1,99 €
Niedrigster Preis in 30 Tagen: 1,99 €
Niedrigster Preis in 30 Tagen: 1,99 €
Mehr erfahren.
- Herausgeber: DigiCat
- Kategorie: Geisteswissenschaft
- Sprache: Englisch
- Veröffentlichungsjahr: 2022
In Richard Glazier's 'A Manual of Historic Ornament,' readers are taken on a fascinating journey through the intricate world of decorative arts. This comprehensive manual provides a detailed examination of various styles of ornamentation, from ancient civilizations to the Renaissance and beyond. Glazier's descriptive and analytical writing style allows readers to fully appreciate the beauty and significance of each ornamental element in its historical context, making this book a valuable resource for art historians and enthusiasts alike. The inclusion of beautiful illustrations adds another layer of depth to the text, enhancing the reader's understanding of the subject matter. Richard Glazier, a renowned art historian with a specialization in decorative arts, brings years of research and expertise to 'A Manual of Historic Ornament.' His passion for the subject shines through in the meticulous detail and thorough analysis present throughout the book. Glazier's unique perspective and in-depth knowledge make this manual an essential read for anyone interested in the history of decorative arts. I highly recommend 'A Manual of Historic Ornament' to readers looking to deepen their understanding of ornamentation in art history. Glazier's scholarly approach and engaging writing style make this book both educational and enjoyable, making it a valuable addition to any art lover's library.
Das E-Book können Sie in Legimi-Apps oder einer beliebigen App lesen, die das folgende Format unterstützen:
Ähnliche
A Manual of Historic Ornament
Table of Contents
Preface.
THIS manual has been prepared with the three-fold object of giving an elementary knowledge of Architecture and Historic Ornament, of awakening a responsive and sympathetic feeling for the many beautiful and interesting remains of ancient and mediæval civilization, and lastly of directing the attention of students and craftsmen to the beauty, suggestiveness and vitality of the Industrial Arts of the past, and their intimate relation to the social and religious life of the people.
The advantages to be derived by students and craftsmen from such a study are manifold, for, by a careful study of these arts, we may see the capabilities and limitations of material, the appropriateness and application of ornament, the continuity of line and form—yet with a marked diversity of enrichment and treatment—the interest and significance of detail, and the customs, myths and traditions of the past with their continuity of thought and expression.
The illustrations, which have been chosen expressly for this work, are typical examples of each period or style and are produced in line as being the method best suited to the requirements of students, giving definition, emphasis and the constructive qualities of design rather than pictorial effect.
In the appendix will be found a list of text books and works of reference, which may be studied with considerable advantage by students desiring further information upon this important subject.
RICHARD GLAZIER.
Manchester, 1899.
List of Plates
PLATE
.
PAGE
.
1
Ornament of Oceania
2
2
Egyptian Ornament
4
3
Assyrian Ornament
6
4
Greek Architecture
8
5
Greek Ornament
12
6
Greek Ornament
18
7
Roman Architecture
20
8
Roman Ornament
24
9
Roman Ornament
26
10
Pompeian Ornament
28
11
Byzantine Ornament
30
12
Scandinavian Ornament
32
13
Celtic Ornament
34
14
The Triforium and Clearstory
41
15
Norman Details
42
16
Early Gothic Details
44
17
Decorated & Perpendicular Gothic Details
46
18
Renascence Ornament
48
19
Renascence Ornament
55
20
Arabian Ornament
62
21
Persian Ornament
64
22
Persian Ornament
67
23
Indian Ornament
68
24
Chinese and Japanese Ornament
70
25
Ivories
72
26
Mosaics
74
27
Greek Ceramics
76
28
Ceramics
78
29
Maiolica
86
30
Glass
94
31
Stained Glass
96
32
Gold and Silver
100
33
Bronzes
102
34
Wrought Iron
104
35
Textile Fabrics
108
36
Sicilian Fabric
111
37
Indian Palampore
112
38
Persian Carpet
114
39
Textile Fabrics
117
40
Peruvian Textiles
119
41
Peruvian Textiles
120
42
Frets
122
43
Polynesian Paddle
124
Illustrations in the Text.
PAGE.
