Styles of Ornament

I
STYLES OF ORNAMENT SHOWN IN DESIGNS a d BY ALEXANDER SPELTZ
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561
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ARCHITECTURE
STYLES OF ORNAMENT
EXHIBITED
IN
DESIGNS AND ARRANGED IN HISTORICAL ORDER WITH DESCRIPTIVE TEXT.
A HANDBOOK FOR ARCHITECTS, DESIGNERS, PAINTERS.

SCULPTORS,
WOOD -CARVERS, CHASERS. MODELLERS. CABINET-MAKERS AND ARTISTIC ICKSMITHS AS WELL AS ALSO FOR TECHNICAL SCHOOLS, LIBRARIES AND PRIVATE STUDY
l.<
BY
ALEXANDER SPELTZ
ARCHITECT
rRANS] A Mi FROM THE SECOND

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FULL-PAGES ILLUSTRATIONS WITH ILLUSTRATED DESCRIPTIVE TEXT
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BRUNO HESSLING
G. M. B. H.
PUBLISHERS OF ARCHITECTURAL AND ART INDUSTRIAL WORKS. BERLIN S. W. 11, ANHALTSTR. 16 17 XI- W YO&K, 64 EAST 12'h STREET PARIS, 5 RUt 1>I SAVOfc
ARCHITECTURE
Prinfexi^x
C^G/ftSDER
G. m.
b. H.,
Leipzig.
PREFACE.
This work
entire system
differenl
has been undertaken with

of
the
object
of
exhibiting the
to illustrate the
Ornament
it
in
is
all
its
different
styles
and
uses to which
applied.
The first edition "I the work has been received most favourably in Germany, and has met with such signal success that the author has
been obliged
tn to
undertake the preparati
second edition, and also
arrange for an English translation of the work.
The second
edition
has been most carefully revised and considerably enlarged.

of
The number
which
plates
has been
increased
in
from
300 to
;<>,,,
an enlargement
has enabled the author,
the English edition, to deal extensively with,

to the entire
and pay particular attention
system
Art, as well as in the Art of the United States
of Ornament when this la
in
English
tntry
a
was an English colony.

careful
revision,
All
the plates have been subjected to
most
whole plates
is
and single figures having been redrawn.
The author
illustrations,
confident that these important improvements, the very
large increase in the
number
of plates,
the careful revision of text and

will
and the special attention paid to English Art,

all
insure
for the English edition as favourable a reception in
English-speaking
circles
countries as the
German
edition has
met with amongst educated

different
on the Continent.
All the sources from
are
stated
in
which the
figures have
at
been taken
of the
all
special
register.
Another register
list
the end
book, compiled with special care, gives a

the figures in the entire work, the
in
alphabetical order of
names
of the figures being arranged
according to the materials of which they are composed.
BERLIN. January
1906.
ALEXANDER SPELTZ.
iviG0a7S8
Anglo-Saxon helmet and shield
(L'Art pour tousi.
ERRATA,
The chapter covering pages 137 to 181, inclusive, entitled "Roman Ornament " should read "Romanesque Ornament".
INDEX.
Plates
Page
1
Introduction
ANTIQUITY
The The The The The The The
prehistoric and primitive Ornament Egyptian Ornament Babylonian=Assyrian Ornament Persian Ornament Phoeniciah=Hebraic Ornament
1-53
I
3 5
12
47
8
LO
22
29
,1
1112
13
1
Indian
Ornament Grecian Ornament

Grecian prehistoric Ornament
17
it,
37
1,
17
17
The Doric Ornament

Ancient ornamental Filets
18
17
'
19
The
Jonic
Ornament
Vase
2021
22
19
The Corinthian Ornament

Principal examples of the Grecian
23
26
27
53
61
61
Frescoes and Yascpainting
The Etruscan Ornament The Roman Ornament

Roman Roman
chairs and seats
3132
3344
39
67
71
85 85
91
Sculptures
40
The Pompeian Ornament The Celtic=Germanic Ornament

From
the Merowingian Period
4549 5053
52
99
103
THE MIDDLE AGES

The German=Early=Christian Ornament
Lombardic Ornament in Italy Westgothic Ornament in Spain Eastgothic Ornament in Italy Franconian Ornament
54-200
107
109
5459
7)45.")
113
117
56 57
117
117
58
The Byzantine Ornament

The Byzantine Ornament
in
Spain
6067 6667
120
127
'
VI
INDEX.
Plates
Page
132
137
The
Keltic
Ornament
in
6870
71107 7177
76
77
The Roman Ornament

The Roman Ornament
Germany
139
147
14/
North German Brickwork Architecture German Enamehvorks in the Middle Ages
The Roman Ornament
in
France
7885
80
81
14^
149
155
The Roman Ornament in the Provence The Norman-Roman Ornament

French Enamelwork
in
S2
85
the Middle
Ages
Italy
159
161
The Roman Ornament in The Saracen Norman Ornament

Italy
Upper and Middle

in
8688
Sicily
and
Lower
S "-M
l
161
The Roman Ornament The Roman Ornament

The Roman Ornament The Roman Ornament
in in
Spain
England
9294 95101
102107
106
107
169
173
183
The Scandinavian=Roman Ornament

in
in
Sweden Denmark
189
191
The Russian Ornament The Islam Ornament

The Arabian-Moorish Arch
108-111
193 198 199
112-134
112115 110120
Toledo
The Arabian Ornament The Moorish Ornament

Ornament of the Ornament of the
Califate of
203 207 207

207 214
214
lib
Califate of
Granada
117120
121
The Saracenian Ornament The Ottoman Ornament

Elements of the Ottoman Architecture
122126
122
219
The Arabian-Persian Ornament From Ispahan The Arabian-Indian Ornament
127130
1-'
225
131134
231
The Gothic Ornament

The Gothic Arch
135-188
235
237
The Gothic Ornament

The Gothic Flora
in
France
the Netherlands
13514:!
137
239
241
The Gothic Ornament The Gothic Ornament

The Gothic Ornament
in
144-145
253
255
-'"
2/;.
in
England
14b 160
l'<0
English Monumentalworks
in
Germany and
Austria
161176
166
The German Brickwork

Gothic ornamental Iron-works from the Gertnanisehes
Niirnberg
-85
2S9
Museum
in
l'_"
The Gothic Ornament
in
Hungary
I/O
-96 299 303
The Gothic Ornament

The Venetian Gothic
in Italy
177183
l'
S-
3
1
INDEX
VII
Plates
Page
111
The Gothic Ornament

Transition Styl(
in
the
Pyranean Peninsula
184 -188 184
311
The Manueline
Style
in
Portugal
...
1SS
The Chinese Ornament

The Chinese Keramic
189192 190192
rnament
317
>1
The Indochinese
01
Kmci
The Japanese Ornament

Japanese Textil Motifs
. .
195 1% 200
I'M
325 328
200
MODERN TIMES
The Renaissance Ornament
I'lie
201-400
201
337
278
'.
Construction of the Arch

in
The Renaissance
Florence
Italy
Rome
ice
201215 201202 203204

06
346
14
349
353
353
Certosa. of Pavia
....
.
208
Keramic
.211
in
The Renaissance
Meubles
France
216
22
375
220
in
The Renaissance
The Ki
n.-ii
Germany, Austria and Switzerland

Wooden
irnament
Buildings
in
i
227243
241
Swiss Renaissance
242
1 '
Hungary
243
407
The Renaissance Ornament in the Netherlands The Ornament of the Northern Renaissance The Slave Renaissance Ornament
The Renaissance Ornament The Renaissance Ornament
in
214247 248249 250252

250
251
408
415
417
41/
122
123
Poland
Russia
in
252
-278
The Renaissance Ornament The Renaissance Ornament
in
Spain and Portugal
...._'
261
in
England
134
The Barocco Ornament

Later Renaissance Ornament
in
279312
158
4f>1
England
279 -284
The The The The
Barocco Barocco Barocco Barocco
in Italy in
....
(Style Louis
France
XIV
in in
Austria, and Switzerland the Netherlands
Germany,
285289 290300 301309 310312
469
477
491
505 509
511
The Rococco Ornament

Rococco Forms The Rococco Ornament The Rococco Ornament The Rococco Ornament The Rococco Ornament
in
313333
313
France
(Style Louis
XV.)
314322
323
515
52
!
in Italy
in
in
Germany and
England
in
Austria
.
.
iChippendale Stylo
324331 332333
525
537
The Colonial Style Ornament of America
the United States

334339
539
VIII
INDEX.
Plates
Page
The semiclassical Ornament and Commencement of the
at the
19* h
End
of the 18th
Century
The Louis XVI.-Ornament in France The Louis XVI.-Ornament in Italy The Louis XVI.-Ornament in the Netherlands The Louis XVI.-Ornament in Germany
340400 340347 348350

351
548
553
561
565
The
Classistic
Ornament
in
England
After designs from
work done by R. and J. Adams Furniture made after designs by Thomas Sheraton Furniture made after designs by Hepplewhite
prepared from various designs
I
352 a54 565 355375 575 355 3b9 575

370
371
587
591
Work
English
372 373 374
591
S th
Century Keramic
in
375
595 597 597

609
The Empire Ornament

Work made Work
done
France
by C. Percler und P.
F. L. Fontaine
.
376384
376
after designs
382
387
The Empire Ornament
in Italy
385387
386
after designs
by Giuseppe Borsato
609 615
621
The Empire Ornament in Germany The Ornament of the Restoration in France The Biedermeier Style Ornament in Germany The Hellenic Ornament in Germany
Reference books Alphabetic index of the designs after material and object
388391 392393 394395 396-400
623 625 633 636
INTRODUCTION.
ightlv understood, the conformation of an
ornament
should be in keeping with the form and structure

in comand should never stifle or conceal it. As varied and as manysided as it may ie, still, the Art of ornamentation is never an arbitrary one; besides depending on the form of the object, it is influenced also by the nature of the material of which the same is made, as well as by the style or manner in which natural objects are reproduced in ornamentation by different peoples at different times. The
of the object
which
it
adorns, should be
plete subordination to
it,
art
Initial
of
ornamentation, therefore, stands

relationship
The oldest and style. script. 12 th century. (Doimetsch.) forms of ornamentation consisted of geometric fig-ures, small circles, bands, straight and curved lines, &c all of which were drawn with categorical regularity and according to a certain rhythm. With the advance in the intellectual development of mankind, artists acquired more technical skill, and ventured even to make use of animals, plants, and, finally, of the human figure itself, for ornamental purposes. A plant or a living" being can be employed in ornamentation in two ways, firstly, just as it is formed by nature which is naturalistic Ornament, and secondly, in a form which reflects the spirit of the times,
purpose, form,
,
" from a German manu-
in
intimate
with
material,
SPELTZ,
Styles
"t'
Ornament.
INTRODUCTION.
the political or religious ideas of the peoples, or the effects of foreign
where by was formed the stylistic Ornament. Each style exhibits one and the same plant and one and the same animal in a different fashion. Each country sought the models for its own ornamentation in its own Fauna and Flora, and each style had certain plants and animals which it preferred to all others. Style is really more the product of one epoch of time rather than of a single people, and it is according to this chronological stand-point that the present work has been arranged. In keeping with the tendency of the work, it may be remarked that the illustrations in the plates, title-pages, vignettes &c, are all reproductions of such objects only as were really produced at the period lor which the style is characteristic.
influence
Stonehenge near Salisbury.

(Liibke,
Kunst des Altertums.)
ANTIQUITY.
23Sk
<
a
(Prisse d'Avennes, hist. d. 1'art egyptien).
Egyptian WOOd Columns
Roman
Pillar
ornament
(L'Art pour tous).
THE PREHISTORIC AND PRIMITIVE ORNAMENT.
d according to the periods of development during which it existed, Prehis-
toric
Ornament extends over two

the
It
is,
greal
epochs:
A.ge.
Stone
Age and
who
the Metal
however, characteristic not

peoples
lived
alone
earth
of
in
all
on the
sach
exisl
al
Prehistoric times, peoples sepa-
rated by
thousands of years fri other, but even oi people who
the present day.

