Handbook of ornament; a grammar of art, industrial and architectural designing in all its branches, for practical as well as theoretical use (1900) (14781943784)

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Handbook of ornament; a grammar of art, industrial and architectural designing in all its branches, for practical as well as theoretical use (1900) (14781943784)

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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:
The Octagon, and its Subdivision. Plate 11. 2 20 GEOMETRICAL MOTIVES.
Text Appearing After Image:
Plate 12. The Triangle, Hexagon, &c., and their Subdivision. The Oblong, and its Subdivision. — The Subdivision of the Rhombus, &c. 21 Plate 14. The Obloxg. 1. Subdivision for Door panels, Sofits of arches, &c. 2. „ „ tablets, &c. 3. „ „ Borders for ceilings.4 and 5. Modern Album-covers, (Gewerbehalle). Plate 15. The Oblong. 1. Ceiling, Quedlinburg, German, 1560, (Gewerbehalle). 2. Ceiling, Massimi Palace, Rome, by Baldassare Peruzzi, (Leta-rouilly). 3. Coffer ceiling, Farnese Palace, Rome, by Barozzi da Vignola,(Letarouilly). Plate 16. The Obloxg. 1. Ceiling, modern, (Gewerbehalle). 2. Vaulted ceiling, S. Peters, Rome, beginning of the 17thcentury, (Italienisches Skizzenbuch). The Subdivision of the Rhombus, and the Trapezium. (Plate 17.) Rhombus or Lozenge is the name usually given to the equi-lateral foursided figure with pairs of unequal angles. The principalauxiliary lines of these figures are the diagonals. The subdivisiongenerally leaves an oblong or h

Baroque

By the last decades of the 16th century, the refined Mannerism style had ceased to be an effective means of religious art expression. Catholic Church fought against Protestant Reformation to re-establish its dominance in European art by infusing Renaissance aesthetics enhanced by a new exuberant extravagance and penchant for the ornate. The new style was coined Baroque and roughly coincides with the 17th century. Baroque emphasizes dramatic motion, clear, easily interpreted grandeur, sensuous richness, drama, dynamism, movement, tension, emotional exuberance, and details, and often defined as being bizarre, or uneven. The term Baroque likely derived from the Italian word barocco, used by earlier scholars to name an obstacle in schematic logic to denote a contorted idea or involuted process of thought. Another possible source is the Portuguese word barroco (Spanish barrueco), used to describe an irregular or imperfectly shaped pearl, and this usage still survives in the jeweler’s term baroque pearl. Baroque spread across Europe led by the Pope in Rome and powerful religious orders as well as Catholic monarchs to Northern Italy, France, Spain, Flanders, Portugal, Austria, southern Germany, and colonial South America.