Ornament of Oceania
3
Plan of the Parthenon
9
Plan of the Erectheum
10
The two Fates, from the Eastern Pediment of the Parthenon
14
Doric Frieze of the Parthenon
14
North Frieze of the Parthenon
15
Frieze from Phigaleia
15
Relief from Nike Apteros
16
Frieze from Pergamos
16
Frieze from Susa
17
Greek Scroll
17
Greek Coins
19
Arch of Septimius Severus
21
Theatre of Marcellus
22
Plan of the Pantheon
22
Plan of the House of Pansa
23
Roman Scroll
25
Coffered Ceiling
25
Frieze from Tivoli
27
Plan of St. Mark’s
31
Plan of St. Sophia
31
Lismore Crosier
35
Gothic Piers
37
Plan of Lincoln Cathedral
37
Early Gothic Window
38
Grisaille Glass, Salisbury
39
Gothic Crockets
45
Gothic Borders
45
Tomb of Ilaria del Carretto
50
Bas-relief, by Donatello
51
Monument to Conte Ugino
51
Italian Velvet
52
Fresco, by Michel-Angelo
52
A Sibyl, by Michel-Angelo
53
Arabesque Decorations
53
Renascence Scroll
54
Renascence Marble Inlay
54
Frieze, by Mantegna
56
An Italian Etching
56
Venetian Well-head
57
Wood Carving, period of Francis
I.
58
Decoration, period of Francis
II.
58
Relief, by Jean Goujon
59
Goujon
59
Frieze, by Le Pautre
59
Wood Carving, period of Louis
XV.
59
Elizabethan Frieze
60
Elizabethan Strap-work
60
Ceiling, Audley End
60
Persian Plate
65
Peruvian Pottery
85
Greek Terra Cotta
89
The Annunciation, by Andrea della Robbia
89
Relief, by Andrea della Robbia
90
Painted Enamel by Pierre Raymond
93
Battersea Enamel
93
Early Gothic Glass
97
Early French Glass
98
Late Gothic Glass
98
Chairs
106
Italian Carved Chest
107
Carved Wood Screen
107
Italian Fabrics
115
Flower Vase Pattern
116
Spitalsfield Silk
116
Flemish Fabrics
116
Frets
123
Egyptian Capital
126
Corinthian Capital
127
Early French Capital
127
Composite Capital
127
Byzantine Capital
128
French Romanesque Capital
128
Siculo-Norman Capital
129
Early English Capital
129
Arabian Capital
129
Decorated Gothic Capital
130
Renascence Capital
130
Roman Scroll
130
ORNAMENT OF OCEANIA. Plate 1.
ORNAMENT OF OCEANIA.
The ornamentation of the people of the Pacific Isles is full of interest and is remarkable for the evolution and perfecting of an ornamental style by a primitive people, with myths and traditions purely local and in no way influenced by other nations. It is a style of ornament full of meaning and symbolism, yet simple in detail and arrangement, not founded upon the beautiful vegetation and flora of their islands but upon abstract forms derived from the human figure, and arranged with a pleasing geometrical precision remarkable for a primitive people.
The ornamental art of these people may be broadly divided into provinces, each with its distinct ornamental characteristics and traditions, New Zealand showing the highest development and Australia the lowest in the ornament of Polynesia and Melanesia.
Much of the ornament is purely linear, consisting of parallel and zig-zag lines; that of Australia consists almost entirely of these lines incised in the ground and occasionally filled in with colour. In New Guinea a higher development is reached, the ornament, of straight and curved lines, being carved in flat relief. In the province of Tonga-Samoa, the surface is divided into small fields, and the linear ornament runs in a different direction on each of the fields. The Hervey and Austral Islands are distinguished by their remarkable adaptations of the human female figure, the illustrations given here showing the original type and its ornamental development. These examples, together with the circular eye pattern form the elements of the Hervey province, of which the Heape collection contains many fine examples. In the Solomon Island the linear ornament is occasionally interspersed with an inlay of angular pieces of mother of pearl. The New Zealand province is distinguished by its skilful pierced carving, the beauty of its spiral forms adapted from the human figure, fig. 1. 12., and the constant use of the border here given.
EGYPTIAN ORNAMENT.
The history of Egypt, extending from 4400 B.C. to 340 B.C., during which 30 dynasties existed, is usually divided into three groups: (1) The Ancient Empire, I.-XI. dynasties, 4400-2466 B.C. (2) The Middle Empire, XII.-XIX., 2466-1200; and (3) the New Empire, XX.-XXX. dynasties, 1200-340 B.C.
The capitals of the Ancient Empire comprised Memphis and Abydos; of the Middle Empire, Thebes, Luxor and Tanis: and of the New Empire, Sais and Bubastes. The remarkable civilization of these early dynasties are attested by the many fine remains of architecture, sculpture and decorative arts that enrich our national museums. The Great Pyramids were built during the fourth dynasty, the largest by Kheops, 3733-3700 B.C., is 756 ft. × 756 ft., and 480 ft. high; the second, by Kephren, 3666-3633 B.C., is 707 ft. × 707 ft. and 454 ft. high: and the third, 333 ft. × 330 ft., and 218 ft. high, was erected by Mykerinos, 3633-3600 B.C.