Stonerelief from Yucatan
(Globus 1884)
<
hnd the Prehistoric >rnament not only amongst the remains
We
of those races of people
who
lived
along
the Mediterranean over 6000 years ago, but also the primitive ornament amongst different people who inhabit certain parts of the earth at present but who have not yet advanced beyond
that stage of civilisation to
The
Prehistoric
which this style of Ornament is peculiar. ornament embraces two periods: the Stone Age and
is
the Metal Age.
The Stone Age

of
last
generally supposed to have
begun
at the
it
end
the last period of the Tertiary Age, distinct proofs place
at the
Ag-e, stone
epoch of the Diluvian Era. During- the Paleolithic or Ancient Stone was habitually used as the material from which tools were made: in the Neolithic or later Stone Age the tools were polished and given an artistic form, and vessels made of clay decorated with simple ornamentations were manufactured. Lake dwellings, the burying ot the dead in caves, middens, barrows, cromlechs, and other numerous Megalithic monuments, the use and purpose of which are still matter ot specu-
lation,
are
all
characteristic of this era.
In the
course of time these
early inhabitants arrived at a stage of
development which enabled them
THE PREHISTORIC ORNAMENT.

to
make
use of metals, bronze being
first
employed and
later
on
iron,
the different periods being designated as the Earlier and Later Bronze
Age and
1
Age. The use of bronze was throughout the entire of Europe at about the introduced from the Orient year 500 before Christ. The Later Bronze Age extended only over the middle and north of Europe and dates from about 1000 to 600 B.C.
the Earlier and Later Iron
Iron was however already worked during this period in the countries
bordering on the Mediterranean, and was besides extensively known to the Assyrians in the 9th century before Christ. In all probability the use of iron was introduced from Assyria into Europe, where, in conse-
quence of its introduction, new forms were given to arms, tools, and implements of all kinds. Iron was now used almost entirely for arms and tools, bronze being employed for artistic work. The Earlier or Ancient Iron Age is called also the Hallstadt Period, Hallstadt being a locality in the Salzkammergut where all the g-reatest and most important discoveries dealing with this period were made. The Later Iron Age, designated also as the La Tene Period in consequence of the discovery of remains found in the castle in the island La Tene in the Lake of Neuchatel, dates from 400 to 100 B. C, and is confined generally speaking
to the Gallic races.
Even
in those prehistoric times a very- lively
commercial intercourse
where a been discovered cannot by any means be accepted It might just as well have been manufacas the country of its origin. tured by another people more advanced in civilisation, and have been brought by itinerant traders to the locality where it was eventually found. The Stone and Metal periods, however, are not confined alone to those prehistoric peoples who have long since passed away, and of whose
existed between the different peoples.
certain article has
The
locality, therefore,
names
or descent
we have never been
able to
acquire the
slightest
knowledge. There are people in Asia, Africa, America, and Australia, at the present day, who have not even yet arrived so far as the Metal period. The inhabitants of America at the time of its discovery had
not yet advanced beyond the Stone or Metal Age. Examples of their work are therefore included in the two plates dealing with these periods.
The
Prehistoric and the Primitive
Ornaments may be
said to be
purely geometric ones, the artists of the time rising very seldom to such heights as to try and imitate in their work the figures of men, animals, or plants. Although there cannot of course be any mention of "style" in
connection with it it lay so disconnected, so widely separated by time and space still, the Prehistoric Ornament as such formed the foundation
upon which genuine
styles
were constructed
later on.

Plate
2.
Plate
1.
The Prehistoric Ornament.

Fig.
i.
2.
3. 4.
5.
7.
Arudy, France (Hoerner). in Brassempoy, France (Hoemer). in Budmir, Bosnia (Hoerner). and 6. Earthenware vessels found in Budmir, Bosnia (Hoerner). Vessel found in the pile-dwellings on Laibach Moor, later Stone Age
in
1
Ivory carving Ivory carving Ivory carving Clay statuette
found found found found
in
a cave in Lourdes (Hoemer,
Urgeschichte).
Hoerner).
?.
1.
10.
11. 12. 13.

i.|.
15.
16.
17. 18.
19.
20. 2i,
Bronze object from the first Iron Age found in Hungary (Hoerner) Bronze jewel found in Hungary (Hoerner) Bronze needle (Brockhaus Konversationslexicon). Earthenware vessel found in Odenburg, first Stone Age (Hoe Urn found in West Prussia hi Urn found in Borgstedfeld, Holstein (Hoerner). Bronze plate found in Glarinoc, Bosnia 11 Bronze greave found in Herzegovina (Hoerner) Weapon found in Hungary (Hoen Iron dagger found in the Lake of Garda (Hoerm Fragment of an engraved bronze girdle found in Chodschali in Transcaucasia (Hoerner). Jewel from the gold-discoveries in Vettersfelde -11 Lance-head, Germany (Hoerner). 22, and 28. Wicker-work found in the Swiss pile-dwellings (Labke, Die
Kunst des Altertums).
23.
Border ornamentation of a bronze basin

(Hoerner).
found
in
the Wies, Styria
Clay figure found in a Boeotian grave (Hoerner). Stone axe Of Montezuma (John Evans, L'agc de bronce). 2C Sword of the Bronze Age (Labk. Needle from the Bronze Age (Labke). 27. Bronze Clasps (Brockhaus). 29. and 32.
24.
25.
30.
31.
Scabbard
(Brockhaus!.
3334-
Figure of Charon on a bronze relief plate found in North Syria (Hoerner), Bronze fibula (Brockhaus). Double earthenware vessel found at Langenlebron in a grave of the Hallstadt period (Hoerner).
Scissors (Brockhaus).
35. 36.
37.
Bronze wedge (Brockhaus). Neck ornament iLabke).

Needle
(Labke).
38.
30.
40. 41.
42. 43-
Bronze sword (Labke). Stone spear-head (Brockhaus). Bronze fibula (Brockhaus).

Stone knife (Brockhaus). Stone sickle (Lobke). Iron Spear-head (Brockhaus). Iron vestment pin (Brockhaus).
4445-
THE PRIMITIVE ORNAMENT.

Plate
3.
ll
Plate
2.
The Prehistoric Ornament.

Fig.
i.
2.
Ancient Peruvian Vase (Brockhaus Granite Vase found in Honduras

4,
Konversationslexicon).
(Brockh:
3,
26,
27,
41,
42.
and 44.
Bronze weapons
in the
(Lubke, Kiinst des A
5, 6, 7,
8,
Urn found
:;.
in the district of the Elbe (Reichhold, Flachomament des Altertums).
and
jo.
Knives found
Swiss pile-dwellings
lihold).
Relief on the Monolith Gate of Tiahuanaco n Dbk

.imi
[i.
Wedges
and
1
of the Inkas period (Brockhai
9,
i',.
15. 16.
[7.
18.
i'i.
21. 22. 24,
Earthenware vessels found in America (Reichh Relief from a Mexican temple (Brockhaus). Earthenware vessel found in the island of Cyprus (Reichl Sepulchral urn found in England (Reichhold). Sepulchral urn found in Sweden (Reichhold). Ornament from a building in Piinxillo (Lubke). Earthenware vessels from the Middle Rhine (Reichhold). 20, 13, and 45. Old-Italian sepulchral urn with engraved ornamentations (Reichhold). Relief cut in the rocks in Izamal, Yucatan (Brockhaus).
10,
12
(.
25,
28,
29,
$1
34,
and
;>.
Bronze jewels
(Lubke)
35.
Fragment of a column (American), found

Idol.
in
Tula
(Brockhaus).
(I.abkei.
3739.
40.
Metal-vessel ornamentations from the Bronze Age
Plate 3.
The Primitive Ornament.
Fig.
1.
2.
3
4.
6.
Mat from the Southsea (Finsch, Erfahrungen und Belegstucki aus Fan Of painted feathers from Australia (Racinet, I'ornement and 5. Painting from an Australian pirogue (Racinet). Painted Woodcarving from Central-Africa (Racinet). Model of a house of the Haida, Queen Charlotte's Islands,
pologic
der Sudseej.
polychrome).
in
the Anthro-
7.
Museum of Berlin. Ebony spatula with incrusted work from New-Guinea
(Reichhold, Kunst
und Zeichnenl.
v
9.
,.
10.
11.
Specimen of wcven work from Australia (Racinet). Club from New-Zealand (Racinet). Native Chair, Camerun. In the anthropologic Museum of Imbossed work from a pirogue in New-Zealand.
(Racinet).
13.
Berlin.
In
the
Louvre
Paris
12 and
Terminal heads of paddles from Polynesia
(Richard Glazier,
A manual
of Historic Ornament).
THE EGYPTIAN ORNAMENT.
ong before
civilisation
was known
in
in
Egypt
there existed at one time
Ancient Syria
and Babylonia, countries once so rich and flourishing-, a civilisation much older than
that of Egypt.
Proofs of this civilisation

in
have been brought to light

cavations
carried
the
ex-
out in recent years in

ft
is,
these
two
countries,
however,
Egyptian Dress
(Lubke).
Egypt that has supplied us with those series of monuments by means of which
the most ancient historical facts
now
in
back as our possession have been put together and verified. th thousand a very intensive artistic spirit reigned throughout Egypt. the 4 The historic period of the country, which dates from about the year 3200 before Christ when Menes was king, comprise thirty dynasties, and is divided in accordance with the records of the priest Manetus into
far
Even so
4 principal periods, namely:

1.
The Ancient Kingdom

first
dates from the 4th thousand to about the

its
year 2200 before Christ. Chefren or Chafre, the Menipius

in
This period, reached
highest glory under
king of the tenth dynasty. Lower Egypt flourished during this period.
The
city
of

2.
The Middle Kingdom
dates
from
2200 to
1500
before
'
hrist.
The principal centres were in Mittle and Upper Egypt with the capital Theben. The highest period of development characteristic of this epoch was reached towards the end of the third thousand during the 12* dynasty, the decline and decay of this development being brought about by the conquest of the country by the Ilvksos who had his centre of government
3.
in
the city of Tains.

to 663 before
Christ.
The Modern Kingdom dates from the year 1550 The principal city was Thebes in Upper Egypt.
in
The highest
period of development was reached
the years 1550 to 1220 B.C. under

iM
,h
Ramses
decline
4.
and Ramses II., of the I., Leti f., began about the year 950 B.C.
and
iq'1>
dynasties.
The
oi
The Later Period
dates from the year 663 B.
the period
the
by Psammeticus with the capital Sais. The final development took place under the 26* dynasty between the years 663 to 325 B.C. Towards the close of this period Egypt became a Persian province, being ruled successively by Alexander the Great from the year 332, by the Ptolemies from the year 23. and by the Romans trom the
restoration
;,
year 31 B. C.
The life led by the ancient Egyptians was characterised by distinctly marked order and regularity, and to this is due the clearness, exactness,
and dignity, which distinguish Egyptian works of art. The) .ire deficient however in that warm spirit which animates Grecian art, and are in consequence cold and stiff. As wood was scare, and stone most abundant,
the Egyptians were compelled to use stone as the principal material for
all
purposes, there
is
in
hardly any other country such colossal stone
structures as in Egypt.
Apart from pure geometric ornament, the Egyptian ornament consists in a rigidly systematic arrangement of plants native to the country; men and animals were also used as models. The well-known Egyptiologist, Louis
Borchardt, has arrang-ed a clear, systematic classification of Egyptian plantornamentations, the plants used as models being arranged by him as follows:
1. The Lotus-flower, Nymphaea Lotus L., Xymphaea Cerula L., and Xymphaea Nelumbo L. 2. The Lily, the botanical name of which has not yet been fixed. 3. The Papyrus flower, Cyperus papyrus L. 4. The Date-palm, Phoenix dactylifera L.
5. Reed and a kind of Withe were also often employed as can be seen from certain fragments discovered in the excavations.
and the papyrus flowers were, however, used most often by the Ancient Egyptians in the ornamentation of all kinds of work, from the most colossal Egyptian columns down to the smallest objects.
lotus
The
14

is
Borchardt denies that there

to
any constructive importance
to
be attached
the
the Egyptian plant-column.

