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A HANDBOOK of ORNAMENT MEYES
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ARCHITECTURAL BOOK PUBLISHING COMPANY
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A OF
HANDBOOK
ORNAMENT
WITH THREE HUNDRED PLATES, CONTAINING ABOUT THREE THOUSAND ILLUSTRATIONS OF THE ELEMENTS, AND THE APPLICATION OF DECORATION TO OBJECTS
By Franz Sales ^Ieyer Professor at the School
op"
Applied Art
Karlsruhe
First American Edition
The Architectural Book Publishing Company Paul Wenzel an-d Maurice Krako^v Thirty-one East Twelfth Street, New York
iNTRODUCTIOiN.
"ORNA^fENT",
[The term
in its limited
sense, includes
sncTi
of
the Elements of Decoratiou as are adapted, or developed, from Natural
These
Foliage.
differ
they are organic
i.
e.
from the Geometrical elements,
latter are inorganic.
\Vhen merely drawn on paper, element
is
inasmuch
as
possessing stems, leaves, flowers, &c., while the
&c.,
and unapplied
considered in the abstract as "Ornament".
—
—
a foliated
When
applied
becomes an "Element of Decoration". The term "DECORATION" signifies the art or process of applying It is also used to denote the various Elements to beautify Objects. Thus the artist, who is occupied in the "decothe completed result. ration" of a vase, may represent ornament upon it; and the ornament to beautify an
is
object
it
then the "Decoration" of the vase.
The "Elements" of Decoration
are:
Geometrical-lines, Ornament,
and the Human Figure. These may be considered as the "ingredients"; and they are mixed, and applied, on various arrangements or "Features", according to certain acknowledged "recipes" which are termed "Principles". The "Principles" of Decoration are not included in this Handbook, as the limits of it allow only a brief notice of such Elements as have been in general use during the successive Historic-epochs.] Wherever the hand of man has produced any Decoration, be it Natural-foliage,
Artificial
Objects,
Animals,
INTRODUCTION.
II
original Invention,
fundamental
idea,
or
only the arbitrary Variation
of
some
familiar
the following will invariably be the case:
The decoration
is produced by arranging and joining Dots combining and dividing Geometrical Figures, in accordance with the laws of rhythm, regularity, symmetry, &c.; (b) It arises from the attempt of the decorator to represent the Nearest at hand for imitation, is orObjects of the external world. But inganic Nature with the Plants, Animals, and Human form. organic Nature also offers models: e. g. the forms of Crystallisation Rich (snow-flakes), and the Phenomena of nature (clouds, waves, &c.). sources are also opened-up by the Artificial Objects which are fashioned by man himself. It is obvious that all kinds of Elements may De used in combination: Geometrical may be united with Natural forms; and so on. Moreover it was easy for human imagination to combine details taken from nature into monstrous forms not found in nature, e. g. the Sphinx, Centaur, Mermaid, &c.; and Animal and Human bodies
(a)
and
Lines,
or
by
with plant-like terminations. If we collect, into groups, the bases or motives of decoration omitting what is non-essential and detached, we arrive at the classification given in the following pages. Decoration is applied to countless objects; and the style may be very varied without being arbitrary; being determined, firstly, by the aim and the material of the object to be decorated, and, secondly, by the ideas ruling at different periods and therefore obvious that
A
knowledge of
it is
among
different nations.
It
has a comprehensive and important domain. indispensable to artists; and it is an instructive and
is
it
sociologically interesting factor of general culture.
The material,
Age and
peculiarities
which
form, and aim, the
natural
arise
more or
characteristics
from the less
reciprocal
relation
of
modified by the ideas of the
of the
Nation,
are
termed
the
The mention, of the Century and the Nation, gives a convenient method of labelling works of Art, "17th century, Italian". which is now well understood; e. g. The majority of works on ornament, arrange their material "Style" of that Period and Nation.
—
according to Periods and Nations; but the present Handbook, following the principles laid down by Semfjer, Botticher and Jacobsthal, is based on a system which
tended
more
to
is
rather than analytic; and develope from the Elements than
synthetic
construct and
in-
to
main divisions: Division I treats of the "Elements of Decoration", or motives of which it is formed. Geometrical motives formed by the rhythmital arrangement of dots and lines, by the regular section of angles, by the formation and division Of closed figures, are followed by the forms of Nature which are offered for ornamental imitation by the dissect
and deduce.
It contains three
INTRODUCTION.
by the human frame. These in or forms borrowed from
vegetable and animal kingdoms, and their turn are followed
by
Ill
Artificial Objects,
and Science, and usually met- with in the
Art, Technology,
class
of
trophies, symbols, &c.
Division II, "Ornament applied to Features", arranges them according to their functions, and the reciprocal relation between the The construction of the object and the application of the ornament. division falls
into
five
A.
sub-divisions:
Bands (bordering,
framing
and connecting forms); B. Free Ornaments (forms whose construction expresses a termination or cessation); C. Supports (types of ornament which express the principle of weight- bearing); D. Enclosed Ornament suitable for the enlivenment of a defined bordered field, (panels); •
E.
