writing Italian poetry

or prose, as

often fancied, but in labouring incessantly in the preservation and restoration to the world of the

is

Roman and

long-lost texts of the

Cino da Pistoia and other learned commentators and

Grecian authors.

jurists,

brought into fashion the study of the great " Corpus" of ancient law, and maintained academies in which
adopted as a
first

Boccaccio

text.

it

was who

who

gave to Italy a lucid account of Heathen Mythology, and

first

was

instituted a chair for the study of the Grecian language at Florence, bringing over Leontius Pilatus, a learned

Greek, from Constantinople, to be the

These

professor.

first

by a numerous band of notables, among

whom

most popularly and

known.

familiarly

accumulated in public and private libraries

from which

moment when

of their labour was " Cicero de Oratore."

literature,

and

England popular,

into Italy.

up

set

their press

had

in the

celebrated Monastery of Santa

Removing

to

Rome

in 1467, the

Thus, while in Germany and France biblical and ecclesiastical

Nicholas Jenson, the Frenchman,

engaged his attention.

as these

Under the auspices of the Benedictines

gave employment to the printer; in

first

men

the labours of such

issued, in the year 1465, their edition of Lactantius.

first-fruits

in

1458-1464), and Cosmo, the father of the Medici,

that could be recovered of classical learning, that about the middle

Germans Sweynheim and Pannartz

of Subiaco, the

exclusively

at a

II.,

was introduced

of the fifteenth century the art of printing

Scholastica,

was

It
all

were seconded

efforts at a revival of classical learning

the names of John of Ravenna (Petrarch's pupil), Lionardo Aretino,

Poggio Bracciolini, iEneas Sylvius (ultimately Pope Pius

are

it

for a time, almost

Italy, classical,

who was

sent

by Louis XI.

to the ateliers

of Fust and Scheffer, to learn " le nouvel art par lequel on faisait des livres," carried his acquired knowledge

from Mayence to Venice, where he invented the

who was

This remarkable man,

Manutius.

no

character, subsequently adopted

Italic

by the learned Aldus

learned editor than he was zealous printer, from about the

less

Among

year 1490, gave to the world in rapid succession editions of the Greek and Latin Classics.

works

one ever memorable in the history of Art, the " Hypnerotomachia," or dream of Poliphilus, written

is

by the learned

ecclesiastic

Fra Colonna.

illustrations,

profusely illustrated with engravings

It is

which has been frequently ascribed to no

an

great

less

De Re

at Venice,

iEdificatoria," at Florence, in 1485, set the seal

and afforded the means of speedily transmitting

up throughout

The

Italy.

successors of the

at Florence, rapidly multiplied the

of revival to

Long, however,
antiquity

first

as

Aldus
;

and thus the

had been thus brought

to

Church of

siderable accuracy

many important

Assisi, ascribed to
;

same

city,

movement

would very probably have

of Italy.

fruition,

had been given

indications

in

first

labourers in the mine of

the world of Art of an almost

In the ornaments which surround the ceilings

Cimabue, the father of painting, the acanthus had been drawn with con-

while Nicola Pisano and other masters of the trecento, or thirteenth century, had derived

elements of design from a study

earliest stage the

until

the

we may

middle of
be,

that in

and the actual

deficiencies,

work,

and the Giunti

of antique

remains.

It

was

however,

scarcely,

beginning of the fifteenth century that the movement can be said to have borne really valuable
its

Rome,

warmly taken

art of printing speedily caused a

already asserted, before the aspirations of the

we have

those

tendency of the age in matters of Art,

at Venice, the Gioliti in the

inherent antagonism on the part of the Italians to Gothic forms.

of the

classical

that noble art remained undiscovered,

become cosmopolitan, which, had

soil

upon the

at

as well as of Alberti's great

to other countries the details of ancient design, so

standard classics

been limited, to a great extent, to the

The publication of Vitruvius

illustrations, in 1511,

with

Through

of form diametrically opposed to those

which display a profound study of ancient ornament, types

about 1486, at Florence in 1496, and

on wood, the design of

than Andrea Mantegna.

artist

of the middle ages were disseminated over the Continent of Europe.

"

his earliest

Renaissance of Art in Italy was unquestionably a revival of principles, and

the fifteenth

century

some productions

details of classic

of

that
this

it

came

earlier

to

stage,

be in anywise a

literal

revival

when Nature was recurred

forms were comparatively unknown and unimitated, there

supplied at a later period, and under a more regular system of education;

to

may
we

until the
fruit.

In

was scarcely

it

Conscious as
for

suggestion,

exist occasional

are

yet free to

RENAISSANCE ORNAMENT.
freshness and naivete

confess a preference for the

with which the pioneers worked, over the more complete

but more easily obtained graces of an almost direct reproduction of the antique.

The

was taken by the celebrated Jacopo

great step in advance

first

from his birth-place, Sienna, to Lucca, executed about

monument

to Ilaria di Caretto,

which a good

may be

cast

the

the simplicity of his imitation being revealed

and the "

by the

little

bandy

however, was the fountain in the Piazza del Mercato Siena,

ducats, and even in

After his execution of this capo

many

during his
as

were

its

merits,

his

d' opera, he

was known

he was far surpassed in the

as

Jacopo

Fonte

della

at

work (of

His great work,

an expense of two thousand

this

work brought him much

where, after a

city,

life

much

of

labour and

Although one of the unsuccessful candidates

we

shall presently

of

correct imitation

ornamental combination, by Lorenzo Ghiberti,

facility in

city,

present sad state of decay offers unmistakeable evidence of his rare ability.

and exercised a great and salutary influence on sculpture

life,

that

interesting

this

one of the " puttini."

bronze door of the Florence Baptistery, as

second

for the

of

chubby boys supporting them

w hich was completed

he died in the year 1424, aged sixty-four.

vicissitudes,

Cathedral

In

City.

puttini," or

legs of

and he was made Warden of the Cathedral in that

distinction,

the

in

driven

seen in the Crystal Palace) Jacopo exhibited a careful recourse to nature, both in

the surrounding festoons of the upper part of the pedestal

two hundred gold

year 141.3,

Lord of the

wife of Giunigi di Caretto,

who having been

della Quercia,

who was one

much esteemed

he was

see,

Great, however,

his death.

after

and

nature,

in grace,

and

dexterity,

of his immediate contemporaries.

In the year 1401, Florence, under an essentially democratic form of government, had risen to be one of
the most flourishing cities of Europe.

In this

" Arti," represented by deputies (consoli).

democracy the trades were distinguished as

civic

The Consuls

resolved in the above-mentioned year to raise another

gate of bronze to the Baptistery, as a pendant to that of

in a very noble, but

The

opened.

ventured on the

trial,

last-named

made known

this resolve to the best artists of Italy,

Lorenzo Ghiberti, a native of Florence, at that time very young

finished,

The beauty of

and put up.

work, either as regards

this

by any

does, unrivalled

(for a portion of

which

most careful study.

its

and study

similar specimen in

see Plate

school of pupils.

wanting

Fig. 3),

which encloses and surrounds the panels,

He

his influence

died in his native city at a good old

life

in the compositions

age,

and masculine vigour to the

of Ghiberti

and the

on Art

and

as Buonarotti

is

The ornament
worthy of the

One

1455.

both these

artists

of his immediate
their beauty,

all

were

were happily united in

(which extended from 1400 to 1480), executed an

works, the ornamental details of which were carried out in a style of the freest and most graceful

analogy with the antique.

were combined.

In the person of Filippo Brunelleschi the talents of the sculptor and the architect

The former

are sufficiently evinced

by the excellence of the

trial-piece

Cathedral

of

Sta.

Maria

sculpturesque ability was, indeed,

delle

Fiore

at

This

Florence.

distinguishing feature of the period.

combination
Figures,

in

which he competed

and the

with Ghiberti for the execution of the celebrated gates of San Giovanni Battista;
magnificent

it

than from his formation of any

which, in spite of

art,

is

standing, as

be seen rather in the homage

to

the year

in

be said he founded one, he received

Raffaelle,

qualities- of
life

it

to overrate the

and workmanship.

for excellence of design

the person of Luca della Robbia, who, during his long

infinity of

influence on art or its intrinsic merit,

Lorenzo Ghiberti belonged to no school, neither can

followers, Donatello, imparted a

often

LXXV.,

would be impossible

It

any age

works received from men such

his

These two

design and workmanship induced the Signoria to order

its historical

from his father-in-law, a goldsmith; and

his education

(twenty-two),

and with two others, Brunelleschi and Donatello, was pronounced worthy.

another of him, which was ultimately finished about the year 1444.

importance of

and a public

appear to have voluntarily retired in his favour; and in twenty-three years from that date

artists

was

Andrea Pisano, which had been previously executed

style.

Signoria, or executive government,

competition was

the gate

Gothic

still

guilds, called

of

foliage,

latter,

by

architectural

his

and

and conventional

ornaments, were so happily blended with mouldings and other structural forms, as to convey the idea that
the whole sprang to

A
Venice.

life

in

one perfect form in the mind of the

by

whom

the

work was

executed.

development of taste coincident with that noticeable in Tuscany took place at Naples, Rome, Milan, and

At Naples, the torch that was

and Amillo

lit

by Massuccio was handed on by Andrea

Ciccione, Bamboccio,

Monaco,

Fiore.

At Rome, the opulence

of the princes, and the great

to the Imperial city the highest procurable ability

fragments of exquisite decorative sculpture are

Pintelli

artist

still

works undertaken by the successive

and hence

it

be met with.

is,

pontiffs, attracted

that in the various palaces and churches

Bramante, Baldassare Peruzzi, and Baccio

(of whose arabesques on the exterior of the Church of Sant' Agostino, one of the earliest buildings of
4

RENAISSANCE ORNAMENT.
the pure revival executed

in the Imperial, our

examples), and even

elegant

^-<^t-^

the

woodcuts give some

great Raffaelle himself,

did

not

disdain to design ornaments for carvers, of the purest taste and most

Of

exquisite fancy.
art

the perfection attained in this department of

by the last-named

wooden

celebrated

the

artist,

stalls

of the

choir of San Pietro dei Casinensi at Perugia will long remain unques-

The carrying out of

tionable evidence.

Bergamo does

these carvings

the admirable compositions of Raffaelle.

full justice to

At Milan, the important works of the Duomo, and

Pavia,

created a

among

the most

be

The

Sacchi.

celebrated masters of which

may

embodied

traditions

lingering

had long been

tradi-

and there can be no doubt

locality,

that these artists

the Certosa at

Amadeo, and

Agrati,

Solari,

sculptor's talent

that

tional in

art;

Fusina,

noticed,

remarkable school

of

truly

by Stefano da

the highest forms the

in

of the

Maestri

Comaschi,

or

K
Panel from the Piscina of the High Altar of the Certosa, Pavia.

Freemasons, of
the most

Como

from whose genius many of

celebrated buildings

middle ages

of the

derived their highest graces of adornment.

the

Lombard

admiration
better

works

must be

known

as

reserved

for

the highest
Panels from the Pisdna of
tho High Altar of the

Agostino Busti,

at

the

Certosa, Pavia.

Certosa must ever remain marvels

Our woodcuts, selected from

some idea of the general

At Venice,

all

Bambaja, and his pupil Brambilla, whose exquisite

in arabesque

execution.

furnish

Cinque-centists, however,

Of

the

first

great

the Piscina of the

High

of

Altar,

style of the Pavian arabesques.

names which

call

for

notice

are

IV

those of the Lombardi (Pietro, Tullio, Giulio, Sante, and Antonio),

through whose talents that

monuments.
di

city

was adorned with

They were followed by

its

most famous

Riccio, Bernardo, and

Mantua, and many other sculptors; but their

Domenico

lesser glories are

1U2UL
Arabesques designed by Baecio
for the

Pintelli,

Church of Sant' Agostino,

Rome.

17

Ornaments from the Piscina ot the High Altar

of the Certosa, Pavia.

Portion of a Pilaster, from the Church of

Sta.

Maria dei Miracoli, Venice, by

the Lombardi.

Arabesques designed by Baecio Pintelli.

from the Church of Sauf Agostino,
Koine.

RENAISSANCE ORNAMENT.

(born 1435, died 1501)

we

Tuscany,

to

At Lucca, Matteo

by those of the great Jacopo Sansovino.

altogether eclipsed

maintained the reputation of the period.

fully

towards

find,

the

of

close

the

Returning

century,

fifteenth

Civitale

the

greatest

we now

perfection of ornamental sculpture, the leading characteristic of which, however,

no longer find to be the sedulous and simple imitation of nature,

The names of Mino da

conventional rendering of the antique.

school

celebrated

of the

the

of

Fiesolani

Benedetto

da

but

Fiesole

rather

the

and

Majano,

greatest

Bernardo

our recollection many exquisite monuments which abound in the

Rossellini, bring to

churches of Florence, and the other principal towns of the Grand Duchy.

wood, in

in

alike

excelled

artists

been surpassed in this

of

style

known

Contucci, better

would appear impossible

and their

marble;

in

we have
Andrea

these,

Sansovino, was pre-eminent in his art;

carry ornamental modelling to

to

Of

contemporaries.

their

others,

These

works have

only by those of their predecessors

art

the elder

as

and

stone,

named and by some few

already

greater

and

it

than

perfection

he has exhibited in the wonderful monuments which form the pride of the Church of

^^Sd3 MjSSiib vSdl0f *a Sta. Maria

his master's name, may be regarded
'"

be borne

constantly

lessons

Of him however more

as his only rival. #

which may,

we

as

mind, were ornamentists

in

we proceed

also,

One

of the most peculiar and most fascinating qualities of the best

skill

with which those by

by

it

but brought to a tangent with

The

it

is

to their

its

of

out some few

point

to

all

whom,

of those

and art-workman.

artist

Cinque-cento ornament in relief

availed themselves of the play of light

which

grounds from

parallel to the

it

the

is

and shade produced

was

the ornament

at ever-varying angles of impact.

it

between a

difference in effect

from the starting of the volute to

and

was wrought

of plane, not only in surfaces

infinite variations

raised,

whom

of Italy,

sculptors

great

subsequently took

hereafter.

be derived from a study of their works by the

conceive,

who

His pupil, Jacopo Tatti,

succinctly traced the historical succession of the

Having thus
must

Rome.

del Popolo at

and one

eye,

in

which the

form, in

scroll of the volute

which the

undeviating preference for the former over

uniform throughout,

relief is

the

very great;

is

Cinque-cento

that the

latter,

diminishes

gradually

relief

artists

are

indebted for the infallibly pleasing results they attained alike in their simplest and most complicated combinations of spiral forms.

This refined appreciation of delicate shades of

Donatello,

whose authority

was held

in matters of taste

was carried

relief in sculpture

and whose example was followed with respect and devotion by

was he the

first

is

to

obtained within apparently impracticable limits of

with mezzo and

into

special

conventions

of

for

through

sedulous

greatest avidity

they

are

worthy

almost

the

of

Antique

of the

study

a master of his

were

division

though
and

adopted

arrived

imitated

by the ornamentists of the period; and hence we may

the most peculiar and

striking technical excellences

his

These

art of Painting.

name,

work

practice of the

Florentine

the

of

style of

ever overstep the

to

craft

derived from the sister

elements

and of rounded modelling

combine that

first to

an almost pictorial

Donatello enriched

sculpture,

many

inventions

Too good

planes.

several

subject

by

Not only

classes of artists.

all

effect of projection

but he was the

relief,

thus maintaining

relievo;

alto

Cinque-centisti with

si

which the

practise the bassissimo relievo, in

greatest perfection

its

esteem by the contemporary

in the highest possible

Florentines,

to

at

only

with

the

trace

some of

of the best Renaissance

carving

and modelling.

and

Ultimately,

ornament
viewed

in planes

from

at its

acme of

perfection,

this

was so ingeniously managed

distance,

the

only

An

points
tendrils

of greatest salience.

necessary

to

sense

of vision

the

convey a

no inspection

tangible

could

idea

be

of the

convention,

while

appreciation

of the refinements of surface texture.

Miracoli, Venice (Figs.

1,

8,

9,

approach of a few

figures

connecting

yet nearer approach revealed the leafage

too

Plate

type

close

of the best Italian Cinque-cento ornament, such as

Small Pilasters of Warble Staircase in the

Church of Sta. Maria

and

lines

LXXIV.), by

The

to

of
test

nature
the

" cisellatura,"

may be

that,

symmetrically

points

certain

disposed with reference to some dominant geometrical figures.

paces served to bring to the

and shade,

in relation to light

presented

relievo

system of regular arrangement of

and

delicate

selected

artist's

the

for

perfect

or " chasing,"

seen in the Church of the

the Lombardi;

in the

Church of
dei Miracoli, Venice, by
Tullio Lombardo, x.u.
1485, about.

RENAISSANCE ORNAMENT.
Maria del Popolo (Fig.

Sta.

(Fig. 3, Plate

Marco

buildings

Nature's

tendency

LXXIV.)

(Fig. 2, Plate

Venice,

at

beyond

is

grace

to

show

to

tertiaries

day,

present

the

in

case

the

Murano

a leaf

fibres of

specific function to

love, it

portions

those

converting

in

of

LXXIV.)

Plate

Smoothness and

perform; and while labour

touch was a labour

LXXIV.);

(Figs. 4, 6, Plate
7,

is

nor

is

is

never

are

so prodigally

never thrown away, as

is

the

and other

detail

a design which should be

of

Florence

or tendril are never misdirected,

growth perverted or misapprehended.

in

additional

every

that

in the gates of the Baptistery,

the Scala dei Giganti (Figs. 5,

The

praise.

all

added excepting where they have some

as

Sansovino

Ghiberti; in the carvings of San Michele di

LXXV.), by

Scuola di San

LXXVL), Rome, by

Plate

1,

bestowed
too often

secondaries

or

in point of interest into primaries.

In the hands of

profoundly impressed than was Donatello with a sense of the just limits of

artists less

convention in sculpture, the importation of pictorial elements into bas-relief soon degenerated into confusion.

Even the great Ghiberti marred the

perspective,

most graceful compositions by the introduction of

of his

and accessories copied too directly from nature.

Certosa the fault

at

many

of

effect

their beauty

In

and

serve only

dignity,

amuse him

to

to sacred uses.

commemorating the dead, or dedicated

gruity

of

which may

reproach

the

of the ornamental sculptures

resembling

with

musical instruments, semi-Priapic terminals, antique

altars,

and hybrid marine monsters, and chimeras, harmonize but

This

or dedicated to religious rites.

many such monuments

to

and those

be altogether justly laid upon the shoulders of the

dominant

and

tripods,
ill

artists

incon-

ornaments

Tragic and comic masques,

of

vessels

the

is

by the

suggested

libation,

dancing amorini,

with monuments reared in consecrated

may

of the confusion of things sacred and profane,

fault,

decked

connected with their purport,

of ideas

association

fairies,

than serious works of Art

rather

foliage,

be addressed

justice

houses peopled by

dolls'

displayed in their friezes, pilasters, panels, spandrils, and other enriched features.

reflect the

of the

exaggerated until monuments, which should impress the spectator with grave admiration

is

with garlands, hung with tablets, and fancifully overgrown with

Another

many

not, however,

whose works served but

Renaissance,

of the

edifices

to

of an age in which the revival of mythologic symbolism was but a protest against

spirit

the hampering trammels of ascetic tradition erected into dogmatism under the rulers of the East, and endorsed

by the Church during those

its

ations

in the

which

all

and

its

ascendancy over an ignorant and turbulent population was at

of even the most religious

The minds

greatest height.

when

centuries

and

fourteenth century;

it

necessary to

not

is

men were imbued with such incongruous

go

farther than

"Commedia"

the

associ-

of Dante,

the world of literature has designated as the Divine Epic, to recognise the tangled skeins of Gothic

classical inspiration

the architect, the study of Italian Cinque-cento ornament in relief

To
utility

with which the whole texture of contemporary literature was interwoven.

than

out, or arranged to

of the adjacent architectural lines

more agreeably with the

contrast

by which

it

is

their

suitable for a horizontal position

of

Sta.

placed in a vertical one, or

Venice (Plate

versa;

the

and

is

rarely,

proportions

ever,

if

of

the

are

orna-

and

larity

and symmetry are given

rails,

the whole, at variance with

another.

In

Plates

LXXV., and LXXVL,

lected

of which

the majority
ness
ficial,

unon
UP UU

Venice

to

and

one

the

characteristics

The

1)

(Plate

and Domenico

di

Mantua,

LXXIV,

at

Figs.