ceiling'
To
the ancient Egyptians,
temple
meant the world, the
made
to
represent plants,
was the heavens, under which the columns, rose up from a mound of earth. That the
was used as a support for the ceiling is an idea which cannot be accepted. As, however, supports for carrying the ceiling were necessary, there was placed, as connecting link between the supports and the burden, an abacus, which on account of the strong swell of the capital, was invisible from below. In this way, the idea of having again flowers under the open skies was realised. It is therefore, according to this, evident that the Ornament was used as a support and not that the support was ornamented.
imitation of a plant
which Egyptian artists wished to represent the lotus-flower were, first, the elliptical form of the buds with stalks, then the calyx of the flowers rounded off above, and the intermediate petals rounded off in a similar manner. The lotusflowers have no foot-leaves, these being peculiar to the papyrus-shaped columns only. There are closed and opened lotus and papyrus columns, as well as simple and compound ones. Although stone is the material which predominates, still, columns and vessels in wood have also been discovered. Casting in metal, keramic, and even glass-blowing, were known to the ancient Egyptians, and they were adepts in the textile industry. In the ornamentation of Egyptian buildings, more especially in temples and tombs, painting was the predominant characteristic.
principal features characterising the
in
The
manner
Plate 4.
Border: Column with closed lotus capital from a mural painting found in the tomb of the Kej of Bersche. It dates from the Middle Egyptian Kingdom (Borchardt). i. Fig. Column with closed lotus capital from the Middle Kingdom, found in Benihassan. Horizontal section is also given. iLepsius, Tagetmch.) Like all lotus columns, this one has neither foilage nor entasis. From the base, which is low and intended to represent a mound of earth, rise 4 main stalks. These, and the 4 intermediate stalks, are held together by means of 5 chaplets. The capital is made
up of 4 lotus-buds with longitudinal platbunds.
2.
The abacus is small and quadrate. Closed lotus capital dating from the Ancient Egyptian Kingdom, found by de Morgan in the tomb of the Ptah-schep-ses near Aboukir. Horizontal section Of the Column is also given. (Revue arch. 1S94.) The column
consists of 6 principal and 6 intermediate stalks, held together by 5 neck-bands.
capital
The
in
consists
of very
sharp-pointed buds.
The
intermediate
stalks
end above
open lotus-flowers.
3
The whole column is painted over in a naturalistic manner. Closed lotus capital from the Ptolemaein epoch, taken from the temple Of IsiS-Wos-ret in Philae iBorchardt). Columns with closed lotus capitals did
not exist
in
the
New
Kingdom.
This kind of
capital, like all
capitals from
the
time

Plate
4.

Plate
5.
II
IK
EGYPTIAN ORNAMENT.
in
IT
stalks
In this
"I
the Ptolemies,
was
peculiar
the
fact
that
the
wen
allowed to appear
between the
triple
capital
ami the bands of the gorgerin.

Tint
example, furthermore, the
intermediate stalks do
rest
between the main
stalks.
The
shafl
and completely bepainted with hieroglyphics.

Fil;
i
Open lotus capital

Histoire dc
to
z
in
Edfu, dating- from the time of the Ptolemies

This capital cor
pair
isl
ii
i
(Pi
l'art
egyptien).
large lotus-flowers standing close are

J
each
other.
Between each
of
these
flowers
others
one
large
1
and
small ones - which
use from small intermediate post

s.
etween these
6 flowers
are
10 other extremely small

nrit
Open
lotus capitals of
in
columns dating from the
Am
5,
Kingdom have
not yet been discovered
perfect condition.
and
7.
6. Open lotus capitals as pillar ornamentation, from the Ancient Kingdom, found in the tombs and 2 of the Hepi in Sawijet el Meitni (Borchardt). Symbol of the union of Upper and Lower Egypt from the throne of symbol of Upper Egypt was the 1 a Cephren statue In Gizeh (Borchardt)
1
1
lily,
the botanical
name
of
which cannot, however,
b<
even yet
fixed,
ami
tin
of
.v
Lower Egypt
the papyrus.
Thutmosis pillar of granite dating- from the New Kingdom, found In the sanctuary in Karnak (Lepsius, ["agebui in Open umbellar papyrus capital in Philae dating from the time of the
Ptolemies
(Pri
to.
Papyrus ornament from a mural fresco found

(Prisse).
in
a tomb in Beni-Hassan
Histoire de
l'art).
ii.
Osirian pillar from Medinet
Habu
(Perrot et Chipiez,
Plate
5.
Border: Papyrus column with closed capital from a mural fresco found in the tomb of Cha'-em net at Ourna. This example dates from the Later Egyptian
Fig.
i
.
Kingdom
(Borchardt).
Papyrus column with closed capital in front of the pyramid of Amenemhet near Hawara. This column dates from the Middle Kingdom (Prisse).
From
the pedestal, which
in
is
also intended to represent an earth-mound, spring 8 stalks
arranged
regular order.
figure will
make
this
clear.
The As
horizontal
is
section of the column

all
given
in
the
same
is,
the case with
papyrus columns,
there
at
the foot of the stalk,
pointed
foilage
off,
which reaches out above the

and are bound together by
5
largest swell.
fillets.
Under the
these
capital,
the stalks narrow
Over
section
fillets,
closed umbels, each with a head-foil, develop themselves.

is
The
of the umbels and stalks

3
triangular.
Under
the neck-band are 8 clusters each having

lost their characteristic form, until finally,
stalks.
These
capitals,
however, gradually
fig. 8.
they became completely changed as in

:.
Palm-shaped capital of a column at Philae dating from the later

Egyptian Kingdom
neck-band.
(Prisse).
Here, a space also exists between the capital and the
;%.
Capital of a tent-pole column in Karnae dating from the

(Lepsius).
New Kingdom
4.
Palm-shaped capital of a column
in
Berseeh dating from the Middle
Kingdom
5.
(Borchardt).
Papyrus column with open umbel capital from the granite pilasters in front of the Sanctuary in Karnae. This column dates from the Middle Kingdom (Lepsius).
I
SP1
1/
siyles of Ornament.

Plate
6.

Fig.
Open papyrus umbel capital at Karnac,
dating:
in
from the Middle Kingstalks.
dom
(Prisse).
Pictures and inscriptions are

lily
worked
between the painted umbel
Clay mould with
from Tell-Amarna dating from the Middle Kingdom

at Karnac,
(Petrie, Tell-Amarna).
Turned papyrus-capital of a column with closed umbel, dating from the later Egyptian Kingdom (Prisse).
Interior decoration of a figured dish in the British Museum iBorchardti. Figured frieze flowers and buds from the same plant from the palace
of Amenophis' IV. in Tell-Amarna (Borchardt). Papyrus ornament on a figured dish in the British Museum (Borchardt) Papyrus thicket from the mural fresco of a tomb in Benihassan. This
dates from the Middle Kingdom (Borchardt). Withe from a painted wreath of a coffin. This dates from the Middle
14
..
Kingdom. Palm-shaped column in process of manufacture from a mural fresco at Gurna; dates from the Middle Kingdom.
Plate 6.
Fig.
Border: Closed lotus capital from a mural fresco (Borchardt Egyptian mural fresco (Uhde). to 7. 8. Woven-work sandals (Prisse, Hi^-t. de Cart egypt.). Sphinx in red granite in the museum of the Vatican (Tatham, 9, and 11.
1
Anc. Ornam. Arch,

in
Rome).
10.
12.
13,
,
.,
14. 15,
Scent-spoon from collection in the Louvre (Pen-ot et Chipiez, Hist, de 1'art). Egyptian dagger iPerrot et Chipiez). Leather Sandals iPerrot et Chipiez). Egyptian bronze knife (Pen-ot et Chipici and 18. Egyptian lions in green basalt before the Capitol in Rome
(Tatham, Anc. Ornam. Arch,
in
Rome).
1.
1,
19-
20,
22.
Egyptian heads in relief dating from the Later Kingdom (Lobk< Egyptian sewing-needles iPerrot et Chipiez). Old-Egyptian wooden Chairs (Koeppen und Breuer, Geschichte d. U and 21. Egyptian fine-art furniture (Canina, arch. ant.). 23, and 24.
and
17.
Plate
7.
Border: Columns with open lotus-capital from a painted canopy in tomb 8 at Ourna, dating from the Middle Kingdom (Borchardt).
Fig.
1.
2.
Painted bouquet-column in the tomb of Sennundem. Dates from the Egyptian Middle Kingdom (Berlin Museum, Ph. 604). Breast-plate of gold with inerusted enamel bearing the name of
3.
Ramses II. (Perrot et Chipiez). Head of Nofret (Labke).

Egyptian Clay jar (Libonis, Les styles). Egyptian amphora (Libonis) Egyptian musical instrument Rhyton (Libonis). Ceiling ornamentation from Memphis and Thebes
4.
5.
6.
7-
(Prisse).

Plate
7.
TIIF.
EGYPTIAN ORNAMENT.
Fig.
S.
Winged sun dating- from the Ancient Kingdom of the Egyptians, the symbol of royal dignity.
Gold necklace (Libi Girl with guitar from a mural painting in Thebes
(P
9.
io.
[
Chipiez).
I.
2.
Ornament (Libonis). Ring of Ramses II.
(Perrot et Chipiez,
Hist,
di
13-
I)-
Transporting a mummy, from a mural painting. Harness (Prisse). Engraved ring in the Louvre, Paris (Perrot et Chi Egyptian doors of wood (Pi Bracelet of prince Psat. Dates from the New Egyptian Kingdom.
Building a temple, from a mural painting found in a grave

at Abd-el-Ourna
(1
i.bke).
THE BABYLONIAN-ASSYRIAN ORNAMENT.
>ng the banks of the Euphrates and Tigris,

in the sacred land of Mesopotamia, and under the special influence of these two
streams,a characteristic civilisation deve-
loped
itself
more than 5000 years ago

in
much
the same as the civilisation which
was developed
latest
Egypt under the
in-
fluence of the Nile.
The
results of the
excavations in Tello, Niniveh, Nim-
roud,Kuyundschik,Khorsabad, and other places, have afforded proofs of the existence, even as far back as the 4 th thousand before Christ, of the Sumrier, a nonStone imbossed work, representing Semitic people who became afterwards
the
surrender of Laehis to Sennacherib (Roger-Miles).
united with the Assyrians.

fore
It
may
there-
be accepted as certain, that in this river valley a civilisation existed which was older than that of Egypt. The language of the Sumrier long after it ceased to exist as a living tongue was spoken as a dead language by scholars. The Bible itself mentions the colossal buildings erected by the Babvlonian and Assyrian kings at that remote period. In this particular country, there was such a mixture of peoples, one alternately subjugated by another, that the art of the epoch must be regarded as one common to the people as a whole. The people themselves appear to have been more of a sensible and practical, rather than of a poetic turn of mind. They were at once commercial as well as warlike, keeping material gain and their own supremacy above all other matters.