The Sphinx, half animal and half human, is the oldest sculpture known, and is probably of the 1st and 2nd dynasties, yet it is singular that all the earliest sculptures of the 3rd and 4th dynasties with which we are acquainted, were realistic portraiture, remarkable for its fidelity to nature. Kings, queens, and individuals of note, were finely sculptured, frequently of a colossal size. But the Deities, Amen Sckhet, Horus, Hathor, Iris, and Osiris, were represented in the later dynasties by small votive statuettes, noticeable for their number rather than for their artistic qualities, never reaching the excellence or vitality of the earlier period. Much of the architectural enrichment was in Cavo Relievo, a peculiarly Egyptian mode of ornamentation, the outline of the figures, birds, or flowers, being sunk into the surface of the granite or basalt, and then carved within this sunk outline, leaving the ground or bed raised, these reliefs being invariably painted red, blue, green, and yellow. The frieze, which, in the hands of the Greeks at a later period, became their principal ornamental field, was used by the Egyptians in superposed bands, showing, in cavo relievo, the industrial arts and pursuits, weaving, glass blowing, and the making of pottery; ploughing, sowing, and reaping, also hunting and fishing. The composition and sculpture of these incidents was simple, refined and purely decorative, with a naïveté and unaffection so appropriate to the architectonic conditions. Mingled with these incidents were the beautiful hieroglyphs, or picture writing of the Egyptians. Figs. 7-13 are examples of painted decorations showing the spiral construction of lines, together with the symbolic treatment of the Lotus, the latter being regarded by the Egyptians as a symbol of fertility and of a new life, hence the profusion with which it was used in their decorative work. Great fertility of invention was displayed in enriching their architectural capitals with the Lotus, the Papyrus, and the Palm. A singular feature introduced during the 18th dynasty was the Hathor Capital surmounted by a small Naos. During the Ptolemaic period, B.C. 300, the Hathor Capital was placed upon the vertical bell-shaped capital (fig. 3).
ASSYRIAN ORNAMENT.
The early history of Babylonia and Assyria is one long series of wars and conquests. Originally one nation, they became divided, and the younger Assyria in the north became the most powerful empire of that period under Tiglath Pileser I., B.C. 1100, Ashur-nasir-pal, B.C. 885-60, Shalmaneser II., B.C. 860-25, Tiglath-Pileser III., B.C. 745-27, the Great Sargon, B.C., 722-705, Sennacherib, B.C. 705-681, Esarhaddon, B.C. 681-668, and Ashur-ban-pal, B.C. 668-626. In B.C. 609 the capital, Nineveh, was destroyed by Cyaxares the Mede, and Babylon arose again to power under Nebuchadnezzar, B.C. 604-562; this city was destroyed by Cyrus the Persian, B.C. 539.
Assyrian art with its racial influences, religious beliefs and climatic conditions, differs in a remarkable degree from Egyptian art. Though stone is found in Assyria, the great cities were built of brick, no doubt owing to the fact of the arts and civilization coming from Chaldea, where stone was scarce and clay plentiful. Both at Babylon in Chaldea, and Nineveh in Assyria, the traditional type of building was rectangular, with arched openings and vaults, built of sun-dried bricks; the lower part of the wall was covered with large alabaster slabs, carved in low relief with scenes representing the King and his warriors engaged in hunting or fighting (fig. 1). The upper part of the wall was in enamelled brick or in coloured stucco, with details of the Lotus and Bud, together with the rosette, which was often carried round the archivolt. The representation of the industrial arts and the pursuits of agriculture, which is so admirably illustrated upon the Egyptian reliefs, is entirely absent in Assyria. The enamelled bricks of Chaldea, were modelled in low relief with enamels of turquoise blue, yellow, white and black, of fine quality and colour, one splendid example is the Frieze of Archers from the Palace of Susa. The enamelled bricks of Assyria were usually flat, or modelled but slightly, and the enamels were less pure. The external walls were similar to the internal ones, but with larger friezes and bolder reliefs, and usually with religious subjects (fig. 9). The portals of the doors were enriched with colossal winged and human headed bulls, of alabaster, finely carved in relief. Typical examples of Assyrian ornament are the Lotus and Bud (figs. 2 and 3), the Patera or Rosette (figs. 6 and 7), and the Horn or Tree of Life (fig 8). The Lotus enrichment shows Egyptian influence, and only came into use during the 7th century B.C., when intercourse between the two nations was established. It is differentiated from the Egyptian lotus by its vigorous growth and curved profile, and the geometrical form of the calyx of the flower and bud (fig. 2).