7), attained the highest per-

At

these respects.

are

subsequent

period

which they

flourished, the orna-

col-

more uniformly high

the

Lombardi,

and

stems

0r
1
un
ftSS th\ chufch of "stl
Miracoli, Venice.

tapered,
'
r

and

play

the
of

relief,

in

and
were

tendrils

thickened, and not so

ornament
nrevailinff
picvoiiing

that

to

ments were generally wrought in

graceful-

are
al
tllc
c the

its
uclu5
lt& field

Miracoli,

dei

fection in

though apparently natural,

of

Church

the

LXXIV.,

of line, and a highly arti-

distribution

Fig.

and Bernardino

of specimens, in

a series

Maria

LXXVL,

by which regu-

styles

at

LXXIV, Figs. 1,
9; Plate LXXVL, Fig. 2);
8,
Andrea Sansovino at Rome (Plate

vice

ments and the mouldings, or the

smaii Pilaster of the Giant's

Staircase,
Ducal Palace,
Venice, by Bendetto and
Domenico da Mantua.

works

in

ever,

direction

bounded and kept in subordination.

an ornament

if

of no less

can possibly be to the sculptor, since in no style has ornament ever

it

been better spaced

Rarely,

is

uniformly

accidental

growth

nature were

less

Small

Pilaster
of
staircase

Marwe

in the Church of
ot
Sta. Maria dei Miracoli,

Venice.

RENAISSANCE ORNAMENT.
imitated, the

sedulously

<-

and

enrichments,

The

make

Of

fashion.

into

Figs.

much

in

2,

4,

5,

10.

Fig.

in

Martinengo

Tomb

and

8,

1,

8,

plethora

to

and 11; and

already

from

plate,

Plate

in

Figs. 4, 5, 7,

the

celebrated

tendency

to

In the art of painting, a movement took place concurrent with that

we

exhibits

clearly

also

Brescia,

at

this

up.

filling

Giotto, the pupil of Cimabue,

have thus briefly noticed in sculpture.

the shackles of Greek tradition,

off

LXXVL,

in Plate

last-mentioned

the

we

ornament

in

crept

altogether

Genoese work represented

of the

9,

the

keep the sculpture down, soon began to

to

tendency

this

indications

perceive

LXXV.,

and

mouldings heavy; and a more ponderous style

his

refined.

less

asserted itself in competition with the architect's

self-defence,

in

latter,

covered with

fully

whole aspect made more bustling and

its

work

sculptor's

was more

of the panel

field

and gave his whole heart

threw

to nature.

His ornament, like that of his master, consisted of a combination of painted

In

mosaic work, interlacing bands, and free renderings of the acanthus.

work

his

and Padua, he has invariably shown

at Assisi, Naples, Florence,

a graceful

apprehension of the balance essential to be maintained between

mural pictures and mural ornaments,

These right

colour.

relative

porJon'ofaDoorwayinonoofthePaiacesoftkeDoriaa.noarthe

both in
of

principles

quantity,

Taddeo Bartolo, the Orcagnas, Pietro

That rare student of nature

mural embellishment.

Campo

Santo, and

however,

it

may be

student of antiquity, as

less diligent

Lorenzo, Spinello Aretino, and

di

was who moved painting

moved

in

every variety of ornament borrowed from the antique.

as

to

possess of his

at

by an ancient Roman.
and marked turn, the
for a

Court, even

Towards the

peculiarities

were admitted masters of

Benozzo Gozzoli, was a no

Andrea Mantegna,

close

to

sculpture,

and that not

figures

in

The magnificent cartoons we are

so

alone,

but

fortunate

minutest decorative details, might have been drawn

their

of the fifteenth century,

the

style

of polychromy took a fresh

of which, in connexion with arabesque and grotesque ornament,

we

reserve

subsequent notice.

Turning from Italy

fire

Hampton

very generally

recognised in the architectural backgrounds to his pictures in the

Donatello had

as

and

and Simone Memmi,

arabesques which divide his pictures at San Gimignano.

the noble

in

others,

succeeding century,

the

in

many

were

balance

understood and adopted during the fourteenth century

distribution,

to

France, which was

the

of the European nations

first

its

torch

at

the

find that the warlike expeditions of Charles VIII.

we

of Renaissance Art, which had been kindled in Italy,

light

to

and Louis XII. infected the nobility of France with an admiration for the splendours of Art met with by
The first clear indication of the coming change might have been
them at Florence, Rome, and Milan.
seen

(for

it

first-named monarch, around which female

in the Italian

manner.

in

the

monument

figures, in

gilt

bronze,

in 1793)

was unfortunately destroyed

many minor works which have now

d'Amboise in the year 1502, has

perished.

been

The

that

unjust to Giocondo to ascribe

French

was

good editor of Vitruvius,

two bridges over the

magnificent Chateau de

The

to visit France.

but,

Gaillon,

according

to

artist,

her

first

is
it

very

fairly classical, is so

and probably

begun

by Cardinal

Emeric David

internal evidence is entirely in favour of a

to him, as to

great Renaissance

much Burgundian work,

and master mason.

It

is,

it

artist.

classical

out the
of the

details.

The

monument.

The whole of
for

the

arabesques were wrought, was

Moreover,

accounts which were published

by whom,

if

by

from them we learn that Guillaume Senault

however, just possible that Giocondo

principal Italian

French

would be almost as

may have been

consulted by the

Cardinal upon the general plan, and that Senault and his companions, for the most part French,
carried

and

France to deprive her of the credit of having produced, by a

Deville in 1850, set the question almost entirely at rest;

architect

that

He

Seine,

and against Giocondo, who was more of an engineer and student than an ornamental

much

of the

grouped completely

of the Virtues, were

frequently ascribed to him,

other French archaeologists, upon insufficient grounds.

M.

first

for his royal master

remained there from 1499 to 1506, and designed

intermingled with

memory

In the same year, the latter sovereign invited the celebrated Fra Giocondo, architect,

of Verona, friend and fellow-student of the elder Aldus, and

origin,

erected in 1499 to the

we may judge from the

style

may have

some of the most

Bertrand de Meynal, who had been commissioned to carry

from Genoa the beautiful Venetian fountain, so well known as the Vasque du Chateau de Gaillon, now
8

in the

RENAISSANCE ORNAMENT.
and from which (Plate

Louvre,

who

Colin Castille,

especially figures

who had

have been a Spaniard

work not Burgundian

It

pair,

and

represented naked:

differ scarcely at all

now

at St.

the portions

from good

possibly

of Renaissance

Italian examples.

Denis, near Paris, and one of the richest

was

for the first time united to masterly

The

Twelve semicircular arches

placed an apostle;

is

and

at

inclose the bodies

the

four

corners

and Wisdom; the whole being surmounted by

of the royal

are

four large

King

of the

statues

bas-reliefs represent the triumphal entry of Louis into

The monument of Louis XII. has been

Genoa, and the battle

often ascribed to Trebatti (Paul Ponee), but

he came to France, as the following extract from the royal records proves.
u II est deu
Duprat:
a Jehan Juste mon sculteur ordinaire, porteur de ceste

pardevant or donnez pour

lui avoie

je

less

menage

la

Roy Loys

en France, de la sculpture de marbre de feuz

Not

may very

where he signalised himself by his personal valour.

of Aguadel,

1200 que

elegant ornament.

This beautiful work of Art was executed between 1518 and 1530, under the

Prudence,

and Queen on their knees.

"tailleur a l'antique,"

essential particulars,

all

architectural disposition

under every arch

Strength,

In

of Louis XII.,

by Jean Juste of Tours.

I.,

statues of Justice,

Rome.

studied in

symmetry of

execution of detail in France.

of Francis

of art-workmen as

in the list

monument

was, however, in the

we have engraved some

Figs. 27, 30, 34, 38)

in style are very pure,

of the sixteenth century, that

orders

LXXXL,

Francis
la

Royne Anne, &c.

worthy of study than the tomb of Louis XII., and executed

was

finished before

addresses the Cardinal

somme de 400

et conduite de la ville

et

I.

it

escus, restans des

de Tours au lieu de St. Denis

Novembre 1531."
same

at the

period, are the beautiful

carvings in alto and basso relievo, which ornament the whole exterior of the choir of the Cathedral of Chartres

taken from the lives of our Saviour and the Virgin, and form forty-one groups,

the subjects are

of

which are the work of Jean Texier, who commenced

tower erected by him.

These compositions are

the drapery free and graceful,

and the heads

of

full

life

new

in 1514, after completing that part of the

of truth and beauty, the

full

figures

fourteen
clock-

animated and natural,

but the arabesque ornaments, which almost entirely

cover the projecting parts of the pilasters, friezes, and mouldings of the base, are, perhaps, the most beautiful
portions

they are

very

diminutive

in

size

the largest

the pilasters, being only eight or nine inches in breadth.

variety of devices

bundles of arms,

The

F.

crowned

in these ornaments, are

and

satyrs, military ensigns,

the

monogram

marvellous.

of Francis

I.

is

the groups,

Though

Masses of

tools belonging

of

so minute,
foliage,

to various

which
the

are

spirit

branches of
arts,

those

which

cover

of the carving, and

trees,

birds,

fountains,

much

are arranged with

taste.

conspicuous in these arabesques, and the dates of the years,

1525, 1527, and 1529, are traced upon the draperies.

The tomb which Anne

finished

and placed

in the

of Brittany caused to be erected to the

Tomb

of Francis

The monument

elegant.

under Roulant

and we may,

le

II.,

Duke

to

was
17

in

and his

wife, Marguerite

and mother was

regard

it

as

Colombe.

The ornamental

in

the

It

Italian appears to

the

1507.

Cathedral at Rouen, was begun in the year

No

is

details are peculiarly

do Foix, erected by Anne of Brittany in the Carmelite Church at Nantes, by Michel Colombe, a.d.

Cardinal d'Amboise,

fairly

had indoctrinated the native

It

of Brittany,

Michel

Roux, master mason of the Cathedral.

therefore,

of her father

choir of the Carmelite Church at Nantes on the 1st of January, 1507.

master-piece of an artist of great ability and naivete

Portions of the

memory

have assisted in

its

1515,

execution,

an expression of the vigour with which the Renaissance virus

artists.

1530 and 1531 that Francis

I.

invited

Rosso and Primaticcio into France, and those distinguished

9

RENAISSANCE ORNAMENT.
were speedily followed by Nicolo

artists

With

the talent of the

Industrial Art has

sumptuous

Our

furniture.

remarks on

The

head.

this

and that

wood-work,

to

also

at

gracefully brought to

more

sculptor been

Nos.

Plates,

every ornamental

point out that

to

suffice

was rapidly transferred

or bronze,

marble,

may

It

of wood-carving.

art

enter fully into the historical details connected with

of our present sketch to

limits

would exceed the

into the

shall subsequently advert.

French Renaissance, to which we

the

della Robbia.

and Girolamo

Cellini, Trebatti,

and the foundation of the school of Fontainebleau, new elements were introduced

their advent,

It

Abbate, Luca Penni,

del'

stone,

for

history

no period of the

of

bear upon the enrichment of

furnish brilliant evidence of the justice of our

LXXXI. and LXXXIL,

student, however, as he goes over them,

attentive

available

feature

be unable to avoid per-

will

original foliated ornament which formed the stock in trade of the early
ceiving a gradual withdrawing from the
the
He will next notice a heaping up of various objects and " caprice i," derived from
artists.

Renaissance

heaviness; and then, finally, he will

accompanied by a fulness of projection and slight tendency to
of forms differing from the Italian, and altogether national,
recognise the general adoption of a particular set
antique,

oblong indentations (Plate LXXXI., Figs. 17 and 20),

such as the conventional volute incised with small square or

and the medallion heads (Plate LXXXI., Figs. 1 and 17).

be traced in the painted glass of the
The dawning rays of the coming revival of Art in France can scarcely
and angular in
ornaments, canopies, foliage, and inscriptions, are generally flamboyant

The

fifteenth century^

character, although freely

The

and crisply made

although producing a pleasing

glass,

An immense number

century.

more or

less

St.

effect, is

windows were executed during

of

were employed

make

to

cartoons

by Jean Cousin

the fourth trumpet

is

for the

grisailles,

that of the thirteenth

epoch, and specimens are to be found

Ouen,

Rouen, has some

at

upon

fine figures

will

be

at Chalons-sur-Marne.

The

masters

first

enamel was used to give depth to the colours without losing the richness,

Many

of the

are very

windows

Sainte Chapelle at Vincennes

work

Arneaud Demole

of

period, especially a very fine Jesse

little

more than

as those

grisailles,

one of those representing the angel sounding

The Cathedral

of

Auch

also contains

some

Beauvais also possesses a great deal of the glass of

window, the work of Enguerand

mind the works

the poses of the figures call to

style of drawing.

and good examples of the glass of the century

admirable both in composition and drawing.

exceedingly fine examples of the

The

St.

this

bluethan

the

introduced into the art at the epoch of the Renaissance.

and much more white was employed.

this

Dame

Gervais at Paris, and Notre

by the prevailing

figures are influenced

much thinnerespecially

the clerestory windows;

Many improvements were

designed

and the

perfect in almost every large church in France.

a white quarry ground in

found in

out,

the heads are grand, and

Prince;

le

of Albert Durer.
in the houses of the nobility,

which ornamented the windows

and even of the

in drawing and grouping leave

although small, were executed with an admirable delicacy, and

bourgeoisie,
little

to

be

desired.

Toward

the

end of the sixteenth century the

themselves without employment,

trade, left

it

to

to

and the celebrated Bernard de

engage in another

greater

presenting

Raffaelle,

Cupid and Psyche, from the designs of

Palissy,

difficulties,

which

the

decline,

formerly

numerous glass-painters found

who had been brought up

but which eventually

are indebted for the charming

To him, however, we

highest reputation.

began

art

grisailles

decorated

the

him the

secured

the story

representing

the

to

of

Chateau of Ecouen, the

residence of his great patron the Constable Montmorency.

but was absorbed into the hearts of the

Renaissance ornament penetrated into Germany at an early period,
quickened its general acceptation. From an early
people but slowly, until the spread of books and engravings
Germany and Flanders to study in the great Italian
period there had been a steady current of artists leaving
Among them, men like Roger of Bruges, who spent much of his life in Italy, and died in 1464
ateliers.

Hemskerk, and Albert Durer, more

especially influenced their countrymen.

of the

engravings showed a perfect apprehension

manner of

his

master Wohlgemuth, and

the engravings of the

men who

like Peter

latter,

Vischer

Renaissance of Germany

is

now

conditions of Italian

The

design,

who

latter,

leaning

now

to the Raffaellesque simplicity of Marc' Antonio.

in

many

to

the

of his

Gothic

The spread of

however, in Germany, unquestionably conduced to the formation of the taste of

first

brought Italian

impureher

plastic art into fashion in

Germany.

industrious affection for difficulties of the

head, soon led her into crinkum-crankums

and

animated than graceful, took the place of the

strap- work, jewelled forms

refined

elegance

of the

Even

at

its

best the

hand, rather than of the

and complicated monsters, rather

early Italian

and French arabesques.

(See Engraving on following page.)

It

may be

well

now

to turn

from the Fine to the Industrial Arts, and to trace the manifestation of the revival
10

RENAISSANCE ORNAMENT.
From

contemporary manufactures.

in the designs of

the unchanging and unchangeable nature of vitreous and

ceramic products, no historical evidence of style can be more complete and satisfactory than that which they
afford,

and hence we have devoted three

entire Plates (Nos.

LXXVIIL, LXXIX., and LXXX.)

The majority of the specimens thereon represented have been

ware and

interesting

we proceed

ornamentation

its

to offer a

selected from the " Majolica" of Italy,

whom

Moors, by

and

manufacture

the

this

had long been known and used

it

The earthenware

their buildings.

whence

belief

called "majolica"

glazed

of

pottery

in

the form

supposed

is

was

The manufacture of

flooring.

found

decoration

Central

into

Italy;

and 13).

Figs. 31

form of encaustic

later in the

ware was extensively carried on between 1450 and 1700,

this

of

ornamented with geometrical

LXXIX. and LXXX.,

among brickwork, and

tiles

by the

Isles

the Island of Majorca,

way

its

the

for

tiles

name from

its

strengthened by the fact of the earliest Italian ware being

is

used by introducing coloured concave

first

of coloured

have

to

but introducing

Spain and the Balearic

believed to derive

is

patterns and trefoil-shaped "foliations" of Saracenic character (Plates

It

Italian work,

of glazing pottery appears to have been introduced into

art

on which

few remarks.

Arabesque by Theodor de Bry, oue of the " Petite Maltres " of Germany (1598), hi imitation of
strap-work, caricature, and jewelled forms.

The

to their illustration.

towns

in the

of Nocera, Arezzo, Citta di Castillo, Forli, Faenza (whence comes fayence), Florence, Spello, Perugia, Deruta,

Bologna, Rimini, Ferrara,

many

places

celebrity.

clumsy
at

It

in

the Abruzzi;

was

at

many

plates,

The

the back.

but Pesaro

called

first

is

is

They are of

made

have been

1399.

mode

century;

in the fifteenth

of the last

member

of

it.

and

also

are

This "half" majolica

was not

it

chiefly

some of
claims

whom

the

remained in the inventor's family

Robbia,

antimony,

of Cagli

manufacture of

till

tin,

at

Florence in

and other mineral substances,

modelled by

bas-reliefs

about 1550, when

it

was

lost at the

known

religious,

to

fruits

difficulties

which the pure

in their natural tints

of this coloured

at that early time,

and Ventura

di

attending

it.

glistening white

The

was

death

of the

subjects of the bas-reliefs of

figures

were

introduced by

the

is

well adapted;

glaze at a

still

it

earlier

date

for

Pesaro,

of Delia Robbia,

celebrity until 1462,

it

with colour

when Matteo

di

by

Passeri

where the manufacture

but though the art of combining

had not attained much

the

by the deep blue ground.

followers

of

may

Raniere

Maestro Simone dei Piccolomini of Siena established themselves at Pesaro, for the

purpose of carrying on the manufacture of earthenware already existing there;

that their attention

him.

Attempts have been made at Florence to revive the manufacture of the Robbian

the costumes were coloured, whilst the flesh parts were allowed to remain unglazed.

discovery

seen,

by Passeri and others

who was born

and

statues

beautiful terra-cotta

earthenware was carried on in the fourteenth century

have been

now and then

is

believed

is

eyes are blackened to heighten the expression, and the white figures well relieved

Wreaths of flowers and

the form of thick

until after that time that the

discovered by Luca della

ware, but with small success, owing to the great

Delia Robbia

in

any

attained

it

at

dingy grey colour, and often have a dull yellow varnish

that he used for this purpose a mixture of

secret of this varnish

which

in

also

it.

as a varnish to the surface of the

applied

The

of glazing pottery was

It is said

town

first

coarse and gritty, but the golden and prismatic lustre

"fine" majolica almost entirely superseded

the

and Ravenna, and

and was usually made

majolica,

though they are more frequently of a pearly hue.

to

be

admitted to

"mezza" or "half"

of large size.

texture

Gubbio, Urbino,

Fermignano, Castel Durante,

Pesaro,

attracted

Pandolfo Malatesta at Rimini.

and

it

is

not

improbable

by the works of Delia Robbia, who had been employed by Sigismond

Some confusion appears

to

have arisen with respect to the precise process

We

invented by Della Robbia, and looked upon by himself and his family as the really valuable secret.

feel

RENAISSANCE ORNAMENT.
doubt that

little

rather in the tempering and

consisted

it

of

firing

the

clay to

enable

burn

to

it

large

masses truly and thoroughly than in the protecting glaze, about which there appears to have been very

little

novelty or necessity for concealment.

"
Prismatic lustre and a brilliant and transparent white glaze were the qualities chiefly sought for in the " fine

majolica and Gubbian ware

and

the Gubbian ware surpassed

in this

made from
was

and,

dry,

when

into which,

tin,

as

was given by preparations of

the metallic lustre

The dazzling white

others.

all

immediately absorbed the colours,

it

was plunged;

half-baked, the pottery

copper, and gold,

silver,

was obtained by

glaze

varnish

the designs were painted before this

wondered

not to be

is

it

lead,

we

at that

frequently

so

find inaccuracies in the drawings.

appear to be " C.

mark.