In the third thousand before Christ
a
number
oi
small principalities...
such as Lupula, Ur of the Chaldees, Nisin, Larsa, etc.... existed in South Babylonia, but were finally conquered b) Chammunurabi, king of North Babylonia in the year 22^2. After this conquest the cit) ol Babylonia
was made the capital. The kingdom of the Semitic Assyrians was founded and began about the year 2000 before Christ, developing into a powerful state about the 13th century, the principal cities being Assur and Xiniveh. This kingdom reached its highest glory in the reigns oi
Assurnastrabal (884 860 B C), Salmanassar 11. 1^60 82.; B.C Assarhaddon (681 (722 705 B.C), Sanharit (705681 B.<
Sargon
668),
11
Assurbanipal Sardanapalus (668 626). Under this latter monarch As became the principal world-power, being however deprived of this supremacj 1)\ Naboplossar of Babylonia and Kyaxaras oi Media in the year
603
and
B.C The new kingdom new
established flourished lor a short time,

itself finally
605 to 561 B.C, under Nebuchadnezzar, being Cyrus king oi Persia in this year 538 B.I
conquered by
in
While structures
districts
built
of stone
predominated
in
Egypt,
these
on the Tigris and Euphrates the buildings were almost always constructed of air-dried bricks, which accounts for the facl that so few of them have remained intact. Walls made of these unburnt bricks
were
first
coated with stone slabs, plaster, ur asphalt, and then covered

pieces of terra-cotta.
with mosaic-work formed of glazed

discoveries, therefore,
Most of the
made
in this region,
consist oi such wall-coverings
of glazed terra-cotta, in
all
which work these people excelled. The specimens of sculpture which have come down to us are mosth in relief, few of them being in plastic.
Many
to
of
the
art
objects
is
discovered
objects
in
recent
excavations
show
Egyptian influence, but there

the
supposition
that
such
Egyptian traders.
As
in
in
no proof of any kind at hand pointing" were brought into Assyria bv Egypt, so here also the lotus-flower played a
very important role
ornamentation.
There must be a distinction made between a specific Babylonian period and a specific Assyrian period, the ruins of which were discovered at different levels in the excavations in Nimroud, Khorsabad, Nineveh, and Kuyundschik. It must be regarded as certain, that, next to the Egvptian, Babylonian- Assvrian art exercised a verv great influence, on the one side, towards the East and North, that is, India and Persia, and on the other side, towards the West, especially in the Mediterranean islands.

Plate
8.
i
.its
iff
/^v
^^^ sssfcigggs gaej cm

jsS s^ssfes <A*?SS&S&i-as3?.-.
H
-
Si
#:
M!ffl^2
-
^^Hf
/*
AJtf
!iJ
:
_"
i'l fe
-i
/*
'"jail
V ^ ^/A\5
I
'
*.j
THK BABYLONIAN-ASSYRIAN ORNAMENT.
Plate
8.
Assyrian relief in alabaster from Nineveh, taken from the palace of King Asurbanipal (668 the English excavab. Chr.), after tions. What is very remarkable in this exampl outlines ofthe
I
<
:t
lioness as she lies
stretched at
tl
the lion;
the lithe grace and tissomness of

n
her body arc
in line
contrast with the strongly-marked, swelling, and powerful

1
Bas-relief showing a
4,
wounded
lion (Libonis).
In
the British
Museum
and
7.
Capital in ivory from the ruins of Nineveh.
In the British
Mu
(Dieulafoy, 1'Art antique!.
Window with
and
8.
balustrade, from the ruins of Nineveh
(Dieulafoy).
In
Relief in ivory from the ruins of Nineveh
(Dieulafoy).
the
British
Museum.
'i.
|i
'.
12
I
Baluster capital to fig. 5. Assyrian bowl (Semper, Der Stih. The Assyrian winged-globe (P. The Assyrian mysterious tree (Pen
Syren (Babelon, Archeoli Assyrian pedestal Dieulafoy). Vessel resembling a basket in the hand of a sacriflcer (Semper). The Babylonian lion. Bas-relief made of glazed bricks from the temple
of
Ninmach
a
(Gurlitt).
he Babylonian
lion
was white with a

blue.
yel
yellow
with
green mane, the background being
light
Plate
fig.
i.
9.
Altertums).
Floor ornament from Kuyundschik (Labke, Kunst des

in
The motif
work-
this
ornament appears
to
have been
its
copied
from
very ancient piece oi

artistic
work, which, notwithstanding

manship.
2.
antiquity,
shows
highly-developed
Capital
of a gate at
Khorsabad
(Uhde,
Architekturformen
des
klassischen
Altertums).
-,.
4.
Mural decoration made of burned, glazed stone, from Nimroud Assyrian relief in alabaster, showing King Assurbanipal
><
(Uhde).
b.
1
.)
5.
<>.
hunting. Taken from a photograph at the English excavations in Nineveh. Assyrian wainscotting made of enamelled slabs (Labke).
From an Assyrian embroidery
iPerrot et Chipiez).
.
7.
8.
Bronze remnants of chairs found in Nimroud (Uhde Ornamentation on glazed, coloured bricks from the wall of a court the palace of King Nebuehadnezar Babylon. From a photograph taken in
recent
in
the
9.
10.
u.
(2.
13.
German excavations in Babylon. Assyrian standards (Libonis). Arched portal from Kuyundschik (Labke). Horse bridle (Brockhaus). Bronze lion from the palace of Sardanapalus iLibonis). Winged steer with human head, in the Louvre, Paris
iLibonis).

Plate
9.
mmj^m-i iflfiiîr^p'^y hum jximn tnMl tiinti

1
Xsaa* ilji^îjtf^^-jau^xlA If^jjci teat ^-4
''imvii*
[JOi n
ir-1
111
<i
Hf.u
jh
iijwji jiI
.m n. B
!
1 1
^t^f
ww
1^ >
10
-
tWi.i
iii.ri
|
aaEL.
b--l;ih-j
J'iLaiWjih
ilililiiilflînr'
1
rin^
U. uMf iJ " -ri.-.t-:^

|
iiijriio
^l
1II1
nil
liiM
rflHUTMlHimi'BTT
i"f -*
S Si
iLJLl
^3
I'HE
BABYLONIAN-ASSYRIAN ORNAMENT.
i
Plate
10.
Border: Flag-post on palaces (Uhde). Ancient Babylonian female head from Diorit. Fig. i.
in
A
in
genuine original
is
preserved
the Berlin
Museum.
in
similar
head was discovered
the excavations carried out
by the French
2.
3.
Tello (South-Babylonia).
4. 5.
Assyrian Chair (Perrot). Bronze tripod in the Louvre Carriage-pole (Perrot). Bronze sw.ord (Perroti.
FOOtStOOl
(Perrot)
iPerrot).
6.
7.
Beaker
10,
iPerrot). (Perrot).
8. 0,
Bracelet
and
11.
12.
Ear-ringS Metal bucket (Perroti.

and
15. 18.
(Perrot).
13, 16,
17. 10.
14,
and
Amphorae Of Clay (Perroti. Goblets (Semper). Bronze remnant from a chair of state iBabeiom.
Washhandstand
Dish (Semper). Metal bucket
(Semper).
20. 21.
2 2,
(Semper).
(Smith, Assyrian Discoveries!.
and 23.
Fork and spoon
24.
25. 2b.
27.
28.
Gold buttons, in the British Museum (Perrot). Harness (Perrot). Gold ear-ring (Perrot). Embroidered breast-piece (Layard, Monuments). Royal necklet of gold (Perrot).
Assyrian fighting ear
L'Art pour tons).
THE PERSIAN ORNAMENT.
|isunion and a continual state of unrest
were the conditions permanent

south-western
times.
ing
.it
in
the
pan Asia Ln olden The supremacy was ever changfixed, and, as a conse-
and never
quence, the peoples who inhabited it were not in a position to develop any independent art distinct from each
other.
The conquerors
or the cone [tiered
were always naturally influenced by the more advanced section of those with whom they were brought into contact. For these reasons, it is clear that Persian ornament can show but very little
Imbossed work, representing the king Xerxes upon the throne
(Roger-Miles).
characteristic
peculiarities,
Egyptian,
Assyrian, and Hellenic influences being

all
plainly discernable.
The
beautiful buildings of the Persian kings
were erected by
artists
in
who were made

Grecian colonies
prisoners in the wars

in
in
Babylonia, Egypt, and
the
Asia Minor.
in
The
iirst
beginnings
Persian art were very probably

the
made by
the Medes, a people
who conquered
kingdom
of the
Elomites with

Plate
ii.

its
51
Susa in the 7th century before Christ and then founded making- Egbotana the capital, but who were later on subjugated themselves in the year 550 B. C. by the Persians under Cyrus. No remains, however, of a special Medean art have ever been
capital city
a powerful state
in the world Cyrus (559 529), Kambyses (529522), Darius but was m its turn conquered \ (5214851, and Xerxes (485 465 by Alexander tin- Great in the year 330 IV from the years 312 to B. C. it was under the swaj ol the Seleucidens, from 284 B. 284 to
discovered.
Persia developed into the must powerful empire

oi
under the
reigns
1'..
<
<
<
284
041
A. D.
it
was subject
to the
Arsacidens, and
from 284 A.
of
1).
to
A. D. to
the Sassanides.
Under the sway
the
it
latter
finally
a new
Persian Empire was established which flourished until

subject to
Islamite supremacy.
The
"I
Islamites
when
in
-
decided
giving
became power
it an enand turning it on to entirel) different lines from those along which it had hitherto moved. Persian art, which continued to develop for about two centuries, is the last echo of the art of the
,
changed
entirely the character
Art
then flourishing
tirely
new
direction
Mesopotamian lands. With the destruction of the Persian Empire by Alexander the Great, Hellenic art, already flourishing at that period, won the upper hand throughout the Orient.
Plate
Fig.
1.
11.
2.
3,
Lion frieze in the Louvre, Paris (Oieulafoy). Lion and griffen frieze (Dieukfoy). Columns from Persepolis (Uhde). 4, and 11.
and
7.
5,
Column
in the hall of
6.
Detail from the
Xerxes in Persepolis (Uhde). tomb of King Aehemenides in the necropolis of Takhte-
Djemsehid
8. 0.
iDieulafoy).
10. 12.
Floor of stairs in the palace of Artaxerxes (Libonis). Frieze, a winged steer (Libonis). Relief at Persepolis, showing- the king fighting with a unicorn Persian pedestal iDieulafoy).
(Labke).
Plate 12.
1
and
3.
4,
7.
Persian wainscotting of glazed terra-cotta Libonis). in the Louvre (Perrot et Chipiez). Persian pottery (Perrot et Chipiez). 5, and 6. From a bas-relief in the hall of the 100 columns, Persepolis
2.
Head of a steer
(Flandin et
Coste, Perse ancienne).

8. 9.
10.
Persian Silver coin (Perrot et Chipiez). Bas-relief with the picture of Ahura-Mazda Head-dress of Cyrus iDieulafoy).
in Persepolis, belongs to
fig. 7.
MAN ORNAMENT.
Plate 12.
THE PERSIAN okN'AMl

Fig. ii,

VI.
and
13,
15.
lt>,
and
Fragment of an enamel bas-relief frem Susa iDieulafoy). Bas-reliefs from the graves of Naksehe-Roustem mi Mosaic from the floor of stairs in the palaceof Artaxerxes (rsbivnfc).
12. 14.
17.
and
Utensils in Chased Silver.

dc l'orfevrerie Franchise).
In the Paris MedallioruCabinet
Ilrnn.-II.
Ilistoire
Dates from the Sassanian jieriod.
*>>
A & 1
I & 1
\ *
i a \
tmm
(Dieulafoy).
Curtain over the throne of Achemenides
SPELTZ,
Styles of Ornament.
THE PHOENICIAN-HEBRAIC ORNAMENT.
ii
Phoenicia lived a distinctly commercial people,

full
of the spirit
of trade,
thinking of nothing
but gain and

cial interests
commerce and keeping their commeralways above other interests of any
kind whatever.
Christ they
Syria,
Italy,
In the second thousand before were already settled on the coast of had trading-stations and colonies in Greece, Gaul, Hispania, and Africa, and in their
intercourse with the various peoples with whom they traded paid attention only to such matters
as
were best
interests.
likely to
cial
To
this
is
forward their own commercommercial spirit is due
the fact that there
no
strictly
Phoenician
art.
all
A Phoenician
in the time of King Thoutmes III.