The Anthemion or Hom, with its alternate bud and fir-cone, and with strong lateral markings is beautiful in line and proportion of mass (fig. 3). The Hom is frequently used as a flower on the sacred tree, a form of enrichment that influenced much of the later Persian and Sicilian textile fabrics.
GREEK ARCHITECTURE.
Classic or columnar architecture is divided into the Greek and Roman styles, and each style comprises several orders of architecture; the Grecian orders are the Doric, the Ionic, and the Corinthian, and many examples of each of these orders are still extant in Greece and her colonies:—Asia Minor, Southern Italy, and Sicily. From a comparison of these buildings certain constructive and decorative features are observed to be present, and thence they are considered as the characteristics of the style or order, which comprises the base, (except in the Grecian Doric, which has no base) column and capital, and the Entablature, which consists of the Architrave, Frieze, and Cornice. The proportions of these orders are generally determined by the lower diameter of the column which is divided into 2 modules or 60 parts; the height of the column always including the base and capital. The DORIC order was used for the early Greek temples from B.C. 600 and culminated in the Parthenon B.C. 438. The Columns in this order are 4½ to 6 diameters in height with 20 shallow flutings with intermediate sharp arrises; the Capital is half a diameter in height and is composed of an echinus or ovolo moulding with annulets or deep channellings below, and a large square abacus above. The Architrave is plain; the Frieze is enriched by rectangular blocks, with 3 vertical channellings in the face, termed triglyphs, alternately with square metopes which were frequently sculptured. The Cornice, composed of simple mouldings, and enriched with mutules over the centre of the triglyphs and metopes, projects considerably beyond the face of the frieze.
The IONIC order has columns of from 9 to 9½ diameters in height, with 24 flutings divided by narrow fillets; the base is half a diameter in height and composed of a plinth, torus, fillet, cavetto, fillet, torus, and fillet. The Capital is 7/10 of a diameter high and consists of a pair of double scrolls or volutes, supported by an echinus moulding enriched with the egg and tongue, with an astragal below.
The Entablature is ¼ the height of the columns, the Architrave of one or more fascias, the Frieze continuous and frequently enriched with sculpture in low relief; the Cornice has simple and compound mouldings supported by a dentil band. Caryatides were occasionally introduced into this order; they were female figures clad in drapery having vertical folds which re-echoed the flutings of the Ionic column. These caryatides supported the entablature in place of the columns; a beautiful example of this feature is the south portico of the Erechtheum at Athens.
The CORINTHIAN order was not much used by the Greeks; the examples however show considerable refinement and delicacy of details. The Columns are 10 diameters in height with 24 flutings; the Base is ½ diameter high; the Capital is a little greater than a diameter in height and is enriched with acanthus foliations and spiral volutes. The Entablature is richer; and the Cornice deeper and more elaborate than those of the other orders.
A table is here given showing the relative height in parts (a part is 1/60 of the diameter) of the entablature in some typical Grecian examples.
Architrave
Frieze
Cornice
Total Entablature
Doric
Parthenon
43
43
32
118
Theseus
50
48
19
107
Ionic
Erechtheum
43
48
47
140
Priene
37
49
47
133
Corinthian
Lysicrates
53
41
49
143
Jupiter Olympius
40
26
46
112
The principal Doric buildings in Greece are:—The Temples at Corinth B.C. 650, Ægina B.C. 550, the Parthenon and the Theseum B.C. 438, the Temples of Jupiter at Olympia, Apollo Epicurius at Bassæ B.C. 436, Minerva at Sunium, and the Propylæa at Athens B.C. 431. The Parthenon is the only octastyle temple in Greece.
Ionic buildings in Greece are:—Temples at Ilyssus, Nike Apteros, and the Erectheum. In Asia Minor, the Temples at Samos, Priene, Teos, and of Diana at Ephesus, and of Apollo at Miletos.
Corinthian buildings in Greece are:—Monument of Lysicrates, the Tower of Winds, and Jupiter Olympius, all in Athens.
During the 5th century B.C. the Doric order was extensively used in the Greek colonies of Sicily. At Acragas or Agrigentum the remains of 6 fine hexastyle and peripteral Doric Temples are found, of which the Temple of Zeus B.C. 450 is the largest, being 354 by 173 feet. In this temple were found the Telemones or Atlantes, male figures 25 feet in height, with their arms raised, probably supporting the roof of the temple.