H. O. N."

These instances are

The

generally

subjects

and continued

preferred,

and

ware

plate of the early Pesaro

in

historical,

letters at the

classical,

date than the sacred themes.

and

back of the

Scripture

which

of

forming a

interlaced,

but the

displaced

were

former

by scenes from Ovid

was generally

subject

described

briefly

The fashion of ornamenting the ware

plate.

are painted in

subjects

the letters

TV*

with the names attached

living persons,

these

All

The

use.

in

still

from

when they were

the sixteenth century,

till

" G. A.

has

chosen were saints and historical events

favour

a cipher,

seldom signed their works.

rare, as the artists of these plates

with a reference to the text in blue

with the portraits of

Hague bears

the

at

mentioned by Pungileoni,

Another,

though designs from Scripture were

Virgil,

later

Museum

in the

was of rather

each,

to

tame manner,

flat,

with

little

attempt at shading, and are surrounded by a kind of rude Saracenic ornament, differing completely from the

plates

by

felt

and more wealthy classes;

was ornamented with well-executed designs of

though

still,

subjects

historical

From

taken by engravings from Sadeler and other Flemings.

decay in spite of the endeavours made to revive

" fine " majolica of Pesaro attained

The
held his
so

court in that

closely

resembled

of Urbino,

that

that

places from each other, the texture of the

potteries.

As

a protection
fine

and

early

was granted

to

it

not possible

of any

kind

relief,

father

&c,

place

was

at last, their

till,

the manufacture

that

II.

to

of great

that

of foreign

manufacture

the

distinguish
artists

and antique forms, and

and himself were freed from

From

its

all

to

being often employed in both

other Italian ware,

all

but

pottery,

ordering that

his

of gold to

application

was generally chosen by the

them.

are ornamented with a portrait, or subject

The

drug or mixture.
Treasury of Loreto.
of
the
in
his

sums paid
the
art;

to

The

II., for

lords of the

the use of his

of some other description, and

colours of these jars are blue, green, and yellow

to distinguish the various

the artists

Duchy

understand which

fictilia;"

and in a

letter

is

his

painted.

all

own

He

service

Treasury of Loreto by

laboratory; some of

are labelled with the

about 380 of them

still

extract

necessary to remember that the lolognino

them

name of a

remain in the

made use

used in ornamenting the plates, and

gives a curious

from

of Spain.

II.

of ornamental pottery, with the terms

kinds of paintings

by whom they were

it

this,

for their presents

also

from a manuscript

handwriting of Piccolpasso, a " majolicaro " of the middle of the sixteenth century,
to

wrought

of vases

In addition to

set of jars presented to the

Passeri gives an interesting classification

by the workmen

was granted

it,

Robert Malatista, he returns thanks for a present of a similar kind.

were made by the order of Guidobaldo

II.,

that

vases

foreign

all

for his inventions in the construction

double service was also given by him to Charles V.

Francesco Maria

two

of the

painted by Orazio Fontana from designs by Taddeo Zuccaro, was presented by Guidobaldo to Philip

not only forbidding, under penalty of

date,

In 1478, Costanza Sforza sent to Sixtus IV. certain "vasa

Lorenzo the Magnificent

w ho

taxes and imposts.

variety and novelty, majolica

to foreign princes.

II.,

This protection was confirmed, in 1532, by Francesco

Giacomo Lanfranco of Pesaro,

size

rapidly

fell

majolica of Pesaro

time, the

In 1569, a patent for twenty-five years, with a penalty of 500 scudi for infringing

I.

by Guidobaldo
in

to

and the same

alike,

should be sent out of the state within eight days.

Maria

From

potteries.

its

ware being

these causes

sea monsters,

perfection during the reign of Guidobaldo

by the lord of Pesaro of

the importation

aside, the majolica

laid

by Cardinal Legate Stoppani.

it

greatest

is

it

all

1486 the Pesaro ware was considered so superior to

as

confiscation,

its

and greatly patronised

city,

were

birds, trophies, flowers, musical instruments,

but these became gradually more and more feeble in colouring and execution

to

interest in the

was hastened by the introduction of Oriental china and the increased use of

his successor,

the higher

in

The

in fashion.

by the Duke's impaired income and the want of

decline of this manufacture caused

manufacture
plate

much

were so

reign,

of coloured fruits in relief were probably taken from the Robbian ware.

full

The

in the latter years of Guidobaldo's

which,

Raffaellesque arabesques,

who wrote upon

was equivalent

to

the ninth
12

RENAISSANCE ORNAMENT.
and the gros

part,

ecu

of a petit

and the

of a paul (5 J pence)

to the third part,

or ecu ducal,

ecu,

petit

the livre was a third,

and the

Roman crown (now

two-thirds of a

florin

value

two-thirds

four

shillings

and threepence one farthing).

Trophies.

This

open books

instruments, and

were

of ornament consisted

style

hundred being

sum paid

the

style

was much

stone

monument

witness the

to

and portions

Certosa, Pavia,

modern arms, musical and mathematical

These plates

Durante) in which they were manufactured, one ducal crown a

(Castel

the painters

to

by the

affected

and

they are generally painted in yellow cameo on a blue ground.

sold in the province

chiefly

of ancient

of them.

Cinque-centisti

This

marble

in

and

Gian Galeazzo Visconti, in the

Genoese doorway, we en-

of the

grave.

were ornaments consisting of a

Arabesques
loosely

Work

and interlacing knots and bouquets.

tied

of cipher,

sort

thus

ornamented was sent to Venice and Genoa, and obtained one

ducal florin the hundred.

was

Cerquate

painted

branches,

was

called the "

the

bearings

ducal

the

oak-

ground;

blue

was

it

and when,

of

decoration

in addition,

by having some

ornamented,

the
little

the artist received one petit ecu.

it,

Grotesques were

kind

This

arms.

the hundred;

plate

upon

story painted

of

interlacing

Urbino painting," from the oak being one of

of

of the

the

to

deep yellow upon

in

received fifteen gros

bottom

name given

the interlacing of winged male and female

monsters, with their bodies terminated by foliations or branches.

These fanciful decorations were generally painted

upon

ground

blue

the

the hundred, unless

ecus

payment

white cameo

in

them

for

they were painted

being

Pedestal forming part of a

two

Doorway of the Palace, presented by the Genoese

to Andrea Doria.

on commission from Venice, when the price was eight ducal

livres.

Leaves.

This

ornament

and sprinkled over the ground.

in size,

and

Flowers

and the

artists

same

of the

Fruits.

These

received for

of

consisted

few

branches

Their price was three

leaves,

them

five

livres

the hundred.

one colour upon a different-coloured ground.

small

livres.

very pleasing groups were sent to

merely consisted in three or four large

style

of

Venice,

KV/9^

Another variety
leaves, painted

in

Their price was half a florin

the hundred.

Porcelain

most

was

delicate

white

blue

ground.

hundred.

flowers,

kind

This

It was,

Tratti

name of

the

with
of

of

style

small

work which
and

leaves

buds

work obtained two

or

consisted

painted

more

the

of

upon

a
the

livres

an imitation of Portuguese importations.

in all probability,

were wide bands, knotted in

different

with small branches

ways,

portion of the putter of a Doorway in the Palace at Genoa,

presented by the Genoese to Andrea Doria.

issuing from them.

Their price was also two livres the hundred.

Soprabianco was

green

or

blue

painting

in

borders round the

white

upon

white-lead

margin of the

plate.

ground, with

These obtained a

demi-ecu the hundred.

QuartieriIn
or eight

into six

space

was

this

pattern,

rays diverging from

of a particular

different tints.

the artist

The

colour,

the

plate

the centre to the circumference;

each

upon

painters received

divided the bottom of

which

were painted

bouquets

of

kind of ornament two

livres

interwoven with small flowers.

This

for

this

the hundred.

Gruppi.

These

were broad bands

pattern was larger than the "tratti," and was sometimes embellished by a
picture in the centre of the plate, in that case the price

without

it

was a demi-ecu, but

only two jules.

Candelabri.
17

little

This

ornament was an upright

bouquet
extending
*
from one
* ^
~~

Portion of the Pilaster of a Doorway in ** Palace

presented by the Genoese to Andrea Doria.

13

afc

Genoa>

RENAISSANCE ORNAMENT.
side

plate

of the

scattered leaves

The

hundred.

to

as

up with

the space on each side being filled

other,

and flowers.

The

price of the

adjoining woodcut shows

favourite a subject this

To

the

how common, how

was with the best

artists

florins the

was two

Candelabri

and how

early,

of the Cinque-cento.

dwell in detail upon the merits and particular works of

artists,

such

Rovigo,
Maestro Giorgio Andreoli, Orazio Fontana, and Francesco Xanto of

would be beyond the scope of

this notice,

and

is

the less necessary as

Mr.

recently thrown
Robinson, in his Catalogue of the Soulages Collection, has so

out some

new and

highly interesting speculations

connected with the subject.

Neither will

it

upon various

out in France through the indomitable perseverance

I.

In Plate

and practice carried

LXXIX.

Figs.

of Bernard
3,

1,

his elegant ware,

several specimens of the decorations of

design, in reference to other

de Palissy,

we have engraved

which occupy

as

to

monuments of the French Renaissance, much the

monuments
of the early majolica does to the

same position that the design

Although that
of the Italian revival.
the

questions

be desirable here to do more than

of ceramic design
to point out the interesting modifications

master-potter to Francis

difficult

style

began to make

its

appearance in

of Louis XII., when tbe

works of the French jewellers in the reign
gave considerable impetus
patronage of the powerful Cardinal d'Amboise

extensive

to the art,

it

was under Francis

I.

who

of
invited to his Court the great master

perfection.
jeweller's art reached its highest
the Renaissance-Cellini-that the
and nature of the precious
appreciate, however, the precise condition

To

rightly

characteristics of
necessary to pass in rapid review the leading
whose productions in the fifteenth century,
that admirable school of enamellers,
far and wide some of
much more in the sixteenth, served to disseminate

metal-work,

it is

and

have ever been applied to metal-work.

the most elegant ornaments which
the artists of Limoges found not
the end of the fourteenth century,

About

of which, in Plate LXXVIL, Figs. 1, 3, 4,

only that the old champleve enamels,
..
_
, 57 gi we have given, for the sake of contrast, numerous
Loetportio bortiigth..priiisingorK roii.workof.i.iai
'* 1
U
'
"'
""'
i,
"J
Sta.
O,
1",
of
!
Church
,
In
th.
Lombard!.
Pilaster by the
goldsmith
every
almost
" ( " ta
that
but
fashion,
examples had entirely gone out of
with more or less skill according
from Italy, or executed them himself
either imported the translucid enamels
new manufacture h
attempting competition, they invented a
In this state of things, instead of
to his talents.
entn-ely
enameller, and enabled him to dispense
processes of which belonged solely to the
them now remain; but that the art
exceedingly rude, and very few of
were
attempts
first
The
gold^ith.
the fifteenth century hat
that it is not until the middle of
progressed slowly is evident from the fact,
design was
The process was this
possessing any degree of merit.
to be found in any quantity, or
then covered with a hm oat of
unpolished plate of copper, which was
traced with a sharp point upon an
fine, filled in the intervals w*h
over his tracing with a thick black
going
after
artist,
The
enamel.
transparent
the
black lines performing the office of
the most part, transparent, the
for
were,
which
colours,
various
the
and were, first of all,
The carnations presented the greatest difficulty,
gold strips of the cloissonne work.
then modelled upon that wi h
the high lights and half-tints were
covered over with the black colour, and
The last operation was to
transparent red.
received a few touches of light
I1

*'*

******* *

^mens

-The

opaque white, which occasionally

apply the gilding, and to

affix

the last trace of the Byzantine school,

the imitations of precious stones,-almost

in Aquitaine.
which had formerly exercised so much influence
translucid enamel,
similar to that of a large and coarse
The appearance of the finished works was very
of the latter were never
intentional, more especially as specimens
been
have
to
unlikely
not
-a resemblance

made

therefore
of any considerable size, and were

fit

to

supply the place of ivory

the construction

of

oratories of the rich in the

an appendage to the chambers and
those small triptychs which were so necessary
enamels are either in the form of triptychs or
all the early painted
middle ages. Accordingly, we find nearly
original brass frames,
them; and a great number preserve their
diptych, or have originally formed parts of
the name or initials
in the ateUer of Monvearni as

produced
and are supposed by antiquaries to have been
upon them. As to the other
of that master are generally found
too

common

they followed, unfortunately, the

bu

and
and, with the exceptions of Monvearni
most of the workmen of the middle ages,
in
read, Penicaud, their names are buried
the inscriptions have been more correctly

practice of

P. E. Nicholat, or, as
oblivion.

artists,

14

RENAISSANCE ORNAMENT.
At the commencement of

at

was the

result.

the

new

once adopted the

Limoges

The

and consisted

and then modelling the lights and

and the

faces

or silver

and

All these processes are

occasionally,

the carnations of

to

when more than

requiring to be coloured, such

those parts

touches

gold

of

almost always

are

ordinary brilliancy was

be seen in the two pictures of Francis

to

wanted, a thin gold

and Henry

I.

executed by

II.,

a manufactory

established

still

his

copies

others

executed,

we

for the purposes

employed

must remember,

in

many

was not only a good

material

difficult

which has

his

been

yet

ever

of whose works quite equalled,

and Susanna Court, and M. D. Pape.

Courteys, Jean

the

more celebrated of

they did not

if

and

mention Pierre Raymond and the families of the Penicauds

Among them we may

own.

his

most

the

with him flourished a large school of artist-enamellers,

surpass,

whether we regard

artist,

of Leonard extend from 1532 to 1574, and contemporaneously

The works

of art.

him from the other

to distinguish

the original portraits of the

masters, or

only

not

of Guise, the Constable Montmorency, Catherine de Medicis, and

Duke

of the

contemporaries, such as those

many

Italian

of

Leonard, "peintre, emailleur, valet-de-chambre

director

its

who

monarch,

former

the

to

And, indeed, the Limousin was no mean

Vinci.

German and

of the early

of gratitude

time, the appellation of "le Limousin,"

same

more famous Leonardo da

and

made

the town, but

in

at the

du Roi," giving him,

owed no small debt

indeed,

Limoges,

Louvre.

Leonard

Museum

Limousin for the decoration of the Sainte Chapelle, but which have now been removed to the
the

enamels

was applied upon the black ground, and the glaze afterwards superposed.

called a "paiUon,"

leaf,

with opaque white;

receiving glazes of their appropriate tints

foliage,

used to complete the picture

half-tints

employed with regard

of

ateliers

covering the whole plate of copper over with a black enamel,

firstly,

in,

The

the second series of painted

called

as that

and among

great progress;

had sprung up.

"grisaille,"

and what may be

fashion,

was very nearly the same

process

earlier specimens,

as the

" camaieu," or

great taste for paintings in

other changes,

made

the Renaissance had

century,

sixteenth

the

The

eldest of the family of the Courteys, Pierre,

but has the reputation of having made the largest-sized enamels which have ever

artist,

Museum

been executed (nine of these are preserved in the

Cluny the

of the H6tel de

M. Labarte

other three,

informs us, are in England) for decorating the facade of the Chateau de Madrid, upon which building large

sums

by Francis

were lavished

enamelling was

not

confined,

distinguished artists did not

of other

decorated with medallions,

subjects of

Schoen,

&c,

Italians, which,

their

of

and seventeenth

fifteenth, sixteenth,

last artists

was

painted enamels

the

centuries,

with

on

carried

and

the

Martin

such as

artists,

Raimondi

works

the middle of the sixteenth century to the

way about

turn, gave

new manufacture,

supplanted by those of Marc' Antonio

afterwards

most

the

and a variety

salvers,

of the

German

the

of

prints

contrary,

the

cups,

At the commencement

opaque white.

on

phase of Limoges

last

with the black enamel, and then

entirely covered

petits-maitres.

Theodore de Bry, Etienne de l'Aulne, and others of the

The production
whole of the

in

but,

ewers,

basins,

caskets,

which were afterwards

These were

that this

should observe

sacred subjects;

to

design vases,

to

in the

van Mecken, &c.

of Virgilius Solis,

The

life,

predecessor,

its

disdain

We

II.

most of the enamels were furnished from the

Israel

and other

like

of every-day

articles

and Henry

I.

at

activity

great

far into the eighteenth,

Limoges, during the

when

it

finally expired.

were the families of the Nouaillers and Laudins, whose best works are remarkable

the

for

absence of the paillons, and a somewhat undecided style of drawing.

In conclusion,
should

he

no

it

remains for us only to invite the student to cultivate the beauties,

eschew the extravagancies, of the Renaissance

than in Polity, great responsibility

less

designer can be checked only

him have

let

as

in

ventional

elements

intellect

then,

and

of,

in

its

enrichments, which
really wishes

may be

the

is

especially

composition

he has no story

If

his

where he

material objects, he
allows

but in

abundance;

he would nakedness.

from within, he

to

to

arrest

more sure of

Keep them

as

liberty

bound

the

him be

rein

upon

province.

tecture,

Painting, Sculpture,

by the comparatively

his purpose.

effect

Ornament
over-finery

direct

call

con-

upon the

representation

of

In a style which, like the Renaissance,

relations,
a well-ordered family, on the closest and most harmonious

artificial

styles

are

can be

noblest,

social system, in which,

and the highest technical excellence

and indispensable conditions of

his fancy.

Sister Arts, let the artist never lose sight of the unities

So ordered and maintained, those

complicated requirements of a highly

imagination of the

any serious

but never permit one to assume the prerogatives of another, or even to issue from
Sister's

afforded in Art

is

content with floriated forms and

eye without making

observation

attaining

set

to

sedulously as

him be modest and decorous, avoiding

let

tell,

and indeed demands, the association of the

specialties of each.

let

please

great

In those styles in which the

incurred.

is

Where

style.

as

as

richest,

its

own, to invade

and best adapted to the

in that of the Renaissance,

in Industry,

its

must unite before

its

Archi-

essential

efficiently realised.

M.

DIGBY WYATT.
15

BOOKS REFERRED TO EOR ILLUSTRATIONS,

LITERARY AND PICTORIAL.

denuo ab ipso Autore recognita;

Accesserunt noua
ac, quce desiderabantur, imaginibus locupletata.
aliquot ab Autore Emblemata suis quoque eiconibus insignita.

De Laborde.

Small 8vo., Lyons, 1551.

Labarte

Emblemata D. A.

Alciati (A.)

Antonelli

Alciati,

Ornamenti

Collezione dei migliori

(G.)

un Giovane Alunno

Oblong

Accademia.

4to.,

avec des

Fontainbleau, Chateau d'Ecouen,

vols, large folio.

fye.

Becker and

J.

des Mittel-

Monumens

Pittoresque.

et

XVIP

Dessine d'apres Nature, par

Siecle.

archeologique,

5 vols, small

et

et

descriptif,

Chapuy, $c.

historique,

et

graves

Collection portative d'

au

Avec

Ornements de

V Art par

Histoire de

S.

IV

sa Decadence au

Siecle jusqu'a son

Ouvrage enrichi de 525 planches.

Marryat

ses

Memoirs of

(J.)

the

the

his

Arms,

dans

vols. 8vo.

Tombeaux de
gravees.

Durelli (G. &

4to. Paris, 1850.

la Cathedrale de

La

F.)

Gaetano

Rouen; avec douze planches,

Francesco Durelli.

62 plates.

(L.)

VArchitecture du V

au XVI".

Siecle et les

8vo. Paris,

Arts qui en

Sculpture, la Peinture Murale, la Peinture sur Verre,

le

la Mosa'ique, la Ferronnerie, fyc, publies d'apres les

travaux inedits

des Principaux Architectes Francais et Etrangers.

4to.

Paris,

Le

Ghiberti (Lorenzo).
in

tre

Porte del Battisterio di

plates engraved in outline

46

French and

Italian.

by

San Giovanni

di

Lasinio, with description

Collection

Augustins.

Jubinal (A.)

London, 1852.

par Giambattista Passeri {de

d'un Appendice par Henri

Paris, 1846.

Fleur de la Science de Pourtraicture

Facon Arabicque

et Ytalique.

et

Patrons de Bro-

Cum Privilegio Regis.

Ornemens des Anciens Maitres des

4to. Paris.

XV, XVL, XVII.

et

30 plates comprising copies of some of the most

Siecles.

ancient and rare prints of Ornaments, Alphabets, Silverwork.

Sere

(F.)

Small

folio, Paris,

Folio,

Recherches sur

V Usage

inclusivement.

VOrigine des Tapisseries a Per-

et

sonnages, dites Historiees, depuis

V Antiquite jusqu'au

XVP.

Siecle

8vo. ph. Paris, 1840.

De Laborde (Le Comte Alexandre.)

classes chronologiquement,

et

Les Monumens de la France,

consideres sous le

historiques et de I'Etude des Arts.

2 vols,

folio,

Rapport des Faits

Paris, 1816-36.

XVIP.

Les Arts au Moyen Age.

Text, 5 vols. 8vo.

Cluny.)

Verdier et Cattois.

Siecle.

et des

Histoire

du

Arts que en de-

Waring and MacQuoid.