(Roger-Miles.)
In
the
Phoenician
Ornament evidences of
kinds of decoration can be recognised, EgyptianAss)'rian influence being specially predominant.
examples of Phoenician These imply that the Phoenicians lived in a high state of luxury, and prove also that they had reached a high state of development in the art of working in gold. The Hebrews in Palestine were entirely dependent on the Phoenicians for their technics and their art. The Mosaic law forbidding- pictures and images prevented the free development of art amongst the Jews. In the reigns of David and Solomon, that is, about the year iooo before Christ, Hebrew Art was in its highest glory, and remained so until the destruction of Jerusalem by Nebukadnezar in the year 586 B. C. The principal buildings of King- Solomon's palace, and of the Temple, were however the work of Phoenician artists and artisans. Numerous tombs cut into rocks at this time and characteristic
characteristic
art
The most
to
which have come down
us are their jewels.

Plate 13.
1st
22.
SD^vv
--
36
of
this

period
are
still preserved. In North Syria along the Upper Kappadocia lived a people called the Hetithes who were neither of Ayrian or Hebrew stock. They were settled here since the year 1500 B. C, and, from 1130 B. C. were continuously attacked by the Assyrians, being- finally conquered and destroyed by Sargrm in the 8 th century before Christ. These people had a special, characteristic art-style of their own, a style, however, which shows traces of Egyptian and Assyrian influence. The Art of the Hetithes, however, on the other hand played an important part in and powerfully influenced the development of Persian art. Only very few remains of this
Euphrates and
in
civilisation are
now
to
in existence.
With regard
the other races
who
also lived
in
Asia Minor,
it
may be remarked
any
that, the
remains which have come down to us from

it
these peoples are so few that

distinct, characteristic style.
is
not possible to deduce from them
Plate 13.
Fig.
I.
2,
hewn in Stone (Mission Renan, Libonis). Capital found in Cyprus (Mission Vogue).
Frieze
and
13,
9, 4.
3,
5,
and
11,
0, 7.
8.
Phoenician capitals (Libonis). 18. Phoenician jewels (Libonis). and 12. Phoenician vases from Dali
(Lobkei
10. 14.
15, 19.
Vase from Larnaka (Lubke). Glass vase from Jerusalem (Libonis). Pygmy in burnt clay, in the Louvre (Libonis). Head of a sarcophagus in clay from Carthage (Libonis). Phoenician vases from Alambra (Lubke). 16, and 17.
Phoenician glass vases (Libonis). Phoenician Column (Cippe), (Libonis).
Silver dish
Coffin plate
20.
21.
from Curium
(Libonis).
in
Cyprus
(Graul, Bilderatlas).
22.
Painting from an old Cyprian clay vessel representing the tree adoration (Seesselberg, Friihmittelalterliche Kunst).
THE INDIAN ORNAMENT.
is
generally believed that Indian civilisation

dates ba<
l<
to a
very remote period,

in
it
was.
however,
untry.
in
first
founded
the year 2000 B.C.

into
bytheAyrians who wandered
the co-
The
archaeological discoveries
made
India reach no further

<
hack than a few

close observation
In-
centuries before
of
t
Christ.
Md Indian ornaments shows us that
dian art was by no

Bas-relief from Ellora.
means
India
is
free of foreign
influences,
more
especially
Persian,
ami
purely geographical expression, and has no ethnographical signification whatever. It is inhabited by races of people so different and distinct from each other that to class them together as the Indian race would he incorrect.
a
later en, Hellenic.
but
To speak
so,
of a
homogenous Indian
art
is
therefore impossible, the
more
as each race
which inhabited the country had its own art history. The general history of Indian art may be divided into the following
periods:
1. The Vedi-Brahman era extending up to the middle of the 3rd century before Christ. There is perhaps no monument from this period
in existence.
2. The Buddha era which extends to the 7th century after Christ, and began when Bhuddism was raised to be the established state religion by King Asoca in the year 256 B.C.
Buddha died in the year 557 before Christ. 3. The New-Brahman Period which began on the restoration of the Brahma religion in the 7 th century and continued up into the 12 th century after Christ. This period reached 8 th and 12 th centuries after Christ.
its
highest glory between the

Plate
14.

4.
>
The period of the dominion of Islam to the present time. The spread of Buddhism helped most materially in giving a great impulse to the development of art. Indeed the progress made in art
in other countries besides
India has always

<>l
been greatly influenced by
religious fanaticism.
The
style
decoration used
worthy
of admiration,
was so
fantastic
at this period, although and bizarre, that the form was
completely overspread and hidden bj the ornamentation. The oldest monuments from this period at presenl in existence date from the ,,
of
King Asoca 272

art.
23d
H. C.
With the spread

on Arabian
of Islam.
Indian art took a

will
This part of the subject
new direction based be treated of later on when
dealing with the art of the Islam.
Plate 14.
Fig.
1.
Corner-pillar Of the temple in NijamiZZUr (Constantin Uhde,

und
die
3.
die Konstruktionen
Kunstformen der Arcliitektur).
2,
and
Details
from temple
in
Ahmedabad
(Uhde).
Appears to have been made

This capital shows
alter textile
4-
samples.
Capital from the temple in Kumurpal, Palitona (Uhde).

clearly defined traces of Grecian influence.
5.
Isolated monolith
metal
in
column near the temple at Peroor
(Uhde).
The use
of
this
example strengthens the impression that the ornamentation was copied

sample.
from a
6.
textile
7.
Capital from Bharhut il.obkei. Isolated stone-eolumn from the temple at Karli solid rock. The lion signifies the victory of Bhuddism.
Pillars
(Uhde).
Hewn
out of the
8.
9.
10.
from the Chaitya cavern in Karli lUhde). from the temple in Bhagovati West portal at Sanehi, Tope (Uhdet. This is one of the
Pilaster, with crest,
in
(Rajendraiaia Mitra).
oldest stone
monuments
(Uhde).
India.
It
is
however an
imitation of
wooden
architecture.
.,
11.
Iron memorial column
commemorating the victory of Bhuddism

in
This column dates from the reign of King Asoka

.,
the third century before Christ.
12.
13-
.,
14.
15.
16.
Muktesvara (Rajendraiaia Mitra). Column from the roek-temple in Lauka, Ellora ahde). Capital from the Kootub near Delhi (Uhde). Dates from the later period 191 93. Column from the roek-temple of Indra in Ellora (Canina, architectura antica). Column from the Vihava in Ajunta (Uhde). and 18. Details from the temple at BailOOr. Appears to be copied from a carpet
1
Detail from the temple in
pattern.
Fig.
1.
Window from
Mitra.
the
Plate 15. Jagamohan of the temple

all
of Muktes'vara
(Rajendraiaia
The
other illustrations in this plate are
from the same authority).
2.
3-
4.
Moulding from the temple of Bhagvati. Detail from the tower of Bhuvanes'vara. Medallion from the temple of Sari Deal.
Moulding from the temple of Muktes vara.
5-

Plate 15.
WMw ISIi
i
^^mSEEffl^^
THE INDIAN ORNAMKN

Fig.
6. 7. 8.
4'
9.

.,
10.
11.
12.
Statue of the province from a niche in the temple of Bhuvanes'vara. Relief from the same temple. Pillars from the rock-temple of Uday agiri. Lotus ornament from the temple of Rajerani. Relief from the temple of Bhuvanesvara. Base of a pilaster from the great tower of Bhuvanesvara. Cornice from the temple in Paras uramesvara.
Plate 16.
Fig.
1
.),
7,
and
8.
Old Indian furniture (Rajendralala
Mitra).
Ornament worn by females of the middle Club found in Bhuvanesvara (Raj.)
class
(Raj.).
6,
'i
10
1
I,
Bas-relief from Bharhut representing- an Indian of the 2"d century before Christ il.ebon). Club found in Puri (Raj.). Flag found in Sauehi (Raj.) Javelin from Bunningham's Bhilsa Topes (Raj.). Tridents found in the same place (Raj.). 19, and 23. Wooden jewel-case found in Amaravatl (Raj
1.
l.v
'
Wooden box found

Antique fan
iRaj
1.
in
Bhuvanes'vara
(Raj
1.
(Raj.).
5, and 10. Ear ornaments Four sided clay vessel <:

18.
,1
(Raj.).
20,
2
1.
Urn for holy water Guitar from Amaravati

Metal shield found Short club (Raj.). and 27. Battle axes
in
(Raj
1.
Konarak
(Raj).
2 ^
(Raj.).
25.
Crown
for a goddess
(Raj.)
26.
29,
Gold bracelet (Raj.i. Clay vases (Raj 30, and 31. and 34. Samples of antique textile
I.
(Raj
1.
32,
and 33.
Bow and arrow
(Raj.).
>1f
yen
--
.-
c, J
1
E&Jw
..
fs21
.v/cS#f
.'...
:.
mm
Painting in a grotto at Adoehanta
(afier
Grunwedel).

Plate
16.
THE GRECIAN ORNAMENT.
has
been
clearly
and
both
in
defi-
nitely
proved,
as
from
exca-
discoveries
vations,
made
well
as
from
state-
certain
significant
ments
himself,
historic
made
by
Homer
in
that even
pre-
times several cen-
tres of art existed in
Greece
in
Grecian
Womans
in the
home
and
its
in
the islands lying
(Gerhardt, auserlesene Vasenbilder).
neighbourhood.
These
centres were chiefly found
Ephesus, Chios, Samos, and many other islands, as well as also in Southern Italv. The prehistoric Grecian
in
Peloponnessus, in Attica,
in Milet,
Ornament, which was brought to light by Schliemann in the excavations undertaken by him in Troy, Mycene and Tirvnthia, contains so many Egyptian and Assyrian motifs that no doubt can be entertained, but that Egypt and Asia Minor exercised a most powerful influence on the early
art. That an intercourse existed between these beyond doubt, for, even in prehistoric times, the waters of the Mediterranean were alive with craft trading in all directions. In its primary stages of development, Grecian art in the islands on the Aegean Sea was subject to Oriental influences. Grecian stone tectonic, like that of the Egyptian, was developed from wooden structures, the constructive forms of the latter, being, in man}- cases, changed into ornament in the stone tectonics.
beginnings of Grecian
countries
is
44
The
gonistic
latter,
national character of the Greeks
was very
different from that
of the Egyptians,
the cold severity peculiar to Egyptian art was antaof
to the sense
consequently^
soon
beauty characteristic of the Greeks, and the changed the Egyptian form into one more
Style
is
genial, pleasing,
and agreeable.
after all
but the truthful ex-
pression of the character and perceptions of a people or of an historical
epoch.
Grecian art can be divided into 4 epochs:

I.
Mythical Period or the Heroic Epoch which continued up to

the migration of the Dorians to the year
1
104 before Christ.
The
Ayrians, a tribe of people of the same stock as the Hellenes
and designated by the latter under the general title of Pelasgians, were without doubt the original inhabitants of Greece. This period is confined to that prehistoric era when stone and copper predominated, and to the Bronze Age of the Myccenean
epoch.
The
principal centres
of the
art-
stvle of this period
were found on the coasts and islands of the Agean Sea but especially in Argos and Kreta.
the Archaean Period, from
II.
oric, called
1104
be-
to
470.
The
national Hellenic period
gan about the year icoo B. C, when the Hellenes had taken up permanent residence in the country, at which time the monarchy was changed into a republican form of government. The mythology which arose
at
this
period
it
enkindled the
spirit
of art
and gave which afterwards distinguished it. The Hellenes themselves on the other hand brought with them into the country their own peculiar art-style which they further developed by allying with the ancient Mythic art existing- at the time of their it settlement, and by making new use of Egyptian, Assyrian, and Hethitic influences. From the 7 th century before Christ downwards, when Oriental art began to decline, Hellas took up the leadership in art and civilisation, developed its own style in a characteristic manner and made it the ruling one throughout Three orders all the civilised countries existing at that time. of columns were etablished, the Doric, the Jonic, and a younger
ter
that predominating ideal charac-
one, the Corinthian.
Many
the Uelis
....
existed,
up
people believe that proofs of four to the present time, however, on'y
. .
the capital of this latter order has been discovered.