Repeating Ornament (the decoration of surfaces which, disregarding
the limits of space, are developed, on a geometrical or organic basis, into "patterns").
Division III,
metal
objects,
shows the application of decoration to vase- form, frames, jewelry, heraldry and writing,
furniture,
printing, &c.
Further
as to the groups and divisions, will be found in Arrangement of the Handbook" which follows this
details,
the "Table of the introduction.
The
illustrations,
numbering almost 3,000, and comprised on 300
full-page plates, represent the styles of the most various periods and comparatively large share of attention has been devoted nations.
A
it is in that Period that form usually finds and most beautiful expression. Next to that in imporThe tance is the Renascence with its wealth and freedom of form. space, devoted to the creations of the Middle Ages, is more limited. From the styles of the Decadence, only a few examples have been Modem admitted, for the sake of comparison and characterisation. times, as a rule, have only been taken into account, where forms arose
to
its
the Antique, because clearest
which do not occur in the historic
styles.
have been partly taken direct from the originals; reproduced from other Books; as was almost unavoidable and partly for the leading idea of the present work is not to ofi"er anything "fiew, but to arrange what is already known, in a manner suitable both to Where the author was the subject and to the aim of a Handbook. acquainted with the source, which he regrets was not always the
The
illustrations
—
case, the authority has
—
been mentioned in the
text.
few remarks on and appliThese are followed, so far as is necessary and practicable, cation. by notes on the places where the objects illustrated were discovered, where they are now preserved, and on their material and size. Hints
Each division and sub-division
is
prefixed
by
a"
style and history, characteristics, motives, symbolism, aim,
IV
UNTROOUCTION.
to construction, are given only where the construction cannot at once be inferred from the figure. Readers who use this book for purposes of tuition, will find in the Author's " Ornamentale Formenlehre"* the Plates on a scale of as
2^/2 times the size of this for the use of the •
work
Franz Sales Meyer:
plates, in a portfolio.
Handbook, together with the requisite hints
in schools.
Ornamentale Formenlehre;
Three hundred
folio
TABLE SHOWING THE ARRANGEMENT OF THE CHAPTERS AND PLATES.
DIVISION
I.
Thk Elements of Decoratiox.
2-4.
Band Motives.
35. Various Leaves. 36-37. Various Flowers. 38-39. The Fruit Festoon.
5-7.
Diaper Patterns. The Sector, Polygon, and Star.
b.
A. Geometrical Elements. 1.
8.
9-10. 11.
Network.
The Square, and its Subdivision. The Octagon, and its Subdivision.
12.
13-16.
The Triangle, Hexagon, &c., and their Subdivision. The Oblong, and its Subdivision.
17.
18.
The Rhombus, and Trapezium, and their Subdivision. The Circle, its Subivision, and
Intersections. 19. Gothic Tracery. 20. The Ellipse, and its Subdivision.
B. Natural Forms. a.
The Organisms of Plants (The Flora of Ornament).
21. The Akanthos Leaf. 22-23. The Artificial Leaf. 24-26. Artificial Foliage. 27-28. The Laurel, and Olive.
29-30. 31. 32. 33. 34.
The Vine. The Lotus, Papyrus, and Palm. The Ivy. The Com, and Convolvulus. The Hop, and Bryony.
40.
The
Leaf, and Flower Festoon.
Animal Organisms (The Fauna of Ornament).
The The The The 51 The 52-54. The 55. The 56-58. The 59. The 60. The 41-44. 45-46. 47-48. 49-50.
c.
Human
61. 62-64. 65.
66. 67-68. 69. 70.
The The The The The The The
Lion. Griffin, &c.
Lion Head. Panther Head, ka. Horse Head. &c. Eagle.
Wing. Dolphin. Shell.
Serpent, &c.
Organism.
Mask. Grottesquo Mask. Medusa Head. Grottesque. Half-Figure. Sphinx, and Centaur. Cherub-Head, &c.
C. Artificial Objects.
71-72. 73-77. 78-79.
The Trophy. The SymboL The Ribbon.
80. Miscellaneous Objects.
TABLE.
VI
DIVISION
II.
Ornaaient applied to Features. A. Bayids. 81-84. 85. 86-90. 91. 92. 93.
94-96. 97.
98.
The The The The The The The The The
Fret Band.
Chain Band. Interlacement Band. Rosette Band. Palmette Band. Vertebrate Band. Undulate Band. Evolute-Spiral Band.
Enrichment
of
the
Astragal. 99.
100.
TheEnrichmentoftheTorus. The Enrichment of the Cynia. and the Ovolo. B. Free Ommnents.
101-103. 104.
105-106. 107. 108. 109-110. 111-112. 113. 114. 115. 116. 117. 118. 119. 120.
The The The The The The The The The The The The The The The
131.
132-134. 135. 136. 137. 138. 139. 140. 141. 142.
143-144. 145-147. 148. 149-150.
The The The The The The The The The The The The The The The The The
Decorated Shaft Profiled Shaft. Capital. Pilaster Panel. Pilaster Capital. Candelabrum Base. Candelabrum Shaft. Candelabrum Capital. Balauster.