(Collection of the Hotel de

Paris,

Plates, 6 vols, folio.

Architecture Civile

et

1838-46.

Domestique au Moyen Age

et

4to. Paris, 1852.

la Renaissance.

Examples of Architectural Art in Paly and Spain,

and 16<A centuries. Folio, London, 1850.

Monuments Francais inedits, pour servir a VHistoire
depuis le VP. siecle jusqu'au commencement du XVIP.

of the \Zth

des Arts,

Choix de Costumes

d'apres

les

Armures, Instru-

civiles et militaires, d' Armes,

ments de Musique, Meubles

exterieures

originaux.

d'un texte historique

folio,

au

Small 4to. Paris, 1853.

Sommerard (A. Du.)

chiefly

V Ameublement en Europe,

de

et

pendent.

rieures et

1823.

Les Arts Somptuaires des

Willemin (N. X.)

Folio, half-morocco, Firenze, 1821.

of Ornaments in the Grotesque Style, by Hopfer.

Tombeau de Louis XII. et de Francois L, dessines et graves au
Imbard.
trait, par E. F. Imbard, d'apres des Marbres du Musee des Petits

Hopfer.

La

(0.)

1851, et seq.

Firenze.

vols. 8vo.,

de I'ltalien et suivie

8vo. Paris, 1853.

Costume

dependent,

Centuries, with

Paris, 1844.

Essai sur I'Histoire de la Peinture sur Email.

(J.)

and Eighteenth

(E.

XVIIL

Folio,

1839.

Gailhabaud

lieux circonvoisins, decrite

les

Traduite

derie.

Milan, 1853.

Dussieux

a History of Pottery and Porcelain in

Delange.

Reynard
e

et

siecle.

Histoire des Peintures sur Majoliques faites a Pesaro et

minations of Roofs.

Certosa di Pavia, descritta ed illusirata con tavole,

incise daifratelli

Costumes de chaque

The Life of Bernard Palissy, of Saintes,

Palissy the Potter.

Renaissance.

8vo. Rouen, 1837.

Ornee de gravures

de la.) Essai sur les Girouettes, Epis, Cretes, c, des Anciens

Combles et Pignons. Numerous plates of Ancient Vanes and Ter-

Comptes de Defenses de la Construction du Chateau de Gaillon, publies

les Registres Manuscrits des Tresoriers du Cardinal d'Am-

With an Atlas of Plates.

les

pour servir a

celebres,

I'Art.

1800-6.

Pesaro).

Queriere

d'apres
boise.

Description historique

Labours and Discoveries in Art and Science, with an outline of

Philosophical Doctrines, and a Translation of Illustrative

Passeri (J. B.)

Unedited Documents on the History of France.

de

celle

Selections from his Works.

London, 1851.

Deville (A.)

Femmes

des

et

Collections towards

(J.)

(H.)

XVP.

vols, folio, Paris, 1823.

et

de

London, 1850.

Morlet

Monumens, depuis

Renouvellement au

mecaniqnes,

liberaux,

a Description of the Manufacture ; a Glossary, and a List of

Monograms. Illustrated with Coloured Plates and Woodcuts. 8vo.

cuivre
8vo.

Hommes

des

de France et a

the Fifteenth, Sixteenth, Seventeenth,

la Renaissance,

Dukes of Urbino, illustrating

3
Arts, and Literature of Italy from 1440 to 1630.

Dennistoun

4to.

5 vols.

Gaulois jusqu'au regne

les

Monumens Francais: ou

des

vols., 8vo., Paris,

his

B. L. G.

J.

M. A. Rivaud.

des Arts

depuis

augmentee d'une Dissertation sur

Paris, 1851.

D'Agincourt,

M. Ferdi-

chronologique des Statues en Marbre et en Bronze, Bas-reliefs et

Tombeaux

par M. Moret.

Graves sur
par Ch. Ernest Clerget.
originaux par C. E. Clerget et Mme. E. George.

les

Direction

Folio, Paris, 1828.

I.

Musee

d' Archi-

recueillis et choisis

d'apres

des Sciences,

Direction Artistique de

Monumens

Atlas des

Francois

Paris, 1838-40.

folio.

Clerget et George.

et Objects

Fragmens

de Curiosite du

Armes, Armures,

texte

Dessins facsimiles par

V Histoire

tecture, Meubles,

un

nand

industries de la France,

4to. Paris, n. d.

Le Moyen-Age

Chaput.

Dessines

Recueil d' Ornements de la Renaissance.

a Veau-forte.

M. Paul Lacroix.

Lenoir (Alex.)

und der Renaissance. 2 vols. 4to. Frankfurt, 1852.

Bergamo Stefano Da. Wood- Carvings from the Choir of the Monastery
from
of San Pietro at Perugia, 1535. {Cinque-cento.) Said to be
Designs by Raffaelle.
(A.)

Litteraire de
Sere.

VIndustrie,

et de

Beaux Arts en Europe.

Paris, 1848-51.

von Hefner. Kunstwerke und Gerdthschaften

alters

Bernard

et la Renaissance, Histoire et Description

du Commerce

des Arts, des Litteratures, et des

Paris, 1803-5.

C.

Le Moyen Age

Lacroix et Sere.

Citoyen Amaury Duval: Louvre,

le

8vo.

Paris, 1847.

des Mozurs et Usages,

mesures, dessines, et graves,

Paris, et ses

St. Cloud,

R.

8vo. Paris,

Objets d'Art qui composent la Collection

Description des

(J.)

Venezia, 1831.

Monumens,
Descriptions Historiques, par

Ba.lt ard.

di questa I.

du Musee du

les

Debruge-Dumenil precedee d'une Introduction Historique.

citta di Venezia, colV aggiunta di alcuni frammenti di Gotica archi-

tettura e di varie invenzioni di

Gaieties

et Descriptions.

exposes dans

Premiere partie, Histoire

1852.

sparsi nella

antichi,

Emaux

Notice des

Louvre.

des

de toute espece, et de Decorations inteMaisons,

dessines,

graves,

et

colories

Classes chronologiquement, et accompagnes

et descriptif,

par Andre

Pottier.

vols,

small

Paris, 1806-39.

Wyatt, M. Digby, and

J. B.

Waring. Hand-book

in the Crystal Palace,

Wyatt, M. Digby.

Sydenham.

Metal work and

its

to the

Renaissance Court

London, 1854.

Artistic Design.

London, 1851.

GRAMMAR

OF

ORNAMENT

RENAISSANCE

PLATE

LXXIV

GRAMMAR

OF

ORNAMENT

RE NAT 5ANCE N2

PLATE O0O

GFU

AR OF ORNAMEN

RENAISSANCE
V V.

N? 3

PLATE LXXVI

GRAMMAR

OF

ORNAMENT

PLATE

lfl5R^I

&m

asm

9<

Ja

>*^v

22

O 2 ^P rW

.iL' >

30

wv

it

42

Aj

M
40

41

53

*c

s*

RENAISSANCE

N4

'

LXXVII

GRA:

"

OF ORNAMEN

.'

PL ATI

GRAMMAR OF ORNAMEN

P L AT E

WiMI

ifl

-*

V
*

**

rf

%
J

*
ft

A
Irnal
w

k
*+*.

X
3:

ir

Oi -^

TOTTRT

32

RENAISSANCE

A4

33

6.

iR
i

fl
i

.V

U- :
'

'

'

'
'

H^

tttttti^H

ot

TJlYJLVJLYJLVJLY>

mm
myrwwTOnrrwfw

MSM^S
20

v^VW^^)<^>^
21

(sdjiMtdjtt

TTTT

4-1

[SSANCE

f7.

GRAMMAR

OF

ORNAMENT

RENAISSANCE

N 8

PLATE

LXXX!

AR OF ORNAMENT

RENAISSANCE

.ATE

LXXXI1

Chapter XVIII.

Plates

83, 84, 85.

ELIZABETHAN ORNAMENT.
PLATE LXXXIII.
The

1.

centre portion of the Ornament in a Stone Chimneypiece,

formerly in the Royal Palace, Westminster, now in the Robing
Room of the Judges' Court of Queen's Bench.

James

Stone Carving, from an old House, Bristol.

2.

Frieze, from Goodrich Court, Herefordshire.

or Elizabeth. Flemish Workmanship.

3.

Ornament

4.

5 and
6.

8.

in

Wood

7.

Wood

9.

10 and 15.

James

of

Henry VIII.

a Church Pew, Wiltshire. Elizabeth.

Carving from Burton Agnes, in Yorkshire.

James

I.

Tomb

Carving in Stone from the

James

I.

Time

Carving, from a Chimneypiece, Old Palace, Bromley, near

Bow.

at

Westminster Abbey.

I.

11 and 12.

I.

13.

Wood

14.

Stone Carving, Crewe Hall.

16.

Wood

Elizabeth.

Carving, from Montacute in Somersetshire.

James

I.

Carving, from the Hall of Trinity College, Cambridge.

Wood Carving over a Doorway to a house near Norwich. Elizabeth.

Wood Carving, from a Pew, Pavenham Church, Bedfordshire.
James I.

PLATE LXXXIV.
Stone Ornament, Burton Agnes, Yorkshire.

James

James

Painted Ornament, Staircase, Holland House, Kensington.

Wood

17.

I.

House, Kent.

James

Carving, Aston Hall, Warwickshire.

Chair.

Late James

Tombs

Wood
Wood

11.

Diaper, Old Palace, Enfield.

From Burton

13 and 14.

Agnes.

25.

From
From

27.

Wood

Carving, from the Staircase, Aston Hall, Warwickshire.

Pavenham Church,

Tomb, Westminster Abbey. James

Tomb, Aston Church. James I.

Plaster Enrichment to a Panel Ceiling at

28.

I.

Late

I.

Charles

of late date pub. Charles

I.

I.

French Workmanship.

23.
I.

James

The last

James

22.
Elizabeth.

I.

Wood Ornaments, from the Pewing,

12 and 16.
James I.
Bedfordshire.

James

Ornament, from Burton Agnes, Yorkshire.

From a Cabinet

Elizabeth.

James

Diaper, Aston Hall.

James

I.

Wood

19 and 21.

at Westminster.

Ornaments from Burton Agnes, Yorkshire.

10.

I.

Elizabeth.

Stone Ornament from one of the

8, 9.

Wood Ornaments, in Peter Paul Pindar's House, Bishopsgate.

18 and 20.

Ditto, ditto.

From an Old

I.

Little Charlton

Ornament on a Bethesdan Marble Chimneypiece,

Carving, Holland House.

Wood

James

Stone Diapers, from Crewe Hall, Cheshire.

15, 24, 26.

I.

Cromwell Hall, Highgate.

II.

II.

PLATE LXXXV.
1.

2.

Wood

6 and 8.
3.

Diaper, from the Hall of Trinity College, Cambridge.

Ditto, ditto.

Late James

Pattern from Drapery in a

9.

Diapers from Burton Agnes, Yorkshire.

15, 18.

I.

From the Drapery in a Tomb at Westminster.

Wood Diaper, from an old House at Enfield. James
Needle -work Tapestry.
of Mr. Mackinlay.

( size.)

light yellow, blue, or green;

silk

James
13.

light green;

to a

James

I.

outline, yellow silk cord.

Patterns from

12. 14, 16, 17.

Elizab.

From

Kent

11.

yellow

the collection
the subject in
the outline, yellow silk cord.

Elizabeth.

The ground,

Elizabeth.

at Westminster.

Chair at Knowle, in

Applique Needlework. James I. or Charles I. In the collection of

The ground in dark red; the ornament in
Mr. Mackinlay.

I.

House near Tottenham Church.

Tomb

10.

Elizabeth.

Plaster Diaper, from an old

Damask Cover

From

Dresses,

Old

Portraits.

Elizabeth or

Applique Needlework.

James

I.

or Charles

By

I.

an Italian

Artist

ELIZABETHAN ORNAMENT.
Prior

to

commonly termed the Elizabethan

and progress of the revival of the Antique in England to

describing the characteristics

well to trace briefly the rise

of

what

is

over the late Gothic style in the sixteenth century.

dates

from the year 1518, when Torrigiano was

memory

of

Henry

VII.,

which

still

the Italian school at that period.

the

Countess
18

of

Richmond

at

exists

in

first

introduction of

employed by Henry VIII.

Westminster Abbey, and which

In the same

Westminster;

The

style,

and of about the same

Torrigiano designed

this

also,

it

will

be

its

final

triumph

the Revival

into

England

design

to
is

style,

monument

in

almost a pure example of

date,

and,

is

the

monument

of

very shortly afterwards,

ELIZABETHAN ORNAMENT.
went
a

Spain,

to

taste

the same

for

however, behind him several Italians

leaving,

at this time are

not be otherwise than propagated.

style could

by whom

the service of Henry,

attached to

Amongst the names preserved

Girolamo da Trevigi, employed as an architect and engineer, Bartollomeo Penni, and Antony

Toto (del 'Nunziata), painters, and the well-known Florentine sculptor, Benedetto da Rovezzano;

may be

though

added,

But

Brown,

which aided

Italian influence

in

Andrew Wright,

and

serjeant

painters

were

Revival

reproduced, with

great

the

occasion of the funeral of

vol.

xii.

1796) the names

Modena, carver;

we

him than

influenced

formed,

we must

Gouda,

Marc Garrard

executed

the

architect

of

moreover,

at

that,

look for

the

this

H.

of Bruges,

the four gates,

Italian

the

of

Venetian school

earlier

we

find

period,

in

when

number of

Vroom

C.

Boreham church,

English names, the

monument

of

Dr.

had

of Architecture

style

may be

justly said to have been

et

Sapientise,

about

Caius

at

Caius College, Cambridge,

the year

in English, a.d.

1563),

Most of the above-named

of

at

architects,

Henry Wooton's "Elements of Architecture."*

Before the close of James

author of the

jeweller,

and Isaac

new

was

style

still

more extended by

James

of

and Charles

I.

I.,

and

to

them

due

is

the

Strand.

I.'s

reign

fail

in

i.e.

downfall of the Elizabethan

an example which could hardly

and

Bernard Jansen and Gerard Chrismas, both natives of

vogue during the reign

of Northumberland House,

we

these

were employed also during the early part

the

of

and,

Robert

latter,

and

Hilliard the goldsmith

architects

which time the knowledge

Besides

1573.

most remarkable being the

Oliver, the portrait-painter.

the complete

during the

later,

and Theodore Haveus of Cleves, who was

Suffolk:

array of

in

Nicholas

Richard Stevens, a Hollander, who

of Haarlem, painters;

a goodly

much

the

Lucas de Heere of Ghent, Cornelius Ketel of

artists:

Humilitatis, Virtutis, Honoris,

work on Architecture

Holland, were

and

painters,

Somewhat

the English

that

the Elizabethan style

the

century,

of

(Archaol

in the rule for the procession

being English.

&c.

show

to

executed

the seventeenth

local

Holbein died in 1554, but

Bernard Adams, the Smithsons, Bradshaw, Harrison, Holte, Thorpe, and Shute (the
scientific

celebrated

names, Federigo Zucchero (whose house at Florence, said to

and

designed

the

mainly due the naturalization of the new

is

features

1553,

of master masons,

greater

monument

Sussex

now

approach

to

style in this

and Pietro Ubaldini, painter of illuminated books.

vice versa),

from Holland

is

a.d,

would rather serve

himself,

1524

year

the

Antony Toto (before mentioned), Nicholas Lyzarde,

only two

find

by

have been designed

facade

new

in

and designed the noble mansion of Longleat about the year 1570.

Edward VI.

the other names

all

reign of Elizabeth,

of

In

king.

however, in this country.

modifications

years,

On

Sir

House

and German education of the one, and the

whom many

by

the other,

of

John of Padua survived him many

first

extensively

designed old Somerset

the development of the

in

the

to

modified by the individual genius

country,

this

models and reminiscences

It

been more

have

to

other important works,

Holbein came to England, and to him and John of Padua

style

appears

to these

and already we find the names of Gerard Hornebande, or Horebout, of Ghent, Lucas Cornelis,

country;

John

who

Padua,

of

and, amongst

others,

was not a purely

it

John

a later period,

at

employed than any of the

1549.

to us

style,

1619

the

name of Inigo Jones brings us very nearly

on the occasion of the rebuilding of Whitehall Palace

The

of producing a complete revolution in Art.

Palladian style

of the

century had been, moreover, introduced even before this by Sir Horatio Pallavicini, in his house

sixteenth

(now destroyed)

at

Little

and sculptors, appear

speedily for the

Thus,

to

Shelford,

have continued the old

more pure, but

and although Nicholas Stone and

Cambridgeshire;
style,

especially in

his

sepulchral monuments,

son,

architects

was displaced

it

less picturesque fashion of the best Italian schools.

work

taking the date of Torrigiano's

we may

Whitehall by Inigo Jones in 1619,

at

Westminster 1519, and that of the commencement of

include most of the works

of art during that century as within

the so-called Elizabethan period.

In the foregoing
In the

first

justified

the goblet designed

in

large

are

still

by him

picture
close

of

for

perceive a fluctuating mixture of Italian, Dutch, and English names.

his

family at

models

quite in the style of

The works of Lomazzo and De Lorme

VIII., the Italian

names are

of style worthy of Cellini himself.

imitations of cinque-cento
is

Henry

clearly dominant,

and amongst

for example,

Jane Seymour, and a dagger and sword, probably executed for the king

Henry VIII. and

designed by him in 1540,

*

we

Holbein himself, since his ornamental works in metal, &c.

placing

a purity and gracefulness

the

copies

of artists,

period, or during the reign of

them we are

exhibit

list

Hampton

and the

many

Court,

The arabesques painted by him

though more

in

grotesque and heavy,

ceiling of the royal chapel at St. James's Palace,

rich examples at Venice

and Mantua.

are said to have been translated into English during the reign of Elizabeth, but I have never met with

of them.

ELIZABETHAN ORNAMENT.
During the reign of Elizabeth we meet with a great preponderance of Dutch names, for this
country
was bound both by political and religious sympathy with Holland; and although the greater number
are
we
must
yet
remember
how closely all the Arts were connected in
described as painters only,
those days,

being frequently employed to design models for ornament, both painted and carved, and
even for
architecture; and in the accessories of their own pictures was found frequent scope for ornamental

painters

design

may be

for example,

as,

seen in

Queen Mary, painted by Lucas de Heere, having panelled

forms, filled up with jewelled foliage.
During the early part of

compartments of geometrical interlaced

Queen Elizabeth's reign we

of

the portrait

then, justified

are,

concluding that

in

been exercised on English Art through the medium of the

Germany also*

of

would not

and

it

the

Princess

was during

It

Protestant

States

this period, also, that Heidelberg Castle

appear unlikely that

may

it

daughter of James

Elizabeth,

a very important

I.,

have had an

must have

influence

Low

of the

was principally

and

Countries,

(1556-1559);

built

on English Art, when we remember that

effect

held court here as Queen of Bohemia, at the beginning of

the seventeenth century.

At the
appear, with

the exception of Jansen and Chrismas, to have the

we

period that

this

part of Elizabeth's reign, and during that of James

latter

themselves

to

field

expect to find a more decidedly native school.

English artists are numerous, and

I.,

And, in

fact,

consequently

it

now

is

that

is

it

at

we meet

with the names of English designers connected with such buildings (and with their concomitant decoration)
as

Audley End, Holland House, Wollaton, Knowle, and Burleigh.

Thus we may expect

and

reign;

VIII.'s

meet with the purest

to

be found to be the

will

this

but in the examples given in

a

of Italian

imitation

slight

decorative

by English

continued

original in the character of the

Netherlands.

the

There

ornament of

and

this period,

may be

it

of Giulio

Clovio

little,

I.

in

it

the frontispieces of Serlio's great

main

another

must seek
maitres"
of

feature

its

of

origin

Elizabethan

in

work on

ornament,

can be justly termed

many

in

parts

Germany and

the

and more

Netherlands,

particularly

and

and

Paris

ornamental,

of

W.

ought,

and

materials

was
indeed

on which

vary

must,

cases

applied,

is

it

and we may here

founded;

some

in

and whilst

in

the

most instances carefully abstain from carrying the

confining

it

to

its

just

limits,

purely ornamental subjects,

which we

treat

buildings

their

were used by Chrismas

These were the principal sources

House.

mainly

asserts

known

carried the

so,

such

as

Italian

pictorial

the unfettered fancies

style

according

into

style

books,

on the other hand, the

whilst

to

evident

the
this

bands,

we

as the "petits

Virgilius

Solis

to mention,

architectural

the

for

and

facade

Elizabethan style
that

different
sesthetical

decoration

subjects
fact,

and

did in

sculptured and architectural works,

Damascene metal-work, and other

engravings,

artists

so-called
is

As regards

forget

designs

his

it

masters, recognising

pictorial

illuminated

that

character,

its

in

noticeable

the world a great

to

compositions,

from which the

remark,

more

interlaced

fanciful

of

stained glass

1545.

in

Nor should we

the very fanciful and thoroughly Elizabethan

which Vertue

Dieterlin,

of Northumberland
of ornament

century,

still

those of Aldegrever,

in

century.

sixteenth

decorative

character

the

same may be remarked of the

Nuremberg, Daniel Hopfer of Augsburg, and Theodore de Bry, who sent forth

the close of this

many

all

the numerous and excellent designs of the class of engravers

in

LXXXIV.,

Plate

beautifully-executed ornamental borders,

complicated

the

viz.

style

simply a modification of foreign models.

is

The

the

by the

same

the

find
11,

that

then,

Architecture, published in

number of engraved ornamental designs during the

at

we

seen the germs of the open scroll-work in

and festoon work

Henry

perceive but

of ornament practised

windows of the Laurentian Library, Florence, by Giovanni da Udine (1487-1564)

is

we

reign,

Nos. 5 and

at

of Giulio Romano, present

(1498-1578), pupil

band, nail-head,

scroll,

is

style

of James

reign

such as stained glass and illuminated books.