III.
45
its
The Period when Grecian
art
stood
in
glory,
from
170 to
338 before Christ, tog-ether with the period of its highest glory under Pericles 1444 429); the transition from Doric to Jonic,
and the rise of the latter. The centre of this flourishing period was Athens under Themistocles and Kimon. It was afterwards 420 B.< entirely transformed under Terchus in the years 469 The Doric and Jonic styles, which developed together at the
same
time, reached their most perfect
development
excelled
as Attic-Doric
in elegance, the and Attic-Jonic styles. The former latter in manly strength. The Erechtheion which was begun in the year 425 and completed after numerous interruptions in 40s. the most beautiful monument ol Grecian art in existence. is
During
IV.
this
period the Corinthian developed into perfection with

146 before Christ; rise
of
the Doric and Ionic styles.
The
Hellenic Period from 338 to

style
ol
the
Corinthian
up
to
the destruction
Corinth,
which was
followed by the downfall of Greek independence and the union

of Grecian with
Roman
art.
ol
Although
together,
still,
all
the different styles
the general
to
employment
Grecian construction rose always each separate style enables oi
a chronological division
the oldest style, but

for rich
its
The Done must be described as be made. strongly marked, earnest character, unsuitable
spirit of
ornamentation, failed to give pleasure to the gay
the
luxurious Athenians
was
later
in its glory.
on,
by the
who lived at the time of Pericles when Grecian art The Doric was, therefore, replaced by the Ionic, and. The ornamentation in these two Corinthian styles.
artist's
styles
and was not so binding The inner harmony peculiar to the Doric was, in its rules as the Doric. however, lost, the ornamentation became predominant, and, later on,
allowed more play to the
fancy,
completely
stifled the tectonic
form
in
Roman
art.
Late Doric Frieze,
found
in
the wall of a church at Athens,
probably belonged to a temple of Jove.

Plate 17.
JK&K
&
19.
n
:*;
iQQDDD
ya
\$*!75
^jrfjijJTjl
QLiOD oaoDOOO

Plate
Mural frescoes
in the
47
17.
Grecian Pre-historic Ornament.

'g
'
2 3
13
14
'5
'8 19
palace of Tiryns (Schliemann). 412, 16. and 17. Gold jewels found in the graves in Mycena Bronze plate from Olympia (Labke). Dipylon Vase (Baumeisten. Cyprian coin. Column from the treasure-house of Atreus (Canina). Kyanos frieze from Tiryns (Schliemann).
Ceiling in relief
(Schliemann).
from Orehomenos
(Schliemann).
Plate 18.
The Doric Ornament.
Fig.
1.
Gable corner of the temple

tonische Ordnung.)
of
its
in
is
the island of Egina.

thi
(Mauch,
at
Architekthe
p
This temple
is,
an
example of Doric architecture

P<
ins,
highest splendour, that
after thi
anil
when
All
1'ericles
stood at the
period,
head of the government of Athens.

of Art and
carried out
its
Pericles
fully
understood, at this
the
the great importance
influence
on
the
state.
works
of art designed by him
were
by
his friend Phidias the

ol
renowned
sculptor,
in
who
had as his assistants the best architects

all
its
the
tune.
These men succeeded

highest perfection.
bringing Doric architecture in
different parts to the
The temple was erected soon

75
tli
after the defeat of the Persians, probably in the
Olympiad, and was dedicated to Minerva.
The columns have an

here, the strong,
entasis of
/so
of the lower diameter, and present
much more
the capital;
is
pleasing proportions than those from
Pastum.
This
is
especially
so
in
sharp- angled pro-
jection produced
lines
is
by
a bellied
coussinet
avoided, and the capital formed of cornice(lutings. In
which
rise delicately
and gracefully from the

is
this
way, an echinus
its
formed, which, while being strong,

in
not bent and swollen out under
burden,
and
the
which the
the
effects
of light
delicate
and shade are most attractive.

formation
peculiar
to
The
fillet
under
the
echinus displays
that
the time
of Pericles,
channels in
neck alone being the only parts which remind one of the ancient
columns from Pastum.

beautiful,
and
The profile of the cyma over the sloping gable-cornice is very was painted with an ornament which the Greeks called anthemion.
after
The
griffin
on the roof of the gable has been reconstructed

structure
foil
discovered frag-
ments.
The whole The

taenia
was
in
built
of polished
and painted sandstone.
Traces
of yellow and green
have been found on the architrave.

vermilion, the regula, triglyphs, and mutule, in blue.
was
painted
2.
The cvmatium was decorated with red and blue foil, the same colours being given to the flowers on the cyma. The floor of the pediment was blue. Gable-corner from the temple of the Apollo Epicurius near Phigaleia in Arcadia. iMauch, Architektonische Ordnung.) This temple, which was built by The
platbands were red, with traces of scrolls having been painted on.
this
above
Iktinos, the builder of the
Parthenon
in
Athens,
is,
with the exception of the temple

It
of Tegea, the
most beautiful throughout the entire Peloponnesus.
was constructed
the gable-cornice
of bluish-white limestone, the ornaments being of white marble.
The
entire proportions
resemble those from the time of Pericles

is,
in
Attica.
The cyma over
however, entirely
relief.
different.
It
is
ornamented alternately with woodbine and lotos-
flowers in

Plate 18.

Fig.
3.
4g
Architektonischc
Capital from Small temple in

This temple was
in
all
Pastlim
(Mauch,
Ordnung).
probability built under the rule of the Sybarites, in the years
4.
S' 34 before Christ. Certain peculiarities point to Etruscan influence. Ante-fix from temple of the Apollo Epieurius near Phigaleia in Arcadia (Mauch, Archit. Ordn.). This ornament is most beautifully finished in marble.
'
(See Fig.
5.
2.)
Aeroterium of the pediment of the temple on the Island of Egina

(Mauch, Archit. Ordn.).
See Fig
6.
Profile
of the
I.
capital
from the same temple
(Mauch,
Archit.
Ordn.).
See
,
Fig.
7.
Under surface of the platband from the Parthenon

Archit. Ordn.).
in
Athens
(Mauch,
8.
9.
Ante-fix from the Parthenon in Athens (Mauch, Archit. Capital found in Pastum (Mauch, Archit. Ordn.). This capital shows undoubted
evidences
of
Etruscan
infli
10.
Antae-eapital in Athens
this capital
is
(Mauch, Archit. Ordn.'.

foil
The
intei
ected
coussinet of
tals.
painted with the
peculiar to the ancient
Doric
,.
11. 12.
Antae-eapital from the temple of Nemesis in Doric eymatium (Labke, Kunsi turns).
Rhamnus
(Mauch, Archit. Oidn).
Plate 19.
Ancient Ornamental
Fig.
.,
Filets.
Ancient ChapletS (Uhde, Archit. Ordn.). 6-S. Foils from the Ptolemeion (Uhde, Archit. Ordn.). Foils from the Erechteion (Uhde, Archit. Ordn.t. 9, and 10. 11. Painted foils from the Theseus temple in Athens. 12, and 13. Painted foils from the Propylaen (Uhd Painted foil from mausoleum in Halicarnassus (Uhde). 14.
1-5.
Plate 20.
The Ionic Ornament.
Fig.
1,
2,
and
5.
Pilaster-capitals
Milet (Mauch).
the side view.
cella.
fig.
from the
Fig.
I
cella
of the
front
temple of Apollo
half such an Ionian
in
Didymaus near
capital,
shows the
view of
and
5,
Figs.
and 4 are ornaments of the middle space
other capitals with the same

3.
8,
9,
and
12.
Corners of pillars from the temple of Minerva Polias at

This temple
is
Priene
(Mauch).
is
architecture.
Fig. 8
the section of the
one of the most beautiful examples of Asiatic-Ionic column at the neck, with the capital, seen
with four-cornered
plinth.
from below.
pedestal
is
Fig. 9 is
the
pedestal
This
description
of
rare, being found only in the Ionic column.
Fig. 12
shows
the ornament
on the under side of the cornice.

be found

Details as to the helicoid of the Ionic capital will
in
"Speltz, Saulenform der Schneckenlinie des jonischen Kapitals".
6.
7.
Capital and plan from the temple of Apollo Didymaus near Milet (Mauch). Capital of the central column of the temple of Minerva Polias in Priene.
With plan
(Mauch).
10.
Capital from the aequeduet of Hadrian at Athens, with plan (Mauch).

Styles of Ornament.
SPELT Z.

Plate 19.

Plate 20.
m\9/*mMMlM&&$!'X!m;3;MIX..X.X<

Plate 21.
OtiliPiiEfif^^
THE GRECIAN ORNAMENT,

Fig. ii.
r^
Ornament between the antae

near Milet
(Mauch).
in the eella of the Apollo
Didymaus temple
13.
Side-view or a capital
at Priene
1
in the
Propylaeum of the Minerva Polias temple
Mauch).
14,
and
15.
Side and front-views of a pilaster-eapital in the
same temple.
Plate 21.
The Ionic Ornament.
Fig.
i,
and
4.
Capitals and pedestals of columns in the Minerva Polias Temple

In the
at Athens (Mauch).
Acropolis
at
Athens were erected,

Polias
in
artistic
dissymetry, the Parthenon,
the
double temple of Minerva
and the
Nymph
Pandrosos.
The columns
in
these structures, with their energetic, double-fluted volutes, the braided torus over the echinus, the latter being visible in its entiri the finely moulded coussinet, and
,
the delicately ornamented neck, display structure ol the purest and nost delightful style.
Instc.nl
of the
Sanctuary which also stood here,

the Erechtheion
In
during the Persian war,

after the
but which was destroyed was erected, but was not completed until
year 409 before Christ.
the
back wall of the four columned vestibule,

in
figs. 3, 6,
was
the celebrated beautiful door, details of which are given

is
and
7.
At
on
the west end of the south side
the Hall of Pandrosos or Pandreseion,

is
called also
the Caryatides Hall.
This Hall, which
covered with
10).
marble
tiles,
is
carried
supporter-,
wrongly called Caryatides
(Fig
The
entablature
over these sup-
2.
porters has no frieze. The supporters very probably represent Pan Athenic virgins. Pilaster-capital from the hexastyle portico of the Erechtheion in Athens
1
Mauch).
3, 5.
6.
and 7. Details from the door of the Erechtheion in Athens (Mauch). Capital from the interior of the Apollo Temple at Bassae, near Phigaleia (Mauch).
8.

9,
10.
13,
,.
15,
Capital from the temple of Neandria (Lobke). 11, and 12. Grecian ante-fix from the time of Pericles (Libonis). Caryatid from the Pandroseion at Athens (Mauch). and 14. Capital and anta from the temple of Minerva Polias in Athens (Mauch). and 16. Grecian coins (Lobke).
Plate 22.
The Corinthian Ornament.
1.
Capital on temple at Patara (Semper).
2.
Capital from the

very slight changes
Tower of the Winds

capital,
in
Athens
(Mauch).
This Corinthian
which
is
of the simplest kind, has been found with but
3.
all over Greece. It was even employed in Byzanthian architecture. Capital and entablatures from the monument of Lysikrates in Athens
Mauch).
of Pentelic
This tower-like structure, which dates from the year 334 before Christ, is built marble, and is still in existence although in a very damaged condition.
in
six-columned rounded pseudo-periptera! rests on a substructure built
the form of
a pedestal.
(Plate 22,
Over the
fig.
principal
crest
cornice,
9
which
I").
is
likewise rounded,
is
curves a callot
is
in with
(figs.
and
This crest, which
of one piece,

Plate 22.
011111111111^^

Plate 23.
s
-5*.
---,...