Terminus. Parapet. Railing Post. Furniture Leg.
Trapezophoron. Console. Bracket. Caryatid,
Atlante, &c.
Link Border. Cresting Border. Akeroter, and Antefix.
D. Enclosed Ornaments, or Panels. 151-155.
Stele Crest.
Perforated Cresting. Cross. Finial.
Finial-Knob, and Vase.
Pendant-Knob. Rosette. Crocket, and Gargoyle. Hinge, &c. Tassel.
Fringe, and Valence. Lace Border.
C.
121. 122. 123-124.
125. 126. 127-130.
Supports.
The Foliated Shaft. The Fluted Shaft. The Base.
156.
157-160. 161-164. 165. 166-167, 168.
169-170.
The The The The The The
Square Panel. Star-shape Panel. Circular Panel. Oblong Panel. Elliptic Panel, Lunette, and Spr.nrail Panel. The Lozenge Panel. Various Panels.
E. Repeating Ornaments, or Diapers. 171. The Square Diaper, &c. 172. The Circle Diaper, &c. 173. The Scale Diaper, &c. 174-175. The Circle Diaper, &c. 176-179. Various Diapers. 180. Various Grill Diapers.
DIVISION
III.
Decorated Objects. A. 181. a.
186.
Vases, &c.
Fundamental Vase-Forms,
Holders. 182. 183. 184. 185.
The Amphora The Urn. The Krater. The Basin, and
187. 188.
The Ampulla, A labastron,&c. The Flower- Vase, &c. Vase
forms
for
varions
purposes. 189. 190.
Dish.
The Jar, and Cist. The Font, and Holy-Water Stoup.
Vll
TABLK. b.
Dippers. lyi. 192. 193.
c.
2.32.
The Hvdiia. The Bucket, &c. The Spoon, and
233. 234. 235.
Ladle. e.
Pourers. 19-i.
The
Olpe, &€. 195.
196-197. 198.
109-200.
Various Domestic Utensils, &c, 23G. The Door-Knocker. 237. The Kev. 238. The Hand-Mirror. 239. The Fan. 240. Various Tools.
Oinochoe,
Prochous,
The Knife, and Fork, The Paper-Knife. The Scissors. The Hand-Bell.
The Lekythus. The Lip-spout Pitcher. The Pipe-spout Pot. The Bottle.
C. d.
Drinking Vessels. a.
201. The Kylix, Kantharos, &c. 202. The Rhvton. 203. The Cup. and Beaker. 204. The Chalice, and Goblet. 205. The Hanap. 206. The Rummer or Romer. 207. Various Drinking Vessels. 208. The Mug. 209. The Tankard. 210. Modern Drinkitig Glasses.
B. Metal a.
241-243. 244-245. 24G. 247. 248. 249. 250. b.
d.
The Altar. The Tripod. The Censer. The CruciGx. The Crozier.
and
Mon-
of War and Hunting; Weapons. 226. The Shield. 227. The Helmet. 228. TheSword. and its Scabbard. 229. The Dagger and its Scab-
Utensils
bard.
The Halberd,
Table Utensils. 231.
The Table The Writing-Table.
The Spoon.
The Cabinet. The Sideboard. The Hanging-Cabinet. The Chest.
Miscellaneous. 257. 258.
The Desk, and Easel. The Clock- Case, and Toilet
259-260.
The Bedstead, and Cradle.
261-262. 263-264. 265-266. 267-268. 269. 270.
The The The The The The
271. 272. 273. 274. 275. 276.
The The The The The The
D. Frames,
strance.
d.
FoIding-Chair Bench. Sofa, and Couch.
Cabinet.
Religious Utensils.
230.
SfaU. Stool.
Cabinets. 253. 254. 255. 256.
The Candelabrum. The Antique Lamp. 214-215. The Candlestick. 216. The Hand-Candlestick 217. The Candle-Bracket. 21S. The Pendant-Lamp. 219. The Chandelier. 220. Modern Lamps. 213.
C.
Chair.
Throne, and Arm-chair.
Tables. 251. 252.
c.
Utensils for Illumination.
221. 222. 223. 224. 225.
The The The The The The The
Objects.
211-212.
b.
Furniture.
Seats.
&c.
&c.
Architectural Frame. Mirror-Frame. &c.
Strap-work Frame. Typographical Frame. Strap-work Tablet. Strap-work Border, and Margin.
E. Jewelry. Pin.
Button. Ring. Chain. Necklace. Bracelet.
VIII 277.
TABLE. The
Girdle,
Buckle,
and
Clasp. 278. The Pendant. 279. The Ear-ring. 280. Miscellaneous Jewelry. J^.
Heraldry.
281. Tinctures, and Divisions, of the Shield. 282. Shapes of the Shield. 283. Ordinaries. 2S4-285. Charges. 286. Forms of the Helmet. 2S7-288. Helmet Trappings.
289. Crowns. Coronets, &c. 290 Heraldic Accessories.
G. Writing, Printing, 291. 292-293. 294. 295. 296. 297. 298. 299. 300.