Italy,

Elizabethan

In

part of his reign.

latter

at the close of the fifteenth century

works in
&c.

the

but generally in a larger manner, as

artists,

from Aston Hall, built at the

Even

During Elizabeth's

3.

and a complete adoption of the

models,

Germany and

of

artists

and

of

artists

on the subjects we have already mentioned,

case, not only

LXXXIII., Nos.

Plate

ornament in the works of the

Italian

employed in England during the period of

of ornament into every branch of Art, and reproduced even on

of the decorative

artist

as

they received

them through the medium

of the engraver.

As regards the
of

grotesque

and

characteristics

complicated

of Elizabethan
variety

of

ornament, they

pierced

scroll -

work,

may

be

with

described

curled

as

edges

consisting

chiefly

interlaced

bands,

sometimes on a geometrical pattern, but generally flowing and capricious, as seen, for example, on No. 12,
*

The remarkable monument

of Sir Francis Vere (time,

James

I.) at

Westminster,

is

almost identical in design with that of Englebert of Nassau, in the

cathedral of Breda (sixteenth century).

ELIZABETHAN ORNAMENT.
LXXXII1., and Nos. 26 and

Plate

outlines

fruit,

festoon's,

Plate

27,

LXXXIV.

curved and broken

and nail-head bands;

strap

human beings grotesque

and drapery, interspersed with roughly-executed figures of
branch and leaf ornament,
here and there large and flowing designs of natural
;

monsters and animals, with

as

shown

often filled with foliage

carving,

whether

Unlike* the

wood,

or

stone

in

examples

earliest

ornaments are not applied

is

the

of

marked by

Revival

Gothic forms

to

in its nature (except in the case of

and diamond

ball

also

exists

still

work,

on the great gallery

compartments

paneled

grotesque arch stones and brackets are freely used;

coats -of- arms;

or

of

rustications

Yorkshire;

in

which

of

LXXXIII., a noble example

Plate

7,

Burton Agnes,

at

ceiling
S

No.

in

on

Continent,

the

and

boldness

great

effect,

especially

though roughly

in

but the groundwork or architectural mass

windows)

and

France

and the
executed.
these

Spain,

essentially Italian

is

consisting of a rough application of the orders of architecture

and balustrade, and internal walls bounded with frieze and

one over another, external walls with cornice
outlines, so
the gable ends, with their convex and concave
cornice, with flat or coved ceilings; even
Renaissance school at Venice.
common in the style, were founded on models of the early
tapestries,
on wood, on the dresses of the monumental statues, and on

The coloured

work-

patterns of diaper

carved work: the colours, moreover, being

most cases more justness and purity of design than the
and
A great quantity of this kind of work, especially the arras, with which walls
rich and strongly marked.
came from the looms of Flanders, and in some cases from Italy,
furniture were constantly decorated, no doubt
was established at Mortlake in the year 1619.
since the first native factory of the kind

-show

in

Nos.

9,

and

10, 11,

LXXXV.,

13, Plate

most

are the

Italian

character of the examples

in their

given;

Nos. 12, 14, and 16, also of a good

an Italian artist.
13 being stated, indeed, to be the design of
time of Elizabeth and James I., are probably the
character, being taken from portraits of the

No

Italian

work of Dutch or

much

whilst Nos. 6

originality;

ornament are
of which

and

pattern;

possession

Plate

Saddlers

of the

LXXXV., two

of colour

freely

is

derived from Spain,

though in the Italian

18,

the

By

marked by

are

Fine examples of coloured

style.

the ground

Ironmongers' Company, date 1515,

similar

every respect to the painted ante-

in

nsed

Company, a gold pattern on a crimson

Although in

these

we have

referred

on

effect,

only are principally relied

colours

gilding,

however,

being

where the discovery of gold

room

work

this kind of
But, perhaps, the most beautiful specimen of

in

for

velvet

to,

made

in the

is

in

every variety

subjects

colour-a

in

early

and in the examples given

predominant over

generally

pall*

yet in other

taste

probably

New World led to an extravagant use of it as

An example of this style may be seen
Philip II.

the

Charles V. and
a means of decoration in the reigns of
with elaborate gilt carving combined with
in the magnificent chimney-piece,
in the Governor's

taste,

Hall,

the sixteenth century.

of

part

and

and 8 are in the ordinary Elizabethan

crimson and gold thread pattern.

the

15,

at

Hardwicke

at

5,

probably of Italian manufacture.

Santo Spirito, Florence (fifteenth century), and
hanging of gold ground with a blue
Church, Oxford, is preserved a rich pulpit
silk ground, with a
Derbyshire, is a fine piece of tapestry of a yellow

Mary's

St.

4,

a rich and flowing purple pattern;

altars

pendiums of several

At

1,

preserved in the pall belonging to

still

gold, with

is

Nos.

artists.

Italian

black

marble,

now

preserved

at the Charter-house.

more marked characteristics of the style had completely

the middle of the seventeenth century the
richness, variety, and picturesqueness ; which,
lose sight, not without some regret, of that

died out,

and we

and liable to fall into straggling confusion, could not fail to

although' deficient in good guiding principles,
nobility and grandeur.
the beholder with a certain impression of
impress
v
J. B. WARING.
October 1856.
*

For

these, see

Shaw's very beautiful work on the "Arts of the Middle Ages."

BOOKS REFERRED
H. Shaw.

C. J.

C.Hall. The Baronial Balls of England.

Joseph Gwilt. Encyclopedia of Architecture.
Horace Walpole. Anecdotes of Painting in England.
S.

Dresses and Decorations of the Middle Ages.

The Decorative Arts of the Middle Ages.

Details of Elizabethan Architecture.

Richardson. Studies of Ornamental Design.

Architectural Remains of the Reigns of Elizabeth

James

I.

Studies from Old English Mansions.

Joseph Nash.

The Mansions of England

in the Olden Time.

TO.

Archxologia, vol.

and

xii.

(1796).

1846.
The Builder (several Articles by C. J. Kichardson),
Dallawat. Anecdotes of the Arts in England.
Clayton. The Ancient Timber Edifices of England.
Britton. Architectural Antiquities of Great Britain.

GR

ELIZABETHAN

PLATE

LXXXIi:

GRAMMAR

OF

QRNAMEN

ELIZABETHAN

NG 2

PLATE

LXXXr

GR AMMAR OF ORNAMENT

'

_:.

HAN

::

'3

PLATE LXXXV

Chapter

XIX. Plates 86, 87,

88, 89, 90.

ITALIAN ORNAMENT.
PLATE LXXXVI.
A series

by Giovanni da Udine, Perino

of Arabesques, painted in Fresco

del

Vaga, Giulio Romano, Polidoro da Carravaggio, Francesco Penni,

Vincenzio da San Gimignano, Pellegrino da Modena, Bartolomeo da Bagnacavallo, and

from the decorations of the Loggie, or central open Arcade of the Vatican, Rome.

possibly other artists, from designs

by

Raffaelle, selected

PLATE LXXXVII.
A

series of

Arabesques painted in Fresco on a white ground, in the Palazzo Ducale

at

Mantua.

PLATE LXXXVIII.
A series of Arabesques

painted in Fresco on partially-coloured grounds, for the most part in the Palazzo Ducale at Mantua.

PLATE LXXXIX.
A series of Arabesques, painted in Fresco on fully-coloured grounds, in the Palazzo del Te, at Mantua, from

PLATE
A

Shortly

after the

which

systematised,
arts

XC.

Aldines,
Specimens of Typographic Embellishment of the Sixteenth Century in Italy and France; selected from works published by the
the Giuntas, the Stephans, and other celebrated Printers.

series of

antique

Designs by Giulio Romano.

commencement of the

we have

recognised

sixteenth century, that

Italy

in

and consequently invigorated,

as

mainly through

Through them

of printing and engraving.

fragmentary and

translations

movement towards the

imperfect

during

the fifteenth,

became

afforded

by the

means of popularisation,

the

of Vitruvius

restoration of the

and Alberti, copiously

illustrated

and ably commented upon, were speedily in the possession of every designer of eminence in the country,
and without

its

limits

also

while, before the close of the century, the treatises of Serlio, Palladio, Vignola,

and Rusconi, presented permanent

But inasmuch

studied.

from
to

those

of

the

as

Imperial

ages

of

had been mainly directed

to

of the

Rome,

differed.

monuments of

of the zeal with which the

the requirements

supply those wants materially

attention

records

In

so

Italian

of

social

necessity

the Renaissance

the imitation

antiquity

had been

system of the sixteenth century differed

the

styles

nature
of the

of ancient ornament;

of

the

fifteenth

monuments

created

century the

artist's

in the sixteenth,

however,
l

1*

wm

it

was

ITALIAN ORNAMENT.
and of architectural symmetry
pure ornament having been
generally, that engaged the designer's attention
its mass
great extent neglected in its details, and considered only in
both

the restoration of ancient proportions,

principally

the

of

orders

five

to

Those

as a decorative adjunct to architecture.

which during the

arts

fifteenth

maestri, under
century had been so frequently united in the persons of the
the sixteenth
great monuments had been carried into execution, in

whom

became

of such intellectual giants as Raffaelle and

The genius

individualised.

triple attributes of painters, architects,

Michael Angelo could alone maintain the

and

relative subordination

due

sculptors, in

after times,

when, in

men such

as

Bernini and Pietro da Cortona attempted similar combinations,

was

the result

As the
I

in

of Art became

rules

which

consequences, with

and

more

entablatures,

&c.,

studios,

and

their

in

which the

in

elevations,

pilasters,

The

and notable exceptions, were

worked

painters

all;

the buildings, their works

in

less

in

all

arches,

of columns,

out

setting

was

but plans, sections,

else

little

forgetting altogether general decorative

were to adorn;

effect,

to anatomical precision, powerful chiar'oscuro,

and looking only

breadth

and

composition,

masterly

was introduced.

thought of

architects

obvious:

arose

rare

certain

failure.

more complex, academies

division -of- labour system

the

and

general confusion

than

else

little

and

tone

of

handling.

Sculptors of a high class deserted ornamental carving and gave

or

monuments

which general

in

Ornament was

left in

a great degree to accident or caprice in

and to second-rate

design,

may be

of the

The painted arabesques

were

they

which

seen in our woodcuts.

Italian

occasionally

them

which
Soffite Panel,

it

we

is

in

to

the

antique

Renaissance

all -his

offer

to

no

away from

as

It

that

is

and

every branch of

art.

in

feebler

hands

Bramante,

than

we must

his,

Michael Angelo was born in 1474 of the

Ornament from

Vertical

Genoa.

excellent

is

ornamentist

look

is

be

to

for

that

germ of

and engendered a

art,

resulted

too,

great Florentine, whose

the

to

contemporaries in every department of

deny, ultimately,

an

at

and

consists,

ornament was concerned, they approached so

individuality.

light.

tradition,

far

Palace

Neither shall we dwell upon the works of Baldassare

here.

so

since,

striking

than in any other

artist

of restraint, broke
infected

though they be,

as

him

allude to

architecture

the

Rome,

celebrity as

so

be well to

will

Pandolfini

the

in

his

that

arabesque

of

subject

not therefore further

interesting

us

to

left

Florence, and the Caffarelli, late Stoppani, at

connexion with the

his

shall

Peruzzi,

from one of the Genoese Palaces.

has

Raffaelle

it

stucchi

form

accompanied,

Although

notice.

special

for

and the

style,

remarkable an exception to the above, that

reserve

its

Favourable

execution.

artists in its

specimens of such ornaments

with

features alone.

plastic

development of the

subservient to the

made

of beauty were

effects

5tl

and groups,

their attention, almost exclusively, to isolated statues

in

a departure

regarded
fervid

from

taste

rather

genius,

which,

and

noble Florentine family of the Buonarrotti,

it

as

impatient

originality

self-willed

license

closely

is

that

vain to

refinement

in

descendants of

he was a pupil of Domenico Ghirlandaio, and having early distinguished himself by

the school founded for its culture by Lorenzo de
his talent for sculpture, he was invited to study in
in 1494, Michael Angelo retired to
the banishment of the Medici family from Florence
the Counts of Canossa:

Medici.

On

Bologna, where he worked at the tomb of

St.

Dominic

after

some

little

time he returned to Florence, and,

" Cupid," which was the cause of his

was twenty-three years of age he had executed the celebrated
Rome, amongst many other works by him, is the
being invited to Rome, and also his "Bacchus." At
The gigantic statue of "David,"
sculptured by order of Cardinal d'Amboise, and now in St. Peter's.

before he

"Pieta,"

at Florence,

by

was

his next great performance;

Julius II. for the purpose of erecting his

and

at twenty-nine years of age

mausoleum;

for

this

building

he returned to Rome, summoned

the

"Moses"

at

San Pietro
2

in

ITALIAN ORNAMENT.

than was at

on contemporary

as well

art,

on that of

as

Judgment," painted for Pope Paul

work undertaken by him, and

The remainder of

III.

exercised

it

In 1541 he completed his vast fresco of the "Last

after- times.

his long

life

was

devoted to the construction

chiefly

and

at the time of his death, in 1564,

on which work he was employed

of St. Peter's,

was completed on a smaller scale

regard the sublimity of the performance or the influence which

we

one of his greatest, whether

it

painting of the Sistine Chapel was the next

The

intended.

first

originally destined, but

were

in the Louvre,

and the "Slaves"

Vincoli,

which he refused

for

remuneration.

all

In everything executed during the long

striking

than in other

consoles

and

departments

less

His large broken pediments and mouldings, his sweeping

of design.

an

(saving

imitation

direct

his

scrolls,

seems to have

the desire for novelty

His daring innovations in ornament are no

alone.

from the study of excellence

attention

divided his

of Michael Angelo

life

alloy

exaggeration)

of

Nature

of

some of

in

his

enrichments, and the amount of plain face he uniformly preserved in his architectural compositions, brought

new elements

the

into

The

himself possessed.

and Giacomo

Angelo;

his

the

defects,

Cellini

was due,

at

least,

in

two Sansovinos

and scarcely

artist

was born

Baccio

and

last

many

beauties,

his

Bandinelli

not
of

Benvenuto

influence

of a genius

We

allude,

less

immunity

This

of Italy.

any other part

almost

universal.

less

Florence,

a remarkable

Florence of an ancient family in

at

hardy than that of Michael

of course,

to

the

he was placed by

the year

greatest

his

young man promised

of the

he was then named so

as

his abilities at Florence,

Having distinguished himself by

excellent character,

and

Rome by

he was taken to

is

an early

Florence, who,

at

Their attachment

become very eminent."

to

at

mother with Andrea Contucci of

and son, Jacopo was no longer

such a character that, being regarded almost as father

called "de' Tatti," but " di Sansovino;"

Having

1477.

spoken in Chapter XVII.), then working

briefly

says Vasari, " soon perceived that the

speedily assumed

for Art,

predisposition

Monte Sansovino (of whom we have

and

Michael

Giacopo.

This noble
age displayed

counteracting

the

to

through

changed

altogether

Happily, Venice escaped the contagion in a great

longer than

influence

its

Angelo, but far more refined,

Design was

At

admirers and imitators.

resisted

great degree,

of

of manner.

exaggeration

ardent

his

School

power than he

inventive

less

ornament was concerned, adopted, with a few of

as

far

by men of

snapped up

Domenico Fontana, Bartolomeo Ammanati, Carlo Maderno, and,

Porta,

being

greatest

were among

degree, or,

so

greedily

Roman

of the

style

della

Vignola himself,

least,

which were

field,

he called now, and ever will be.

and being considered a young man of great genius

Giuliano da San Gallo, architect to Pope Julius

II.

At

Bramante's
he attracted the notice of Bramante, and made a large copy in wax of the "Laocoon" (under
the celebrated Spanish
direction), in competition with other artists, among whom was Alonzo Berruguete,

Rome

Sansovino's was adjudged to

architect.

coming

falling

ill

was obliged

to

leave

the same house with Pietro Perugino,

He

famous

his

commentaries

He was

in a fair

He was

in

continual

the beautiful

on Vitruvius

way

Here he recovered, and

city.

ability,

became acquainted with Luca

also

for

(Julius).

and a cast was taken of

employment

"Bacchus" (now

that he caused

and was

of advancement,

successfully
at

this

in the

in

bronze, which finally

France in the year 1534.

found a dwelling for Jacopo in

therefore,

then painting a ceiling for Pope Julius in the Torre Borgia,

Signorelli,
;

it

taken by him into

Rome, and Bramante,

who was

and who was so pleased with Jacopo's

use.

best,

the possession of the Cardinal de Lorraine, was

into

San Gallo

be the

when

him

Bramantino
finally

many models

to prepare

di Milano, Pinturicchio,

presented

to

him

wax

for his

Cesare Cesariano,

employed

and

a serious illness caused

in

to return

by the Pope
to his native

competed with Bandinelli and others for a large marble figure.

Bartolini
time, and among other works he executed for Giovanni

Gallery degli Uflizii at Florence).

entry of Leo X., Jacopo was

In the year 1514, great preparations being made at Florence for the
Pontiff was so much
employed in making various designs for triumphal arches and statues, with which the

Pope,
pleased, that Jacopo Salviati took his friend Sansovino to kiss the feet of the

by

whom

he was received very

Lorenzo at Florence,
His Holiness immediately gave him an order to make a design for the facade of San
compete with him for
which would seem to have given so much satisfaction, that Michael Angelo, who was to
success
would appear to have outwitted Sansovino, and effectually prevented his

kindly.

the control of
for,

its

construction,

says Vasari, " Michael Angelo was

determined to keep

all

for himself."

Not

disheartened, however, he

gained the great honour of

continued in Rome, and was employed both in sculpture and architecture, and
against Raffaelle, Antonio da
being the successful competitor for the Church of St. John of the Florentines,
Whilst superintending the commencement of the works he fell, and was
Sangallo, and Balthazar Peruzzi.

ITALIAN ORNAMENT.
so severely hurt that he

Various causes led to the suspension of the works until the pontificate

the city.

left

when Jacopo returned and recommenced

of Clement,

From

it.

that period he

was engaged

work

in every

of importance at Rome, until, on the 6th of May, 1527, that city was taken and sacked by the French.

Jacopo sought refuge in Venice, intending to

The Doge, Andrea

of

however, persuaded him to remain, and to undertake the restoration of the cupolas

This work he

Mark's.

St.

Gritti,

performed

so

The

by various improvements and

sagacity and diligence, that

anywhere

Among

State.

are to be noted,

the

by Vasari

depicted

He

active.

monument

Bohn,

and,

indeed,

the

to

he performed with such

duties of this office

alterations

Proto-Maestro

appointed

of the city he materially added to the

among

of Italian Art

the finest examples

Moro, the

Mark, the Church of San Georgio dei Greci, the Statues of the Giant's

St.

and the bronze gates of the

of Francesco Veniero,

(edit.

he was

the Zecca or Mint, the Palaces Cornaro and

the Libreria Vecchia,

Loggia round the Campanile of

Staircase,

works here

his finest

that

satisfactorily,

Republic, assigned a house, and provided with a stipend.

income of the

him employment.

France, where the King had offered

visit

vol.

v.

426),

p.

His

Sacristy.

character as

eminently agreeable, sagacious, amiable, courageous, and

is

appears to have been generally honoured, and had a large school of pupils, amongst

whom may

be mentioned Tribolo and Solosmeo Danese, Cattaneo Girolamo of Ferrara, Jacopo Colonna of Venice, Luco
Lancia of Naples, Bartolommeo Ammanati, Jacopo de Medici of Brescia, and Alessandro Vittoria of Trent.