Plate 24.
THE GRECIAN ORNAMI
57
one of the most wonderful examples of Greek sculpture.
The
three wide
projecting
entirely
arms of the same were

disappeared.
at
one time supported by consoles, but these have

approaches more to the
real
now
The
capital
Corinthian
capital
than that
Fig.
4-
of the Tower of the Winds. Capital of a column from the ruins of the temple of Apollo near Milet
(Mauch).
.
5-
Upper part of the Tower of the Winds

This
cornice, the
is
t
in
Athens
in
relief.
(Mauch).
an octagonal horologe of Pentelic marble, on whose sides,

the (our winds arc
under the
shown
On
the pyramidal top of

reliefs
the roof
was
a brazen Triton a
which served as a weathercock, and under the
were arranged
number
of sun-dials.
The tower
itself
contained a clepsydra.
j).
Pedestal of a column of the Lysikrates monument in Athens (Mauch) (fig. Capital of portico of the Jupiter Olympus Temple in Athens (Mauch). Pilaster capital from Paestum (Mauch). Upper part of the Lysikrates monument in Athens (Mauch) (Fig. 3). Crest of the same monument (Mauch) Plan or the capital in Fig. 3. Anten-capital at Eleusis (Mauch).
(Kig. 3).
Plate 23.
Fig.
1.
2.
3. 4. 5. 6. 8,

to.
11.
Terra-cottas from Olympia (Botticher, Olympia). Frieze from a portico on the island of Delos, built at the time of Philip of Maeedon (Uhdi Mosaic flooring in the Temple of Zeus at Olympia (Graul). Lion from the tomb Of Mausolus, in the British Museum (Roger-Miles). Bronze plate, representing the dispute on the tripod (R >gei Miles). Grecian frieze fragments in the Villa Albani in Rome (Tatham). and 7. and 9. Columns from portico on the island of Delos, front and side views (Uhde). Head of Zeus in bronze from Olympia (Labke). Roof of the monument of Lysikrates in Athens (Majch). See Plate 21, Figs. 3,
I.
6,
9,
and
tO.
12.
Painted clay ante-flx
iReichhold).
Plate 24.
(From
Fig.
1,
C.
Thierry, Classische
Omamente.)
2.
and 3. ImbOSSed works from the ImbOSSed work from the National
Kircher's Museum, Karlsruhe.
Museum, Karlsruhe.
Plate 25.
Fig
ImbOSSed work representing oriental influence (Thierry). Marble ornament from Branchidse (Thierry). Marble im bOSSed work in the Villa Poniatowsky in Roma
Painted clay plate Seat antic (Thierry).
(Doimetsch).
(Thierry).

Plate

Plate
p^MMpppppipiiiifiiiBPPPiiBHgo

Plate 27.
*%www*^vwwm\vwwi^^
ill
THE GRECIAN ORNAMI
'.
1
01
Plate 26.
Principal examples of the Grecian
The
Thena
in
Vase after Baumeister.

in
principal
centres
of pre-historic keramic
was
Praja
in
the island of Cyprus, an
Mytilene.
is
Tlie real Grecian kcramik

1.
disting
i
Vessels of the geometric style (about
o B
title
C), which have been discovered
principally in the Dipylon Gate in Athens,
hence the
Diplylon Style.
Judged by
ol
its
and style
this
is
is
Old-Ayrian even
the
figures
clay.
themselves
being made
up
The
thi
colouring
2.
dark-brown on yellow
Vessels showing Oriental influences,

centre
datii g
from the
.^
''
to the 6'h
century
'
be
principal
being
in
Corinth.
Phoenicians,
intermixed with
th<
The employment of Oriental motil med the groundwork upon which

winch
wi
the real
Hellenic
3.
styl<
developed.
black-coloured
is
Attii
vessels
from the 6
downwards,
.).
the clay
red.
els
Red-col ured
1
which were developed from
tl
ng style
In
the
fifth c>
being painted over with black varnish, thu

["he art
in
a black ground,
of keramic
entirely disappeared from
revived
Fig.
i.
Lucania, Campania, and Apulia.
Vase from the island of Thera.

tankard.
ls It
This example reminds one of the [Vojan spouted

the
last
date--
from
a
thi
millenary
iri
t.
Il-
gray,
painted of
dull
brown.
2.
3.
.(.
Vase, lacquered, from the Grecian Islands, ol m. .rigin. Athenian vase from the : centurj uist. Phaleronian jug from Attica, found in the graves near Phaleron. With to its ornamentation, this vessel may be classed with the Dipylon vase I'lat.
,:
'
1
regard
I
5.
Attic
amphora
is
from the
x] <
century before Christ.

Shi
6.
Vase of later date from the island of Rhodes.

Oriental, that
Egyptian, influence.
7.
8.
1
Old-Corinthian vase.
Chaldean vase. Vase of Gamedes from Boeotia.
Frescoes
Fig'
Plate 27. and Vase-painting.

4143fillets,
3,
57. 912,
1310,
21
20,
26 2?,
34i
3 8-
33, 35, 36, 39,
Greek vasepaintings
iLibonis,
Reichhold. Sales Meyer).

2,
4,
25,
Fret-work
principally from Greek vases

figured
(Sales Meyer, Reichhold).

8.
Team
Of carriage horses from the older Grecian period, from a black
vase (Gerhard, Ausserliche Vasenbildung).

1
7.
18,
Old Grecian War-Ship from a vase-painting (Baumeister). 3032, 39. Coffer-work from the ceiling of the Propylaeum in Athens
(Sales Meyer).
19-
29. 37.
40.
Vase-painting, Keramic work from the Grecian islands (Reichhold). Ornamental work on the ears of a Greek vase (Reichhold). Ornamental work on the neck of a Greek hydria (L'art pour Tous). Ornamentation of a coffered work ceiling from the Parthenon in Athens
(Sales Meyer).

Plate 28.
,,,
Plate 28.
Fig.
I.
Grecian mirror
perhaps be more
(Reichhold).
This
is
it
given
as
an Etruscan
mirror,
in
but
it
would
correc-t to consider
as
been produced
Greece.
its
:.
Female apparel dating from the time when Greece stood at

splendour (Reichhold). Furniture veneering from the Grecian colonies and 17.
(Semper).
highest
3,
in
the Crimea
4.
5.
6.
7. 8.
9.
Marble chair of state (Baumei Bronze leg of an arm chair (Re Grecian chairs (Racinei 10, 16, 18. Bronze tripod from the geometric ornament period (Reichhold). Fans (Racim Leeanium or dish found near Kerrseh with engravings showing the
>
furniture
oi
..
Greek lady's boudoir (Antiq.
d.
Bosph., Cymm.).
1113.
1
Lyres (Racinet). Drinking-horn (Racinet).

Little table (Racinet). and Reich, Theater).
from the Kui
urn (Industrial Art
..
15.
i').
,.
2d.
Marble arm-chair (DOrpfeld Couch with table after copy

in
Museum)
Dresden.
Plate 29.
Fig.
1.
2, 3,
Helmet from Samnium (Baumeister). 6. Helmets of gladiators (Baumeister). and 4. Relief, arms and armour (Baumeister).
and
5.
7.
Dagger
(Baumeister)
iBaumeisterl.
Iron helmet
8.
i).
to.
11. 12. 13. 14. 15. 10. 17.
18. 19.
20. 22,
24.
Bronze figure from a carriage-pole, im Museum Dutmt, Paris. Relief, weapons, from Pergamon (Baumeister). Iron helmet with silver ear-laps (Baumeister). Bronze greaves (Baumeister). Bronze shield (Libonis). Helmet from the time of Homer (Racinet). Bronze tripod from Metapont (Reichhold). Bronze handle Of a looking-glass, from the Dutuit Museum, Paris. Spear-head (Baumeister). Coins stamped with the Olympian Zeus, from Elis (Lubke). Fragment of statue of a woman, from the Acropolis in Athens Grave stela of the Aristion from Aristoeles in Athens (Lubke). and 21. ArrOW heads (Baumeister). and 23. Theatre masks for man and woman (Baumeister). BOX, from a Vase-painting (Gerhard, etruskische Spiegel).
(Lubke)

Plate 2Q.

Piatt;
30.
SPELTZ.
Styles ol
Omame
66
Plate 30.
Fig.
15, and
6,
8.
Ornaments
(Libonis).
and
9.
10.
11. 12. 14.
15.
Foot-gear CimbalS (Renard). Gold belt-Clasps

7.
(Renard).
Libonis).
Tambourine
and
13.
(Renard).
Sacrificial knives (Renard).
Sunshade (Baumeister). Girl with embroidery- frame

17,
(Baumeister).
16.
21,
and 22.
(Renard).
Coiffures with ornamentation (Racinet).

(Racinet).
18. 19.
Torch
and 23.
it
Horse-bridle
is,
20.
Necklaces
in
all
(Havard).
The
first
is
considered by some to be Etruscan work,
however,
probability Grecian.
1
24.
Silver vase with relief in gilt
Havard).
^ma
Greeo-Phoenizian Bust.
(L'Art pour tous.)
THE ETRUSCAN ORNAMENT.
who
at
--
lived in
the
name given to a people is now called Tuscany time when Rome was founded. It
the
what
';-.
is
impossible to trace the origin

but
it
oi
their
descent,
appears
as
LI
thej
had
Scene of a banquet
(Marta,
l'art eti
usque).
wandered down from the north, and took fori ible possession ol theo >unta about the year tooo B.C. in which they afterwards settled and which was inhabited by mmAyrian Ligurian Nanaturian and other
)
races.
The
period
"I
the highesl develop-
ment of the Etruscans dates from 800 to 400 B.C. They were subjugated b\ tin- Romans, afterwhich they gradually disappear from history, theonly traces ol their oneeha\ inî c\im> being some lew architertural monuments, chiefly tombs, which have come down to us. Although the monuments left behind by the Etruscans show most decided traces of Grecian intluence, still, the hypothesis that the Etruscans were of Grecian origin. cannot be accepted on that account. The racial differences between them and the Grecians were so marked, they were so totally different in their physical constitution from the latter, that it is impossible to regard the Etruscans as of Hellenic origin. It is possible that in their wanderings towards Italy they came into intimate contact with the Grecians, and thus brought with them the elements of Grecian art into their adopted country. Their art was in all probability subject to influences proceeding from Phoenicia and Carthage, but more especially to ancient Ionic influence. They understood, however, how to change all these influences in such a way as to give them the stamp of their own national art. At the period of their subjugation by the Romans, the Etruscans had brought their own art to such a high state of development that it was able to exercise an influence by no means small on the development of Roman art which was at that time in its infancy. Roman art came
<i
afterwards, of course, entirely under the influence of Grecian
art.
5'

Plate
3
i
69
Plate 31.
Fig.
1.
Relief, travelling-carriage
Baumeistcr
:.
Ante-fix of a
and
8.
tomb
(Marta).
3,
Etruscan bigas With bronze easing.

in
These were found
in
Nurcia and
purchased by the Metropolitan Museum

4.
New
York.
v
6.
7.
9,
to.
Etruscan frescoes (Marta). Bronze candelabrum (Marta). From the facade of a tomb in Norchia Labke Clay sarcophagus from Cervetri, in the Louvre ubke). and I. Marble altar from the collection in the Villa Borghese Terra-cotta altar (Tatham).
. 1
near
Rome (Tatham
Fig.
1,
and
2,
3,
4, 7. 8. 9.
Plate 32. Swords (Baumcister). and 5. Helmets (Libonis). Link for the handle of a bucket. 6l> century 16, 17, 19, 20, 22, and 25. Ornaments Libonis).
6.
before Christ (Reichhold
12,
and
|.
Greaves
Libonis).
Fibula
'Libonis).
1
Fighting warriors (Racim
in.
Etruscan peasant (Racinet Razor (Libonis). Etruscan mirror in the numismatic

.
collection in Pari
Gerhard, Etruskische Spiegel).
This
is
considered by some to be Grecian work

(Reichhold).
.Marta,
Tripod Tripod
Part etrusque).
r)!
Dagger
2
l.
(Baumeist.
Heating-stove Marta). Antique bronze cist Gerhard
26.
Spear-head
(Baumcister).
'..''."
rrr.
.'..
..,,'..'". .'..'..*"..
-^
'
>
:..<
Etruscan tomb
in Cervetri (Renard).

