Handbook of ornament; a grammar of art, industrial and architectural designing in all its branches, for practical as well as theoretical use (1900) (14781213881)

Identifier: handbookoforname1900meye (find matches)
Title: Handbook of ornament; a grammar of art, industrial and architectural designing in all its branches, for practical as well as theoretical use
Year: 1900 (1900s)
Authors: Meyer, Franz Sales, 1849-
Subjects: Decoration and ornament Art objects
Publisher: New York, B. Hessling
Contributing Library: Wellesley College Library
Digitizing Sponsor: Wellesley College Library



Text Appearing Before Image:
nd knot, the Louis XVI. style, (Lifevre). 8. Ribbon and knot for a bunch of fruit, after Prof. Sturm of Vienna, (Storcks Zeichenvorlagen).4. Drapery Festoon, (Raguenet). Miscellaneous objects. (Plate 80). Finally, among the artificial objects which are used in decora-tion, especially of pilasters, we may mention those forms like cande-labra and vases, from which ornaments, like growing plants, usuallyrise, (Comp. plates 80 and 131). Cornucopias, Torches, small inscription Tablets, and many otherobjects, are introduced. Plate 80. Miscellaneous objects. 1. Vase, window pilaster of the Cancelleria, Rome, by Bramante. Ita-lian Renascence, (De Vico). 2. Vase, pilaster of a door, San Angostino, Rome, (De VicoX 3. Vase, lower part of a panel, Italian Renascence. 4. Vase, tomb of Louis XII., St. Denis, French Renascence. 5. Vase, Louis XVI. style, (P. A. M., Cours dornement). 6. Crossed Torches, upper part of pilaster, by Benedetto da Majano,Italian Renascence. 7. Crossed Torches, Renascence.
Text Appearing After Image:
126 Introduction. The second division of the Handbook deals with ornament asapplied in decorative Features. They will be arranged according totbeir function, and treated in accordance with the mutual relations ofthe decorative form and its application. Every one acquainted with Decoration, must have been struckby the fact that on certain Objects and on certain parts of them thedecoration invariably appears to have been modelled on the sameprinciple, no matter how much the selected motives may vary fromeach other or belong to special styles. In decoration, as elsewhere,there is a right and a wrong use for everything; each object, eventho very smallest, requires its own proper Form and Decoration, andthe artist who understands style will give these, though in many casesunconsciously; artistic instinct guiding one man where another muststudy laboriously. Be this as it may, the relations are there. A socle ornamentcannot be reversed and used as a frieze without modification; acolumn, whic