He

on the 2d of November, 1570, aged ninety-three

died

the years
It

of his

life

had come

" and (as Vasari

an end in the pure course of nature, yet

to

mainly to the happy influence exerted by Sansovino that the

is

us) notwithstanding that

tells

Venice lamented his loss."

all

School of Venice

indebted

is

for

its

celebrity in ornamental bronze-work.

Turning from

Italy to France,

into the service of Francis

I.

we resume

1530) of those Italian

(circa a.d.

as the " School of Fontainebleau."

the thread of national progress, interrupted

who formed what

artists

The leading and most popular member

by
is

of that fraternity

the introduction
familiarly

known

was Primaticcio,

a master whose style of drawing was founded upon the Michael-Angelesque system of proportion, somewhat
attenuated in limb, and moulded into a somewhat more

artificial

and serpentine

The manner of

of grace.

line

arranging and defining drapery peculiar to the Fontainebleau masters exerted a singular influence upon the
native

artists,

and that not only in the corresponding department of

peculiar crinkled folds of the garments, disposed, not as they

they would best

fill

up voids

and led to that peculiarly

man

style

now

Suisses,"

The

same

subject,

and

Louvre,

the

to themselves,

if left

but as

Among

in

the works

of

those artists

all

who

the most remarkable of these, and moreover

who was born

in

His principal works are (for happily they have for the most part

France early in the sixteenth century.

survived to our days)

fall

stands conspicuous the renowned Jean Goujon,

of singular originality of intellect,

works.

which may be recognised

and reproduced the prevalent mode of the day.

reflected

fluttering

would obviously

The

induced a general levity in the treatment of similar elements,

composition,

in

but in ornament generally.

art,

"Fontaine des Innocents,"

" des Caryatides," supported

by four

at Paris

(1550);

colossal female figures,

the gallery of the "Salle des Cent

which are considered among

his best

celebrated Diana of Poitiers, called " Diane Chasseresse," a small and very beautiful bas-relief of the
his

his

wooden doors

to

Church of

the

" Christ at the Tomb," in the

St.

Maclou

Museum

at

Rouen, his carvings of the Court of the

of the Louvre.

Goujon partook warmly of the

enthusiasm the recovery of the writings of Vitruvius excited universally, and contributed an essay in respect
to

them

in Martin's translation.

working on a

He was

unfortunately shot during the massacre of St. Bartholomew, whilst

An

scaffold at the Louvre, in 1572.

artist

who had imbibed

even more of the Italian spirit of

Barthelemy Prieur was

the School of Fontainebleau than did Jean Goujon, narrowly escaped sharing his fate.

only saved from immolation by the protection of the Constable Montmorency, whose monumental effigy he

was ultimately destined

the most

to

place

upon

we have

Prominent, however, among the

Loue, near Mans.

The

year 1550 his father sent

statues

him

at

to

the Cathedral of Mans.

Catherine

de Medici, in the Church at

best works

The

beautiful

and

is

principally

known

already stated (Chapter XVII.),

Convent

Paris,

He

band of the

artistic

the

placed in

of his

Contemporary with Goujon and Prieur was Jean Cousin,

ardent disciple of Michael-Angelesque form.

noble statue of Admiral Chabot, and, as

glass.

pedestal.

its

in

of

period,

was the monument

to

his

Pilon,

earliest

sculptor

designs

for stained

who was born

works.

monument

of

Denis, near Paris, from a design by Philibert de

the

of the

at

About the

1557 his monument to Guillaume Langei du Bellay was

About the same time he executed the

St.

by

was Germain

Soulesmes are among his

the

as

Henry

II.

Lorme.

and

One

Chancellor de Birague.

and well-known group of the " Three Graces," cut out of one

solid

block of marble, was

4

ITALIAN ORNAMENT.
intended to support an urn

monument,

Pilon and

hearts

Henry

of

In order to give an idea of the ornamental

the Louvre.
this

containing the

see Plate

LXXVL,

Bontemps.

Pierre

The

Fig. 9.

of

style

and

statues

and Catherine de Medicis;

II.

we have engraved

Pilon,

bas-reliefs

in

the base

of

is

on the monument of Francis

1590 no works of his are known, and Kugler gives

After

now

it

are by

the date

as

it

I.

of

death.

his

The length of limb and

point

farthest

introduced

into

by Francavilla,

extravagance

of

France

even

the

been during many years.

grace peculiar to

artificial

The

characteristics

which served

half of the seventeenth century, and

Pierre

school of Fontainebleau,

Francheville,

as

of the

of

was pushed

Cambray

(born

of John of Bologna,

wiriness of the style

greater

general

or

the

an induction into what

is

generally

the

XIV.

as Louis

for her

first

in the Palace

1620.

This manner was succeeded by that of Le Pautre, an

woodcut gives an idea of

who

1548),

during

known

work, cannot be better studied than in the apartments of Marie de Medicis, executed
of the Luxembourg, Paris, about

the

whose pupil he had

of ornament prevalent

style

to

artist

of great

cleverness

and

Our

fertility.

his style.

Panel for a Ceiling, from a Design by Le P autre.

Leaving for awhile the subject

to that

of painted;

more

the

Roman

preservation of old

especially

as

of polychromatic

vestiges

may be
at

almost

The study
decorations

is

ever to be borne in

neglected, whilst

ancients.

the former

mind that

The

a very

wide difference

during the period of the

latter

were imitated with great success, as

brought to

and

inscriptions.

period

transferring

fruit,

An
who
the

which

stone

light,

such,

flowers, foliage,

infinite

variety

visited

Rome

subject

so

for

&c, groups,

vases, altars, friezes, pilasters,

backgrounds;

subject of our woodcuts on the next page.

Roman and Greek

of ancient

marble

in

excavation

artists

It

seen from the interesting pilaster panels, designed by Baccio Pintelli for the Church of Sant' Agostino

Rome, and which form the

that

entirely

advert

well to

decoration was exercised, a very high and remarkable

between the painted and carved arabesques of the

Early Renaissance were

may be

it

a short time, during which a great degree of zeal for the

for

degree of perfection and beauty was attained.

existed

and French Ornament,

of sculptured Italian

was

sculptures

throughout
instance,

as

abounded

Italy

perfect

for

the

the

and which

antique

every day's

or single figures, busts, or heads, in medallions, or on architectural

gems of beauty
express

sketched to the

should avoid also transferring to

profusely,

so

of

remains or shattered fragments of ornamented

and animals, intermixed with

of such

by that

followed

naturally

purpose

tablets

offered

of

themselves to the notice of the artists of

making drawings

modern arabesques,

their paintings

of various forms, bearing allegorical

was

it

of

scarcely

such

remains;

possible

that

and

the

in

early

somewhat of the formal character inseparable from

the sculptured and material character of the objects from which their original drawings had been made.

Such
imitation
19

circumstances

and the object

may go
imitated,

far

in

to

explain

many

of

the

the

differences
first

we

attempts

cannot
to

fail

to

recognise

between the

reproduce the painted decorations of

5

ITALIAN ORNAMENT.

Romans

the

more conspicuous than was

none was

Rome

residence in

his

How

Among

of Imperial times.

and

fully

such diligent students,

during

Perugino,

Pietro

at the latter part of the fifteenth century.

what good purpose he accumulated

to

studies

shown by the immediate commission he

of ancient ornament was

received from his fellow-townsmen to decorate the vaults of their

Exchange, or " Sala di Cambio," with frescoes, in which the ancient

style

and certain antique subjects should be vividly reproduced.

This

beautiful

work of

art,

such

for

proved

it

Rome

executed soon after his return to Perugia from

was

be,

and mani-

deeply he must have drunk at the classic fountain of

how

fests

to

antique Art.

It

is,

without doubt, the

complete reproduction

first

" of the ancients, and

of the. " grotesques

is

singularly interesting,

not only as establishing the claim of Pietro to be regarded as

the

first

and

great

decoration,

many "prentice hands" were

The

it

whose

exercised,

subse-

efforts

of

Perugino, whose labours there

fancies,

were

Raffaelle,

curious

is

then aged sixteen or seventeen; Francesco

known

Ubertini, better

And

and Pinturicchio.

Bacchiacca;

as

trace the influence of the success of this their

to

It led

attempt upon the after-career of each of the three.

first

is

doubt materially aided in the elaboration of these graceful

little

it

of

style

to the highest perfection.

scholars

principal

graceful

this

been the "trial-piece" on which so

but as having

quently carried

of

accurate reviver

immediately to the employment of Raffaelle and Pinturicchio, in

Sienna,

Library

at

and,

subsequently, to the cultivation of such studies

on

decoration

the

in

conjunction,

celebrated

the

of

the part of the former as induced his composition of the inimitable arabesques of the Loggie of the Vatican, &c. &c.

and on
of the

that of the latter artist to the execution of the ceilings

of Sta. Maria del Popolo,

choir

Borgia,

&c.

moured of the

Bacchiacca became

Rome.

at

and those of the Apartamenti

style, that his

whole

life

so

was devoted

animals, flowers, &c. in "grotesque" decoration

became famous throughout

Italy

as

completely ena-

to painting

and he ultimately

perfect

master

of

that

variety of design.

In freedom and cleverness of drawing, in harmony of colour,

in brilliancy of touch, in nice balance of the "pieni"

of the paintings of the ancient Romans,

imitation

and

in

this

specimen

close

is

one of the most successful that has ever been

executed, although in delicacy of finish

scarcely

be

and "vuoti,"

expected

to

equal

the

and refined study

it

subsequent productions

can
of

Giovanni da Udine, and Morto da Feltro.

During the stay of Raffaelle in Rome, under the pontificate

of Leo X., he was commissioned by that pontiff to
arcade,

which had been

predecessor,

Julius

II.,

constructed

during

the

decorate an

reign

by Bramante, whose daughter

of

his

Raffaelle

married.
It

was determined that while the theme

rations

should be sacred,

should rival the

discovered

a^^^bL^-h
for the Church of Sant' Agostino,

Rome.

at

finest

their

style

of the necessary deco-

and manner of execution

remains of ancient painting which had been

Rome up

to

that

period.

The general designs

appear to have been made by Raffaelle himself, and the details to

t;

fo

ITALIAN ORNAMENT.

who

have been carried out by a chosen band of assistants,

the realisation of the great work.

was by

It

unquestionably entered with wonderful zeal into

hands, controlled by the exquisite taste of the great

their

Urbinese, that those celebrated "loggie," which have ever since their execution been a theme of admiration
for

were

artists,

all

We

created.

showing the principal ornamental motives

selection,

have given a careful

LXXXVI.

comprised in them in Plate

These arabesques cannot

be compared with the ancient, as the former were executed by the greatest

fairly

masters of the age, and are applied to the decoration of an edifice of the highest magnificence and importance,
whilst the

were the productions of a

latter

ornament buildings of a
to

The comparison might be

Papal.

Caesars, or the "

"The

far

relatively

class

we

could but recall the faded glories of the Palace of the

Golden House " of Nero.

arabesques have, in almost every instance,

ancient

of the

extent

order to favour the apparent

they decorate;

locality

between the principal subjects as we find

addition

in

placed

often

by a

offensive

flowers,

and above

beside

they generally

human

putting forth twisted

the dissonances, and

blossoms

and

scale,

all

and

elegant

views of temples, landscapes,

of colossal proportion;

are

described arabesques,

and

figures,

leaves,

stalks,

on a very small

The

to

being

more

the

Thus,

find

combinations

and

adjoining

the

of

of flowers

calices

thereby not only injuring the accompanying

Lastly,

greater

for decoration.

minute

&c, we

which, with reference

but also destroying the grandeur of the whole architectural design.

striking

arabesques of Raffaelle, the component

in the

thereby emphaticising

less,

arabesques, presenting,

animals,

fruit,

the

scale, in

They never present such

symmetry, as well as in the very choice of the motives

in

deficiency

the richest

to

close

which

to

sometimes as unreasonably large as they sometimes are unreasonably small.

of which are

parts
is

scale

kept upon a reduced

their parts

all

manifest a predominating general proportion between their several parts.

differences in

existence

in

important to Imperial magnificence than the Vatican was

less

fairer if

now

period of Art, and those

distinguished

less

first-

decorations,

on examining the choice of subjects

with respect to the association of ideas indicated thereby, and the decorations in the symbols and allegories

employed to convey them, we find that the works of the

who

ancients,

reverted to no other source than their

mythology, appear to great advantage, in point of unity of idea, when compared with the prevailing intermixture

Loggie of that imaginary world with the symbols

in the

conclusions

which

to

that

profound

student

impossible not to concur in their propriety

of

Such

of Christianity."

M.

ancient polychromy,

among the

are

and

has arrived,

Hittorff,

general
it

is

we must

while condemning, however, such faults of ensemble,

not lose sight of the exquisite graces of detail wrought out in their execution by Raffaelle and his scholars.
" Proceeding

from

proportion,

and

ornaments,

the

spirit

Villa

more

Madama, we
In

gratifying

and calming

of the ancients.

If

influence

is

mythology of the

from the

we adopt

notwithstanding

roofs,

entering

ancients,

we

find

spirit of the Loggie,

the multiplicity of their

all

the

principal

more

pervading unity conceived

and look upon

that

halls,

its

better regulated

is

Here, where

exerted upon us.

the general opinion,

second undertaking conceived by Raffaelle in the

immediately on

find,

the principal decorations there

all

symmetry; and in the magnificent

greater

represent scenes

subjects

the

to

a less confusing general effect.

divisions create

in

the Vatican

beautiful

this

work

as

and executed entirely by Giulio Romano

succeeded in avoiding
and Giovanni da Udine, we see how the favourite pupils of the incomparable master
cannot fail to have recognised in his former
faults against good taste, which he and his contemporaries

work, favourably as

it

was received by the popular

not only of courtiers,

voice,

,,

but of

Unlike

artists.

grounds, those of this

arabesques of the Vatican, which are executed, for the most part, upon white
variously coloured grounds a habit to
delicious suburban retreat are, for the most part, worked out upon

the

Giovanni da Udine.
which Giulio Romano appears to have been more partial than either Raffaelle or
Cardinal
The villa itself was built by Romano and his fellow-labourer for Pope Clement VII. when
Giulio de Medicis, the first
it

was

partially

destroyed

had burnt fourteen of

his

designs having been given

by

Cardinal
in

castles

but the grandeur of the three arches

and that

Raffaelle;

written

by

The

it

was

his is

Castiglione, as well as

Villa

Madama was

its

name.

still

Raffaelle.

Pompeo Colonna,

to

remaining

is

The work was

revenge

of Rome.

Campagna

proved beyond a

sufficient

The
to

villa

is

show

now

that

incomplete

still

himself upon

Clement

rapidly going

the design

doubt, by a letter to Francesco Maria,

by some drawings, which, together with the

letter,

are

still

when

VII.,

who

to decay;

was worthy of

Duke

of Urbino,

in existence.

by Margaret,
purchased after the confiscation of the Medicis property, in 1537,

daughter of Charles V., and widow of

takes

the

by

The building was

Duke Alexander de

partially

restored,

Medicis, and from her

title

of

Madama

the villa

though never completed, and Margaret resided there

ITALIAN ORNAMENT.

The crown of Naples afterwards became possessed of

on her marriage with Ottavio Farnese.

rest of the Farnese property,

owe

acquired by them in this

skill

the beautiful arabesques which

hood of Rome.

had gathered around

in

selves

various

had acquired

the

Italy,

now

is

became more

pictorial,

became almost

were

works

and

less

merged

entirely

Raffaelle,

undertaken,

them

with

carrying

and

magnificence nourished by the Jesuits.

whom we

to

worked with him spread them-

the

his

and

experience

of

influences

classic

as suited

knowledge

they

Thus sown broadcast over

charge.

the

as

Rome,

the seventeenth century the

in

such florid decorations

in

ascertain

In proportion, however,

removed from the

purely decorative;

to

difficult

so ably

in the conduct of the great undertakings placed under

subsequent

and followers of

bond that had united the brotherhood which

who had

snapped, and those

throughout

directions

pupils

of the palaces and country-houses in the neighbour-

death of Raffaelle,

person was

by the

it

were the elements of painted arabesque decoration.

the land

whom

his

that

art,

many

decorate

still

the premature

After

with the

through a marriage with that family.

So large a number of arabesque decorations were executed

and so great was the

it,

by

artists,

their

styles

arabesque manner

the extravagant ideas of architectural

In the days of Bernini, and at a later period in those of Borromini,

Detail of a Portion of a Stucco Ceiling in the Palazzo, Mattei di Giove,

Rome, by Carlo Maderno.

the Stuccatore triumphed in every species of flourish, while in the scanty openings left between the fluttering

wings, and draperies of angels and

was allowed

to place little else

saints

suspended

in vaults

the local

As may reasonably be

style

of ornament in

inferred,

may be

it

may be

imported by Giulio Romano, and a

fast

and

in

and

6,

out as

and

tendrils,

reflex of the

fading into

frequently

nothingness the

wind round

of the same plate, a simple

style of convention

wayward fancy prompts, an

graceful

A
(Figs.

farther

the

marked
1,

2,

4,

difference

and

5),

central reed,
deity.

from nature, retaining

earlier

and purer

architectonic character

at

examples.

may

for instance,
caricature,

we have

presented

as at Figs.

and

9,

in

which the hand of the

of scrolls

series

dominant

lines

LXXXVII.

Plate

1, 2,

5,

sweeps

artist

and curves

of which

4,

3,

the

adorned,

are

foliage of parasitic growth.

collected in Plate

the same

Far

of which

In other instances, as in Figs.

followed,

is

of style in the decoration of the

we have

the school of

In the deserted chambers

frescoes,

ever-recurring, yet rarely monotonous,

by

Rome

executed for the most part upon a white ground.

leading points of which are generally accentuated by calices, and the

to time interrupted,

at

such as Mantua, Pavia, and Genoa,

cities,

Paganism of Rome.

favourite

such cases Nature appears as the directly inspiring

and from time

Thus

and that of conventional vigour approaching

numerous specimens in Plates LXXXVII. and LXXXVIII.

Leaves, flowers,

trace a few anomalies in its varied

to

The Mantuan system of ornamentation,

traced.

distinctly subdivided into the school of nature

Ducale are

well

those spots where they have most abounded.

other and distinct types and influences

of the Palazzo

painter

mid-air, the decorative

the presence of ancient remains has almost invariably affected

arabesque ornament most nearly approached the antique, while in

may be

in

than the perspective tricks of the Padre Pozzo and his school.

Before leaving the subject of arabesque altogether,

local aspects.

and cupolas

be

time
it

LXXXVIII.

an even

from

same building

us

to

more
assert

is

inaugurated in the specimens

In them the artist has withdrawn himself

pictorial

that

mode

beauty

of

of

representation

the

highest

than in

and

not be obtained in ornament entirely conventional in conception; but certain

that to be agreeable such ornament should be expressed in a simple and

flat

style of treatment,

most
it

is

both as regards
8

ITALTAN ORNAMENT.
and

shade,

light,

In

colour.

proportion

direct

have been taken with more or

less

elements

in

which the forms of growing plants have been

of

delicate

and

No.

So long,

with too great fecundity.

was controlled by

(Plate

Madama, and

of his arabesques, which

LXXX.), may be traced

off

"Gran Signore"

and his weakness

as

same time too

Unable

an ornamentist.

to

careful

its

assume an aspect of unquiet rarely to be recognised

Roman

that tendency to

was

that

fairly intoxicated

ridiculous.

LXXXVIII.,

recollections

reproduction,

once his

illustrate at

of the

ability

in

rude grasp.

in his

which must secure

handling,

his

There are

the motives he borrowed from

The motives

antiquity.

wanted grace, yet never wanted wit,"

chief

engraved in

No.

him an honourable
is

This

fails.

LXXXIX., which

Plate

the ridiculous masques

3,

fallibility

is

where an ornament should

Servile,

deference

to

some received

is

seem sneering

be

most

type of form

ceases

from the Palazzo del Te,

the graceful forms which

at

to

the

be

disposition

servile,

once Giulio's feebleness of imagination, and his want of

at

The
the

peculiar

influence

case of arabesques,

is

adapted

from

of local association upon styles

may be

trations of the early printers.

traced with

one

of

its

of

the

at Venice

in

lines

springs.

it

and

in

of

patterns

free,

which
of

where
it

is

antiquity,

taste.

of ornament, which

we have

the best typographic

equal facility in

and

elements

commonest

Thus, in the ornaments, Figs. 4-7, 9-16. Plate

"Etymologion Magnum," printed

its

Thus, in

surround them;

main

the accessory

in

betrays

which

Mantua.

at

by the ludicrous object from which

this

scroll,

time was one of

his

stamped upon several of the ornaments we have

composed,

running

in

"Van who

Like

No. 6 in the same plate "points a" severe "moral."

in

free

who

he

taste that

entirely spoilt

nature and the antique are alike maltreated.

4,

niche in the Temple of Art.

on the score of

are taken principally

a scroll ornament freely dashed out,

2,

Again in No.
No.

most frequently

arbiters

it

crush

however, a daring in his fancy, and a rare sweep and certainty

yet,

for

and

antique,

he derived from Nature are equally maltreated, since he gathered flowers from her bosom only to

them

of

with which to reproach

little

is

the remains of classic

in

somewhat

as

works, his exuberance

Mantua, his vanity

himself of his

divest

the

with masterly power, but unfortunately

at

collected in Plate

be content with

to

egotistic

we have

strikes us

of

and vague jewelled forms

ribbons,

in other of his

little

field,

the representation

in

LXXXVIII.,

Plate

association with artists of purer taste than himself, there

The specimens

the

in

fluttering

and with much that was beautiful he blended not a

him,

it

as at the Villa

which

admissible,

is

the

line,

but when he subsequently emerged into the

him;

at

of

mode be

an amount

which disfigured so much that the genius of Romano threw

caricature

composed

is

sketched from the garden and

freely

the monotonous masques and foolscaps of No.

and in

5,

ornament

LXXXVIL,

of accidental effect

indication

Already in the bustle

feeble.

an

Thus, in the more refined arabesques of Plate

more absolutely conventional elements of the specimens given

officious

which

of

divergence from the ordinary aspect of nature, so should the

varied in which that ornament should be portrayed.

modelling and

the

as

the year 1499, the forms

XC,

already noticed in

and xylographic

illus-

taken from the celebrated

of the ornament,

and the almost

even distribution of the " pieni " and " vuoti," have been evidently based on the style of those Oriental or

Byzantine fragments, in which Venice was so pre-eminently

rich.

Many

of the Aldine initial letters

in the

last-named plate, appear as though they 'might have been engraved by the very same hands that ploughed
out the damascene patterns in the metal-work of the period.
endless

conventional renderings

Florence.

Nor

of the

The Tuscan Bible of 1538 presents us with

ordinary Cinque-cento sculpture, which abounded in the churches of

are the specimens of the Parisian press less worthy of the veneration of the virtuoso.

Typographic Ornament from one of the productions of the early Parisian Press.

(Stephans' Greek Testament.)

In the productions of the Stephans (Fig. 29, from the celebrated Greek Testament), of Colinaeus, his
pupil

(Fig.

3),

of

Mace Bonhomme,

of Lyons, in 1558, Theodore Rihel of Frankfort,

Liesveldt of Antwerp, in 1544, Jean Palier and Regnault Chauldiere of Paris,

and interesting
19

illustrations of local differences in

in

1574, Jacques de

may be found many

agreeable

ornamental detail of a semi-antique character.

9

a;;

ITALIAN ORNAMENT.
Returning to
general decline

and

Italy,

to

purer

its

The

be unfair to altogether pass over.

to spread the

commodity which helped

and

at

that

glass

the

period

at one

causes " of the

first

or two branches of industry

and most interesting of them

first

is

that

would

it

of Venetian Glass

fame of Venice far and wide over the habitable globe.

manufacturers

Greek workmen thence

in 1453, drove the skilled

by the Turks,

of Constantinople

The taking

we propose glancing

Classical Art,

of revived

before briefly proceeding to trace the "

style,

from the

learned

Venice

at

exiled

Greeks

to Italy

modes

their

of

In the early part of the sixteenth century,

enriching their productions by colouring, gilding, and enamelling.

and opaque white (latticinio)

the Venetians appear to have invented the art of introducing threads of coloured
beautiful and enduring enrichment,
glass into the substance of the articles they manufactured, forming a

from the lightness of

suitable,

The

against

of the

down

object of handing

and from
Vistosi,

it

and

species

I.;

much more

and

of the goldsmiths

of medal generally

and

in

an

Cardinals

worn

in

the hats

increased

conventions

demand

Richelieu and

secret,

and

very large amount

Rome;

of

and in
but

and the Museum of the Louvre

still

cups and other objects, which sufficiently attest the

skill

One

of the

at

richest jewels

which the

used for a considerable time, was the " enseigne,"

and

of the nobles,

the head-dress

in

The

of the ladies.

important occasions furnished constant employment to the jewellers of both

the vicinity of the courts

peace in Italy, by the

caused

glass-houses on the island

was, no doubt, re-fashioned in after times;

and jewellers of the sixteenth century.

all

avowed

the

Paris,

Florence,

at

of jewelled and enamelled

custom of giving presents on

countries,

first

Murano, with

about the date of the sack

Italy,

fashion of the period introduced, and which continued to be

a

at

but at the commencement of the eighteenth century, the taste for

Grand Duke of Tuscany

Cabinet of the

taste

struck

Muro, Leguso, Motta, Bigaglia, Miotti, Briati Gazzabin,

supposed to have been melted down, in

contain fine collections

and

was

coin

the other

and the trade was dispersed to Bohemia, France, and England.

prevail,

France to pay the ransom of Francis

the

On

even the workmen were

splendid works in the precious metals were executed at this period.

very

is

gold

1602,

and

great privileges,

received

applied.

and the severest penalties were enacted

For about two centuries the Venetians contrived to retain their valuable

Ballarin.

heavy cut glass began to

of these

Murano

was

it

or exercise their craft in any other country.

it,

learn that they were the following

we

forms of the objects to which

names of those who established the

to posterity the

monopolised the glass trade of Europe

Many

at

In

ordinary artisans.

with

classed

glass-houses

delicate

guarded by the State;

jealously

any workmen who should divulge

hand, the masters

not

was most

art

of this

secret

the

to

character,

its

for

even

of Chateau

the

Cambresis,

and

in

age

France at the

and

goldsmiths' productions;

Mazarin paved the way for the

The

most troubled periods.

during the

accession

restoration

of

Henry

subsequently the magnificence

of "Louis le

Grand"

in

France,

for

of

IV.,

of the

whom

Panels designed by Fay, in the style Louis Seize.

Ornaments designed

numerous

fine

for

Marquetry by Fay, in the

works of

art

style Louis Seize.

were executed

Labarre, Vincent Petit, Julian Desfontaines,

by the
and

greatly employed the ingenuity of the jeweller

by the

nobility.

From

this

at

Parisian

others,
this

time the style of the

goldsmith,

worked

in

Claude Ballin, who, together with

the Louvre.

One

of the

objects

period was the " aigrette," which was generally

French jewellery rapidly declined, perfection

which

worn

of work10

ITALIAN ORNAMENT.
manship

days of Louis XVI., were above

the

the celebrated Gouthier, in

The

engrave two pleasing specimens of the Parisian burin.

were redeemed by

The

and brass, in which

metal-work having been transferred to bronze

in

such work

for

we

wiriness and frivolity of this class of ornament

faultless execution.

its

and

of the art,

details

the chasings of

alloy,

Of designs

praise.

all

last

were not without

popularity,

its

upon general design;

their influence

for

since the delicate

draughtsmen and engravers of the day were much employed by the goldsmiths in working

out their designs

and patterns,

it

work were introduced

to jewellers'

into

Renaissance and bastard Italian, with

designed for

decorations

more

case in Germany, and

especially the

no unnatural consequence, that many of the forms peculiar

as

followed,

and

members, was executed

by Theodore de Bry

no bad

affords

for

and

ribbon work, cartouches,

Arabesque by Tbeodore de Bry, one of the "

architectural

different

way

illustration of the

in

of

complications

intricate

Petits Maitres."

The engraving we

the Electors.

This was

purposes.

Saxony, where a great deal of a mixed style of

particularly in

strap

altogether

composed

of a decoration

present

which motives expressly adapted for enamelling

It is by
grotesque of the day.
of Cellini were thrown together, to make up the ordinary
to be found; for in the French
no means in the works of Theodore de Bry alone that such solecisms are

in the

style

features are presented.

etchings of Etienne de Laulne, Gilles l'Egare, and others, the same

Engravers and designers

models

providing

of this

were

class

much employed, both

also

long popular in both

the damascene work, which was

for

in

Germany and France,

in

well

as

as

those countries,

in Italy.
It

remarkable, that although

is

more

brought the

sometimes

we

find

that the
to

articles

elaborate

Crusaders

arms

bought Oriental
case

Europe, as in the

of the

at

Damascus, and

"Vase de Vincennes,"

the manufacture until the middle of the fifteenth century,

no attempts should have been made

to imitate

when we

that
decorating the plate-armour, which was then adopted in

find

it

in use in Italy for

most probable that the

It is

art

was

Genoa, from the East, and was

parcel-gilding

East,

by the

first

instance,

the

title

of "lavoro

out of Italy;

of Milan,

which

city

was then

and

it

travelling

is

artists

attributed

the

to

armour than

Europe what Damascus had been to the

armour.

So

exclusively,

the

very last

Italian

indeed,

was the

designate

writers

art,
it

in

nnder

began to be exercised
At the beginning of the sixteenth century, the art
workmen of France and Spain
by no means improbable that it was taught to the

whom

the

good

Probably the

the famous

to

taste,

finest

in the Cabinet de Medailles, at Paris.

been

to

for

more permanent decoration

as

such as Venice, Pisa, and

cities,

azzimina."

all'

attached to their courts.

have

up

afterwards taken

upon weapons, that

employed

the

now

introduced by the great trading

the great emporium for the best arms and

viz.,

by those

artists

first

country.

or possibly the

vanity,

of the kings

existing specimen of damascening

Both

this

and the shield

in

is

of those

countries

the armour of Francis

Her Majesty's possession

at

I.,

Wmdsor

works, the
but on comparing them with any of his known
acquired
Augsburg artist than the broad style which Cellini had

Cellini;

drawing of the figures indicates rather an

from his study of the works of Michael Angelo.

From
with

that time

damascening,

numerous

fine

down

great
to the middle of the seventeenth century a

of which

specimens

the

Louvre, the

Cabinet de

Medailles,

and

and the names of Michael Angelo, Negroli, the

mentioned as excelling in damascene work,

as well as in the art of the

number of arms were decorated

the

Musee

Piccinini,

d'Artillerie,

contain

and Cursinet, may be

armourer generally.
11

ITALIAN ORNAMENT.
In our

own

russetting, being well received as

and

blacking,

England by the Earl of Pembroke

of Italian models in the

splendid

of armour brought to

suits

how French Ornamental Art was regenerated by imitation

now becomes our less agreeable duty to note how
it

so

century,

sixteenth

highly-gifted, but

that

two

the

" observed of

Bernini

w as born

1589.

in

overrated, Italian artists,

He

employed, not

as

sculptor,

the fountain of the

where he designed

He

but as an architect.

French
of a
;

resided

These

Art.

artists

Florentine sculptor,

and whilst yet

and

youth,

almost entirely at

Rome,

Piazza di Spagna, the

Barcaccia in the

There can be no doubt

upon pinnacles which made them

an unusually precocious talent for sculpture

evinced
only

lives

The former was the son

Borromini.

Francesco

and

during their

set

an immense amount of mischief to

effected

observers,"

all

were Lorenzo

fully

of the

case

an influence was exercised in the seventeenth from the same procedure.

deleterious

was

parcel- gilding, engraving,

after the battle of St. Quentin.

has been our pleasant task to record

it

the

in

exercised;

and the few specimens we possess were probably

substitutes;

imported, or captured in our foreign wars, as

As

much

country, the process does not appear to have been

celebrated Triton in the

Piazza Barberini, and the large fountains of the Piazzo Navona; the College de Propaganda Fide; the great

and facade of the Barberini Palace, facing the Strada Felice

hall

down); the Ludovico Palace, on the Monte Citorio

from

St. Peter's

by the

to the Vatican, besides

sovereigns

Louis XIV.,

and nobles

who was unused

a campanile to St. Peter's (afterwards taken

the celebrated Piazza of St. Peter's

numerous other works.

Europe;

of

much

so

so,

and the great

staircase

Busts by Bernini were eagerly sought after

that

when he

be refused anything, and much

to

was

years

of

be forced to beg, was

to

less

sixty-eight

age,

actually

obliged to write supplicatory letters to the Pope, and to Bernini, requesting the sculptor's presence at Paris.

During his residence

there,

and

at his

fifty

five

hundred

in

departure

his sons,

for

honour of Louis, which

though he did but

who accompanied
is

now

the

in

Case

On

him.

mechanical turn;

He

said

is

to

his

he speedily became both a

the charge of

the works at St.

fervid imagination

ment; and

and rare

brilliant

Peter's

facility

in his capricious vagaries,

as

and, moreover, to have painted as

all

known

to

caricature.

principles

Until

carver and

1599.

a-day,

statue

many

as

hundred

five

a draughtsman

Apprenticed at an early age to Carlo

On

architect.

under Bernini, with

whom

Maderno's

death he

succeeded

he very shortly quarrelled.

and designer,

From

he soon obtained ample employ-

every tendency to extravagance that Bernini's style possessed Borromini

near his death, in

of order and

golden louis

died in the year 1680.

Ornamental Composition, from a design by Le Pautre.

contrived

five

Rome, he made an equestrian

return to

his

Francesco Borromini was born near Como, in the year

Maderno,

have received

to

Besides his works in architecture, sculpture, and bronze, he

at Versailles.

Barberini and Chigi.

he

an annual pension of two thousand crowns, and one of

thousand crowns, with

appears to have had a decided

pictures

little,

1667,

he continued sedulously occupied in subverting

symmetry, not only to his own enrichment, but to the admiration of

12

ITALIAN ORNAMENT.

The anomalies he introduced

the leaders of fashion of the day.

and re-entering curves, interrupted and crooked

broken, contrasted,
of the

Du

Europe was speedily busy

all

and the popular

speedily,

of

and

day,

1727and

style,

in

place

1576substituted

Cerceau,

Mariette 1726-7.

in

many

debasing influence,

rarely

line

made many

reign

as well

more

Neuiforge

some

many

in

facility

Le

of

individuals

among

which were published

He

designs

900 plates

the

designs

(reign

the

ceremonies

which

large

collection

the

had been during the

it

name

the throne in 1715

to

and good example

of Buhl

by the

set

the

into

the

principally

over

influence

beneficial

the

severity

Empire,

and

Prudhon,
graceful
19

"

the

the

and

and

from

best artists

talent

of

Cavelier,

learned,

dwell upon

whom

the

Grand

him we

are indebted

d'Apollon of the

Louvre,

and of the

the year 1710.

in

Another

and grotto- work of the

this

style,

corresponding in

style

in his buildings in

industrial

design

stern

were

Percier,

in

"rococo"

In spite of the

and
fine

by Fay.

degenerating at

latter;

of approaching inanition,

some degree

the Adelphi.
at

more

period

to

shortly

into

ornament revived under

that

The genius

last

introduced

into this

of three very able

preceding

the

men

Revolution

and Demontreuil, carver

favour of the

stiff

Republican
liberally

Fontaine,

developed

but

far

With

works, the twisted and foliated scrolls and

in his

Republican

As the Republic, however, ripened

mode "

The

To

shape of an utter abjuration of

in the

Monarchy

the

of a David.

Imperialist.
I.,

came order
of

and does

revels,

During the Revolution Chaos reigned,

to the royal family.

"colifichets"

that to

of his predecessor's reign.

From

Gouthier, brass-chaser to Marie Antoinette

it

of

may be

quality

this

court of

latter

work published

Reisner, the cabinet-maker, celebrated for his exquisite marquetry

and out of

this

manner of designing grew

Soufflot

"rocaille"

an elegant though liny

to

in

of the Galerie

greatest part

architect

" Chinoiserie."

the eccentricities of

wood

XIV.),

Frieze Ornament, Louis Seize,

grew

of the former

country by Robert Adams,

in

Louis

beauty

famous so long as a taste for beautiful furniture

Frieze style, Louis Seize, by Fay.

Despite this

admirably sportive designs was engraved by Daigremont, Scotin, and others.

of his

"barocque"

exercised

beauty.

and

passed over, seeing that he held the special

elegantly testified in a

is

XV.

Louis XVI.

of

du Roi" (Louis XIV.), and

decoration

the advent of Louis

all

Bibiena's,

a large circulation,

and

simplicity

1725 and

Marot,

gave good pay and plenty of work, would be out of place

Plaisirs

will render the

apartments in the Tuileries, as

shells

year

be found in

comprised in his great body of Ornament.

who cannot be

however, Jean Berain,

contributed materially to

than

of

brilliant court of his successor

one,

is

master

State

tlaents

versus

the

to

1740had

world in

to the

and elaboration

Pautre's

appointment of "Dessinateur des Menus

exists.

in

ones

the mass of clever ornamental designers, draughtsmen, and engravers, to

Monarque and the

for the best

agreeable

less

of the interior decorations given in Blondel's works published during the

however, the

is,

graceful fooling in

There

the fever raged

ornamental designs, showing in them a sense of capricious

beautiful

sufficiently

here.

In France

XV.

of Louis

De

but

elaborate,

Borromini's works,

In

as

became the mode

of the French artists of the time, both of Louis XIV. and XV., in the
midst of their

surpassed.

recognised,

surfaces,

of the quaint but picturesque forms to be seen in the enoravino-s

the

tended to confirm the public taste in

and

lines

devising similar enormities.

which were not much purer, and which were given

extravagance,

into design, the disproportionate mouldings,

and

in

its

cold,

grew

into the

magnificent

employed by Napoleon

Normand,

Fragonard,

highest perfection

Panel 8Uitable for Reisner Mar<iuetry. designed by Fay.

the

"style de l'Empire."

With

the

Restoration,

the

antique went
13

ITALIAN ORNAMENT.

and

the public

Renaissance were cared-for, sought-for, restored, and imitated on

so made, styles

hands

all

and

interest,

The monuments

of a somewhat archaeological nature supervened.

revivals

by

of the country, however, aided

native ability

soon revived

educational institutions,

conducted

liberally

The

confusion again ensued.

out of fashion, and

enthusiasm for

an

middle ages and of the

of the

and out of the manifold studies

are rapidly forming

of eclectic character, but approaching originality,

judicious

themselves throughout

the country.

France

is,

must be

it

execution of ornament
in

this

that

country,

of almost every
it

present

the

at

confessed,

class

time,

master

but so rapid and hopeful

the

of the field in

now

the progress

is

and

distribution

taking place

by no means impossible that an historian writing some few years hence may,

is

happily, be enabled to place the Allies, as they should be,

upon a footing of

equality.

M.

DIGBY WYATT.

BOOKS REFERRED TO FOR ILLUSTRATION,

LITERARY AND PICTORIAL.

Adams

The Polychromatic Ornament of Italy.

(E.)

Alberti

De Re jEdificatoria

(L. B.)

Albertolli, Ornamenti

Bibiena, Architettura

Opus Architectonicum.

Boromini (F.)

Clochar

Dedaux.

Palladio, Architettura

folio.

di.

Paris, 1559, in folio.

Venet. 1570, in

Leipzig, 1839.

folio.

Romae, 1725, in

in

folio.

Perrault, Ordonnance des cinq

Paris, 1815.

Philibert de Lorme, OZuvres

Chambre de Marie de Medicis au Palais du Luxemburg, ou

Ornements qui

spicui di Venezia, illustrati

co-

da Francesco

fyc.

Monumens Sepulcraux de la Tosoane, dessines par Vincent

par Jerome Scotto. Nouvelle Edition, augmentee

Gozzini (V.)

Gozzini, et graves

imperial folio.

and Stuccoes
Fifteenth and Sixteenth

Description of the Plates of Fresco Decorations

Serlto (Seb.)

compared with

edition, largely
4to.

those of Raffaelle

and

his School.

New

Terme de

in Italy during the Fifteenth

tions

and

by Lewis Gruner, K.A.

in

rous plates, plain

and

coloured.

and Palaces

edition,

Folio,

augmented by nume-

The most

scelti

select

London, 1854.

Raccolta

Ornaments of Bologna.

Ornati sparsi per la Cittd di Bologna, desegnati ed

Giovanni Magazzari.

De Neufforge,

Oblong

4to.,

8 vols, in

de' piu

incisi

da

A series of 61

1, atlas.

Paris,

<T

(1757).

Venez. 1593, in

X., da.

Architettura

di.

In

this interesting

work the

materials for Plates

4to.

folio.

engravings of the paintings, ceilings, arabesque

&c, of the baths of Titus, engraved by Carloni. 2 vols.

Rome, n. d.
Folio, oblong.
Altars, Tabernacles, and Sepulchral Monuments of the

Published

St.

Luke, by

MM.

English,

Descriptions in Italian,

Tosi and Becchio.

dei cinque Ordini d' Architettura da.

Ornamente

(W.)

In

folio.

del Rajffaele nel Vaticano, SfC

alter

Klassischen

Kunst-Epochen

Roma, 1782.
nach

originalen in ihren eigenthiimlichen farben dargestellt.

den

Oblong

Berlin, 1849.

folio.

Zobi (Ant.)

and

Lagny, 1853.

Folio.

Notizie Storiche

suW Origine

messo in Pietre Dure che

author.

Second
4to.

si

edition,

e Progressi dei

esequiscono nelV

I. e

Lavori di Com-

R. Stabilimento di

with additions and corrections by the

Florence, 1583.

folio.

From

In

Venet. 1584.
Venet. 1551.

di.

folio.

vols, in folio.

under the patronage of the celebrated Academy of

Vignola, Regola

Zahn

lib.

Fourteenth and Fifteenth Centuries, existing at Rome.

Firenze.

Bologna, 1827.

Recueil elementaire d'Architecture, par.

Opere

Volpato ed Ottaviano. Loggie

Specimens of Ornamental Art, selected from the best models

of the Classical Epochs. Illustrated by 80 plates, with descriptive
{By authority.) Folio, London, 1850.
text, by Emil Braun.

Magazzari (G.)

le

French, by Mrs. Spry Bartlett.

Sixteenth Centuries, with descrip-

New

Tito.

Tosi and Becchio.

augmented by numerous plates, plain and coloured.

Fresco Decorations and

Tutte

decorations,

London, 1854.
Stuccoes of Churches

plates, folio.

Venez. 1615.

Libri cinque d' Architettura

of Churches and Palaces in Italy during the

With an Essay by J. J. Hittorff, on the Arabesques of
Centuries.
the Ancients

par.

Paris, 1802.

Scamozzi, Idea delV Architettura da.

de vingt-neuf planches, avec leur Descriptions. 4to. Florence, 1821.

(L.)

40

Description des Bains de Tite.

Rusconi (G. Ant.), DelV Archittetura,

Folio, Niirnberg, 1730.

8fC,

and other works.

grand nombre d'autres Compositions du meme genre dans le Style

Antique, d'apres Normand, Queverdo, Boucher, tyc, 114 plates,

Mathematicians and Artists of Nuremburg, fyc. HisNachricht von den Nurnbergischen Mathematicis und

Kiinstlern,

in folio,

Cheminees,

les

Raphael. Life of Raphael, by Quatremere de Quincy. 8vo. Paris, 1835.

Receuil d 'Arabesques, contenant les Loges du Vatican d'apres Raphael, et

(J, G.)

torische

Paris, 1626, in folio.

d'Architecture de.

Manures d'orner

Differentes

(Fr.),

Rome, 1769,

Folio, Milan, 1839.

Zanotto.

Poppelmayr

Piranesi

la decorent.

I Monumenti

dal Cav. Antonio Diedo

speces de Colonnes, selon les Anciens, par.

Paris, 1683, in folio.

Ponce (N.)

Sepulchral Monuments of Venice.

Diedo E Zanotto.

Paris, 1812.

interieures, par.

folio.

Monumens et Tombeaux mesures et dessines en Italie, par.

40 Plans and Views of the most remarkable Monuments in Italy.

et

folio.

(J. D.)

Percier et Fontaine, Recueil de decorations

(P.),

Recueil d'Arabesques, Peintures,

folio.

Rafael von Urbino und sein Vater Giovanni Santi,

In zweitheilen mit vierzehn abbildungen. 2 vols. 8vo. 1 vol. folio,

Passavant

folio.

Folio, Paris, 1838.

Gruner

London, 1797, in

Pain's British Palladio.

n. d.

Paris, 1756, in 4to.

Augustae, 1740, in

di.

In

Milano.

Livre d'Architecture.

D'Avxler, Cours d'Architecture, par.

London,

Florent. 1485, in

Opus.

diversi inventati, fyc, da.

D'Androuet du Cerceau.

4to.

LXXVLL, LXXVHL, LXXIX.,

have been derived.

14

AR

RNM'i"
.n E N

ITALIAN NI

PLATE

oc

A ^

nC

<y

A A

/v

A ^

>

-I

T\ t
\l

.*-

AMENT
a

'

-A

>-

A A

<_

a.

.X

X.

<-

JU A >

A.

v\

>

rr

0c

A.

A.

AR OF ORNAME

TALIAN

3'

JIN

GRAMMAR OF ORNAMENT

ITALIAN

KT0

plate:

jlxxxix

GRAMMAR

OF ORNAMENT

F LAT E

PiiPl
Wt^^^^Jm\

\ffiffifiu

^&$ffl'l

Is^^^^ij
L^jHji
t

34

ITALIAN

'

Chapter

XX.Plates

91, 92, 93, 94, 95, 96, 97, 98, 99, 100.

LEAVES AND FLOWEES FROM NATUEE.

PLATE
Horse-chestnut Leaves.

Full

XCI.

size,

PLATE
Vine Leaves.

Full

XCII.

traced from Natural Leaves.

size,

PLATE
1.

Ivy Palmata.

and

2, 3, 4,

5.

traced from Natural Leaves.

Common

XCIII.
Full

Ivy.

size,

traced from Natural Leaves.

PLATE XCIV.
1.

Scarlet Oak.

2.

White Oak.

3.

Fig-tree.

All full

size,

4.

Maple.

5.

White Bryony.

6.

Laurel.

7.

Bay-tree.

and traced from Natural Leaves.

PLATE XCV.
1.

Vine.

Holly.

2.

3.

Oak.

Turkey Oak.

4.

5.

Laburnum.

All full-sized, and traced from Natural Leaves.

PLATE XCVI.
1.

Wild Rose.

2.

Ivy.

3.

Blackberry.

All

full size,

and traced from Natural Leaves.

PLATE XCVII.
Hawthorn, Yew, Ivy, and Strawberry-tree.

PLATE

All full

size,

and traced from Nature.

XCVIII.

Plans and Elevations of Flowers.

1.

Iris.

2.

White

3.

Daffodil.

4.

Narcissus.

5.

Onion.

6.

Dog-Rose.

Lily.

20

Honeysuckle.

2.

Convolvulus.

Mouse-ear.

13.

Glossocomia clematidea.

8.

Honeysuckle.

14.

Convolvulus.

9.

Mallow.

15.

Primrose.

10.

Ladies' smock.

16.

Periwinckle.

11.

Speedwell.

17.

Clarkia.

12.

Harebell.

18.

Leycesteria formosa.

PLATE

PLATE XCIX.
1.

7.

Full

size,

Passion Flowers.

C.
Full

size.

LEAVES AND FLOWERS FROM NATURE.

We

have endeavoured to show in the preceding chapters, that in the best periods of

was rather based upon an observation of the

on

than

an

exceeded

attempt

any

in

to

art,

it

imitate

the

which regulate the arrangement of form in nature,

principles

absolute

ornament

art, all

and that whenever

forms of those works;

was one of the strongest symptoms of

consisting in idealizing,

true art

decline:

was

limit

this

and not copying, the forms of nature.

We

think

which we

desirable

it

seems

there

are,

to

rather

insist

general

natural form as works of ornament.

conventional forms which have

excite

us but

in

go to seek,

how

hope;

if

but

we

centuries,

disposition

far

we may

we go

There has

succeed.

there like

should gain but

arising

been borrowed from

sympathy.

the

as

in

the present uncertain

reproduce,

as

faithfully

point,

this

to

The world has become weary

we should be amongst

did ;"

ancients

little

strongly on

the

we go

If

Chinese,

We

echo that cry, but

to

first

can

therefore

to nature,

as the

depend much on what we

will

it

and

back

same

Nature as the Egyptians and the Greeks went, we may

to

even as the Gothic

or

"Go

a universal cry of

say,

possible,

of the

eternal repetition

which have passed away,

styles

we

risen,

of the

may be

as

in

state

and

of the fourteenth

artists

fifteenth

and

floral carvings

of the present day, sufficient evidence to show that no art can be produced by such means;

and that the

more

closely nature

little.

have already, in the

we

copied, the farther

is

Although ornament

is

floral carpets, floral papers,

work of

are removed from producing a

most properly only an accessory

to architecture,

usurp the place of structural features, or to overload or to disguise them,

art.

and should never be allowed

it

in all cases the very

is

to

soul

of an architectural monument.

By

ornament of a building, we can judge more truly of the creative power which the

the

bear upon the work.

brought to

may be more
attempted,

The

general

proportions

the

of

building

may be

artist

good, the mouldings

or less accurately copied from the most approved models; but the very instant that ornament

we

see

how

far the architect

same time the

at the

is

and refinement bestowed upon the work.

To put ornament

It is

artist.

in the right place

more

is

the best measure of the care

is

to render that

not easy;

ornament at the same time a superadded beauty and an expression of the intention of the whole work,
still

has

is

difficult.

Unfortunately

much

has been too

it

the practice in our time to abandon to hands most unfitted for the

task the adornment of the structural features of buildings, and more especially their interior decorations.

The

fatal

tended very
readily be

facility

much

of manufacturing ornament which the revived use of the acanthus leaf has given, has

to

this

result,

and deadened the creative

done by another, they have

left

that other to

do;

instinct

and so

in

far

artists'

What

minds.

could

so

have abdicated their high position

of the architect, the head and chief.

How,

then,

is

this universal desire for progress

invented or developed?

Some

will

probably say,

to be satisfied

new

style

how

is

any new

of architecture must

style of
first

ornament to be

be found, and

we

should be beginning at the wrong end to commence with ornament.

We

do not think

so.

We

with the earliest attempts of

create

round an earthen pot;

principle of its
to

civilisation of

every people;

is

co-existent

and that architecture adopts ornament, does not

it.

The Corinthian order of

leaf

have already shown that the desire for works of ornament

the

architecture

but the

Corinthian order.

of

the

said to have been suggested

by an acanthus

acanthus leaf existed as an ornament long before,

growth was observed

formation

is

in the conventional ornaments.

capital

of

column which

was

It

the

was the
sudden

or,

leaf

at

found growing
all

events,

the

peculiar application of this

invention

that

created

the

LEAVES AND FLOWERS FROM NATURE.

The

principle

of the

and even the general form of the

foliation,

architecture of the thirteenth century, existed long before in the illuminated

most probably, from the East, have given an almost Eastern character

which predominate in the

leaves,

MSS.

and, derived as they were,

Early English ornament.

to

The

of the thirteenth century were, therefore, very familiar with this system of
ornamentation;
cannot doubt, that one cause of the adoption so universally of this style during
the

architects

we

thirteenth century,

arose from the great familiarity with

The
in

and

floral

in

style,

direct

works of ornament.

The

its

leading forms which already existed.

of nature, which succeeded, was also preceded by the

imitation

of painting flowers in direct imitation of nature in the

facility

same

style

pages of a

induced an attempt to rival them in stone in the buildings of the time.

missal,

The

ornament of the Elizabethan period

architectural

and

loom,

the

artists

of the Elizabethan period were necessarily

painter,

the

any borrowed

In

engraver.

mostly a reproduction of the works of the

is

more

style,

much more

especially,

would

this

be

The

so.

familiar with the paintings, hangings, furniture,

metal-work, and other articles of luxury, which England received from the Continent, than they would
be
with the architectural monuments; and it is this familiarity with the ornamentation of the period, but
imperfect knowledge of the architecture, which led to the development of those peculiarities which distinguish

Elizabethan architecture from the purer architecture of the Revival.

We

independently of a
of arriving
to

at

we

think

therefore

new

new

are

of architecture;

style

style;

for

instance,

a means of support, one of the most

The

the

in

justified

difficult points

means of spanning space between the supports

of these

structural

features

which gives the

would appear,

are,

style,

and that we have nothing

characteristics

but to use either one

left

the means

first,

and they

of style,

termination

of support;

or

the decoration

It is

follow

all

secondly, the

naturally one

so

rest.

means of varying these

that the

at first sight,

new

would be accomplished.

from the other, that the invention of one will command the
It

would be one of the readiest means

it

and, thirdly, the formation of the roof.

may be produced

of ornament

style

could only arrive at the invention of a

of a building which form a

chief features

new

and, moreover, that

we

if

that

belief,

the

structural features

other

of the

systems

had been exhausted,

which have

already

run their course.

we

If

reject

the

use

and horizontal beam of the Greeks and Egyptians, the round

column

the

of

arch of the Romans, the pointed arch and vault of the Middle Ages, and the domes of the
it

be asked What

will

already been exhausted,

in

said

all

time?

is

We

left?

and that

shall

were vain

it

airy vaults

all

means of covering space have

the

But could not

look for other forms.

this

have

been

Could the Egyptian have ever imagined that any other mode of spanning space would

could be surpassed,

the

despair;

world has not

and

that

and

could be crossed by hollow tubes of iron?

gulfs

which

architecture

shall

of the architectural

last

with

architecture

From

passed through similar periods before.

our time), an

Could the Mediaeval architect have ever dreamed that his

most assuredly, the

seen,

passing through an age of copying,

in

to

found than his huge blocks of stone?

ever be

be

perhaps be told that

Mohammadans,

us

want of

exhibits

systems.

Let us not

we

If

vitality,

are

the world has

may

the present chaos there will arise, undoubtedly (it

be

now

worthy of the high advance which man

has made

not
in

every other direction towards the possession of the tree of knowledge.

To

attempted to be formed?
the

how

return to our subject,

commencement of

In the

a change

is

any new

first

place,

hope

generation in both classes

in

the future.

the past;

It

is

new

we have

hope that we are destined to see more than

the architectural profession

of past education on the one hand, and too

rising

style of art or

for

are

their

not that they should

of the principles which pervade

much

born under happier

use that

the works

of the past,

We

past,

all

and

it

together

artists

instead of reproducing the forms

the law of the universal fitness

of the past.

fail

We

to

to

is

should,

the influence

on the other; but the

them we must look

collection

this

by an

of the works

attentive

for

of

examination

and which have excited universal admiration,

believe that

if

a student in the arts, earnest

temptation to indolence, will examine for himself the

compare them with the works of nature, bend his mind

the principles which reign in each, he cannot

much under

ill-informed public

auspices,

we have gathered

search after knowledge, will only lay aside

works of the

by an

be slavishly copied, but that

all

ornament to be formed, or even

at the present time too

is

influenced

be led to the creation of new forms equally beautiful.

in his

little

style of

to

a thorough appreciation of

be himself a creator, and to individualise new forms,

think

it

impossible that a student fully impressed with

of things in nature, with the wonderful variety of form, yet

arranged

all

LEAVES AND ELOWERS EROM NATURE.

around some few fixed laws, the proportionate distribution of
the

radiation

from a parent stem, whatever type

his

mind the

desire

we doubt

him,

to

not that

from a continuation

imitate

but will only seek to follow

it,

new forms

more

of beauty will

few minds to give the

It will

require but

readily

improving, refining upon each other's

efforts,

reached to subside into decline and disorder.

he

if

readily arise under his hand,

till

way once

the

shows

plainly

so

it

from

dismiss

will

than can ever follow

on the works of the past for present

impulse:

first

Nature,

the path which

still

of lines, and

tangential curvatures

may borrow from

he

in the prevailing fashion of resting only

areas, the

pointed out,

inspiration.

others will follow,

another culminating point of Art shall be again

For the present, however, we are

enough removed from

far

either stage.

We

have been desirous to aid

and flowers which accompany

leaves

which we thought best calculated

of form.

But,

leaf as

a thousand.

in

laws which

indeed,

are

The

Nature:

no

art

chestnut

can

or the even

we

surface

that the same

As

the chestnut

leaf,

XCL,

Plate

the

so

in

group

the

find

This universal law of equilibrium

prevail in the

the area

why?

of each

the

sap,

as

may be

varied that surface

the thicker will be

On

its

be seen that the basis of

centre with equal force,

Who

art,

is

as

the contrary,
are there

the order,

to

all

all

the

form

is

geometry,

stops

at

is

Honeysuckle

Nature so tied?

all

is

yet

lobe
is

diminishes

perfect

But

leaf.

nothing
of

See

things beautiful,

instinct

for

it

repose of the eye

Plates

in
;

the assemblage of

in

also

equal proportion as

in

fitness,

it

is

maintained,

destroy the

to

repose

XCVIIL, XCIX.,

not a

line

upon the

is

equally

of the

group.

it

The same laws

C.

more

surfaces but tends

The

of reaching the confines

of the surface,

has to travel, or the weight

it

and

life-blood,

however

has to support,

XCVIIL, XCIX.)

distances;
left

for

how

the result

or

various the

open

to

that

we

the

us;

the Acanthus
forms, and

we have but

should thus

set

surface,

starting

symmetry and

is

us but to copy the

the Greeks

regularity.

the Romans,

how unvarying
to

desire to

will

or seven-lobed flowers

five

of

it

from the

that

this

the principles.

arouse from our slumbers.

a limit to

our admiration;

our enjoyment, so are they offered for our study.

implanted in us,

symmetry, the grace, the

if

everywhere in harmony with the group

the impulse which forms

equal

future

His works are offered

awaken a natural

the

the

form,

its

have shown several varieties of flowers, in plan and elevation, from which

persuaded that there

The Creator has not made

the whole of the

law of the growth of each plant.

way

distance

(See Convolvulus,

then will dare say that there

alone can produce

feel

naturally from the

greater the

necessarily

of the thirteenth century;

We

the

of

seen in one

a line which could be removed, and leave the form more perfect;

arises

substance.

XCVIIL we

Plate

everywhere apparent

stem, takes the readiest

leaves the

it

leaf prevails

leaf interfering

on the surface of flowers

not

Because the beauty

disproportionate

is

of lines

develope the form,

surely to
this

distribution

well

as

contains

grace

in the distribution

gather this from a single

single

are so perfectly distributed that the

we never

which prevail

see in an assemblage of leaves of the vine or the ivy,

approaches the stem, so in any combination of leaves each leaf

as in one leaf the areas

perfect

We may

law which prevails in the formation of the

in

of those natural types

the parent stem, the tangential curvatures of the

decoration.

we may

study the law of their growth,

further

leaves.

of the

distribution

many

XCL,

Plate

leaf,

rival

proportional distribution of the areas, the radiation from

lines,

together

and in the ten plates of

found to be so universal, that they are

example of the

single

of our power;

extent

a recognition of the natural laws

laws will be

these

the

to

we have gathered

chapter,

this

awaken

to

be found in

to

movement

this

on

They

emulate in the works of our hands,

which the Creator has sown broadcast over the

earth.

GRAMMAR

OF

ORNAMENT

LEAVES FROM NATURE

unR

r-r

NI

PLATE

XGI

GRAMMAR OF GRNAME

LEAVES FROM NATURE

VINES

N2.

PLATE

XCII

GRAMMAR

OF

ORNAMENT

LEAVES FROM NATURE N3

KT

"

x jr

t* A

PLATE

XCIII

GRAMMAR

OF

GRNAMEN

LEAVES ERGM NATURE

SCARLET QAK_N 2. WHITE GAK_N3. FIG
NHMAPLE_N WHITE 3RYONY_N6. LAU.REL_N?7
N

5.

PLATE XCIV

4.

TF LE.

AR OF ORNAMENT

leaves from
'

E.

N2 HOLLY.

N 3

[ature.
OAK.

;: 5.

'RKEY OAK

PLATE XOV

GRAMMAR

OF

ATURE

LEAVES FRO
N

I.

WIND ROSE.

0RNAMEN7

2.

[VY

N G S. BLACKBERRY.

PLATE XCVI

GRAMMAR

OF

ORNAMENT

1
PLATE

LEAVES FROM NATURE N G 7

N

I.

HAWTHORN. N e 2.YEW. N G 3.

IVY.

N e 4. IVY

N?

5.

STRAWBERRY TREE

XCVI

UKi

It
p;

C.

LEAVES

ID

FLOWERS FROM

DRESSER. DEL

GRAMMAR

OF

ORNAMEN

LEAVES FROM NATURE

NI.

HONEYSUCKLE

N2.

9
eONVGLVGLUS
IJ

PLATE XCIX

GRAMMAR

OF

ORNAMENT

LEAVES EROM NATURE NIO

PASSION

FLOWERS

PLATE

IOO

%
:^k

'

^^^^^^^^

":.^j!-

BamSk^S^^^^EEtiiMa^^BiS^SBUtlJUIIl^HMI

MES
WSmBESR

ppfwiwKywwwi py inwwwmmg

WWis