Plate
THE ROMAN ORNAMENT.
iith their art
the
<
rreeks conquered
the world, the R< imans with their

politics
whole
present
and their legions. The world at the civilized day is stri\ ing to emuworks ol art oi the
the
former, the laws of the latter

are considered
throughout the
must be estalie
world
as
all
the foundation upon
which
blished.
laws
In these facts
the
between the two peoples. Those Romans who lived at the beginning of Roman history were unable to develop an independent art of their own, for all their endeavours were directed to amassing wealth, and increasing their lands. They were obliged therefore to take the motifs' for their art from Etruria and continued to do so Becoming men- accustomed to until Grecian art became predominant.
difference in character
luxury from the conquests which they made, the
Romans began
gradually
to form a national art of their own under the guidance of Greek teachers. The practical spirit of the Romans and their taste for monumental work are naturally to be seen best exemplified in their architecture, a science in which they have performed most magnificent work especially in connection with the monumental development oi i>n>fane The Romans furthermore took up buildings, basilicas, Thermes, etc.
and accomplished the task of combining numerous ruins to a homogenous whole, and of developing them further by using, together with the doublesystem of construction, the Grecian columns, the flat-ceiling construction In this latter at the vault, and the restoration of remains of old walls.
art
they became
the
teachers
of
future
generations.
The Romans
it
adopted the three-column order of at the same time the Etruscan column.
the Composite order.
the Greeks keeping with
however
To
these four orders they added
72
THE ROMAN ORNAMENT.

Besides bringing architecture to a high state of development, the
Romans
foreign
their
also
succeeded
in
bringing the art of sculpture to a very high
degree of perfection.
artists.
In this latter,
however, they had the assistance of

in
The manner, however,

to
which the
Romans heaped on
ornament was detrimental

insatiable luxury
the characteristic Grecian outlines,
and the
finally
destroyed completely the exquisite
predominating during the time of the Caesars harmony of Grecian art
the form was entirely
work, which had

perfection
its
overgrown by the ornament. The origin in the Orient, was brought
art of mosaic-
to
its
highest
by the Romans, all the old Roman mosaics now in our possession prove this beyond any question. The fall of the Roman Empire, and the victory of Christianity, marked also the decline and fall of classic art, for this art could not certainly be agreeable to those Christian barbarians who now poured The eastern Roman Christian Empire into the country from all sides. exercised a very great influence on the development of a new art amongst the Christian German states which rose from the ruins of the
Western Roman Empire.
The
loped,
so called Early Christian and Byzantian Style was soon devefurther, the
in
all
and from this, developed the fashion and standard of art
Roman
Style which
became
the newly constituted states.
Roman Bathing-vase
(Tathamj.
THE ROMAN OKNAMI
Piatt
THE ROMAN ORNAMENT.

Plate 34.
<
^T
s
Y*
Yv
v
*l
fill Si
^î w i^\cl\
"*"kr
l îrS
y~ v\/0M
OmiMEffi
THE ROMAN ORNAMENT.
10
Plate 33.
Fig.
i,
4,
9,
19.
Capitals and entablatures of the Doric Order, found in Albano

(Ma
>
near Rome
to
h).
(I
appears as
if
Vi
his Doric
tine
Order according
this
fragment.
The
and
entablature
produces a specially
19.
effect
by means
oi
the
under aspect of the plat-band, Fig.

under
the
triglyph,
is
The band
"1"
the architrave
comes
4
t'
therefore corbelled out very Strongly.
Figure
gives a
view of the
:,
capital seen from
below, and Fig.
the pedestal
oi"
the column.
5,
17.
Doric Capitals and entablatures from the

These wer<
the
Thermae
[icate
in
of Diocletian
"I
(Mauch).
the
erected about
di
profile
the cornice,
decorated
members,
1
and
the
fretwork
Figure
5
denticulations
Meander form,
seen from below, and
really
Fig.
3.
(j,
more
Ionic
order.
show
th<
capital
17,
the lower part of the plat-band.
is.
From a white marble altar in the Vatican Museum (Tatham). From a white marble altar in the Museum of the Capitol
I".
11. i},
1
In
Rome
(Tatham).
7,
.
8,
1.
Foil for
eyma
(Mauch).
12.
15.
Bead-moulding (M.uichi. Arch with rise from the Amphitheatre

Christ (Uhdi
I.
in Pola.
Completed
in
150
after
.,
16.
Frieze
ornament
(Tatham).
Plate 34.
Fie.
1,
2,
5.
Rome
its
Pilasters with principal cornice from the Thermae of Diocletian in (Mauch). This pilasterj winch is of the Ionic order, and which very possibly had
in
position
a corner,
a
is
an example of the inharmonic

pilaster.
inconsistency of employing
that here the coussinet
the capital
oi
column on a
verge
This
is
seen
in
the fact
is
cuts into tin
body, and the echinus, which

to
is
rounded above,
lines
l'\
forced,
below, together
column.
with
the
astragal,
into the straight
"1
the
body of the
The
Frieze
has an
entasis
which was often used
the
Romans.
Figure 2 shows the
pedestal ot the pilaster, and Fig. 5 a view of the capital seen from below.
4,
6.
Columns and entablatures from the temple of Fortuna

(Mauch).
a
free
Virilis
1
in
J
Rome
This
temple
was
four columned
Prostylus
Its
Pseudo-peri]!'
which had
jections,
standing
column behind the
corner-pillar.
is
erection
took place
towards the close of the Republic.

for,
is
The
entablature
is
besides
too
other
errors,
the plat-band
3
too
by no means free from obweak, and the band of the

of the column, and Fig.
6,
architrave
clumsy.
Figure
shows
the pedestal
the capital seen from below.
Column in the court of saint Hieronymus in Rome (Piranesii. Capital of a house on the Bridge of Gratiano in Rome (Piranesi). Capital from the temple of the divine Proeedis (Piranesi).
Capital from the basilica of the divine Clemens
(Piranesi).
Capital from a house in Rome (Piranesii. Capital from the Palace Pionetti in Rome (Piranesi). Capital from the temple of the divine Priseae in Rome
Capital of a column in the Villa Negronia in
(Piranesi).
Rome
(Piranesi).
THE ROMAN ORNAMENT.

Plate 35.
THE ROMAN ORNAMENT.
77
Plate 35.
Fig.
i.
Lower portion of Roman Campagna

to, ii,
12.
the corona from the temple of Jupiter Stator in the

(Mauch).
2,
Capitals and entablatures from the interior of the Pantheon

(Mauch).
building
is
still
in
Rome
This
well
preserved,
and
i>rms
built
a
the
in
projecting
part
I
of the
Thermae of Agrippa brother-in-law of Augustus It was built by Valerius ofOsta. Figure i" gives
Figure
3, 4,
the year 20 befon

capital from
view of the
below,
II,
tin-
pedestal of the column, and Fig. 12 an under view of the corona.

fPiranesi).
s,
6. 8.
Fragment from the Villa Borghese in Rome Found near S. Gregorius (Mauch). ;. From the Villa Albani (Piranesi) From the Villa Borghese (Piranesi).
l
9-
Capital from Mauch

I.
the temple of Jupiter Stator in the
Roman Campagna
Plate 36.
Fig.
i,
6.
Capitals
and entablatures from the arch of Septimius Severus

must
be
included
in
in
Rome
(Mauch).
This
the
composite order.
Figure 6
is
view
ot
tli<
Capital from below.

2.
From a Roman
sacrificial altar (Piranesi).
Marble Fragment from Rome
iTatham).
THE ROMAN ORNAMENT.

Plate 36.
THE ROMAN ORNAMEN

Plate 37.
mr-
ilSMfflSlttBiSkifij
B
U
Si
*6
~'---r^:z<"-
likifis&m..^
'-j
S^.liL
â^
a|l
J lll.jfj_^.atT".,^tyr ."3ir
mi
THE ROMAN ORNAMENT.

Plate 38.
THE ROMAN ORNAMENT.

Fig.
3,
Si
4,
7,
8-
Pedestals, capitals, and entablatures from the Temple of Vesta

This temple was a circular peripteral with
8 columns,
in Tivoli (Mauch).
1
lo of which
are
still
in
in
good condition.
The columns
are
not
perpendicular
but
inclined to the axis in
such a manner that the inner lines on the tapering shaft receive almost a vertical
thus
direction,
hi
increasing not only

ctl'ect,
the apparent but the real stabilitv of the [whole.

fillets
order to produce this
the
under
thi
base and above the

in
capital are
somewhat
the volutes,
wedge-shaped.
["he
capital,
which
i
differs
form from
a
the usual normal
capital of the Corinthian
order,
1
hape with
..I
lotus-flower
b
also bear
the latter being shape.

to
like
oi
the horns
ram.
The leaves
tin-
mure resemblance
the palm-kale the
savoj
I
rather than to
thi
acanthus.
at
Figure
shows
leaves.
section
through
cornel
capital
capital.
in
and one
I
the
in
roots of the
Fig.
Figure
gives an oblique
view
oi
the
lie
pedestal
it
has
no plinth, possibly on account of the circular form

friezi
is
which
is
constructed.
The
most
effectivi
I"
ited
in
natural
kull.
mannei
with ox head,
rosettes
festoons,
5.
and patera, instead of the

(Mauch).
Roman bead-moulding
Plate 37.
i
and
Pedestals from the Villa of Cardinal Alexander Albani before the 8. Solarian Gate in Rome (Piranesi. The remaining examples are all from the
same
authority!.
:.
3. 4. 5.
6.
7.
Pedestal from the Villa Barberini near Alba. Pedestal from the Temple of Nero. Pedestal from the mausoleum of Augustus. Capital from the Villa Farnese. Pedestal from the temple of Quatuor Corovatorum. Pedestal from the Basilica of the divine Bartolomaus in the island of Tiber.
9.
Postament from the Temple of the divine Praxedes.
Plate 38.
i,
5.
:. 3.
Pilasters of veined marble in the cloister of Araeali near Rome (Tatham). Fasces from a bas-relief in the Massimi Palace in Rome (Tatham). Ancient marble altar from the collection in the Villa Borghese in
Rome
4.
6. 7.
(Tatham).
Fasces from a bas-relief in the Capitol (Tatham). Fragment of an antique frieze found in Tivoli (Tatham). Fragment of a frieze in alto -relief from the Villa Aldobrandini in
Rome
(Tatham).
SPF.LTZ, Styles of Ornament.
THE ROMAN ORNAMENT.

Plate 39.
THE ROMAN ORNAMENT.

Plate 40.
THE ROMAN ORNAMENT.

Plate 41.
THE ROMAN ORNAMENT.
85
Roman
1.
Chairs
Plate 39. ami Senats
after
Tatham.
2.
3.
5,
White marble arm-chair from Rome. Foot of a white-marble sarcophagus in the Vatican Collection. Front 4. and profile. Half of a green marble tripod from the Vatican Collection. Ancient bronze arm-chairs from the Museum in Portici. The covering 8.
i--
modern.
Front and
profile.
6.
;,
10,
Ancient marble stool from Rome. Ancient bronze stools from Rome. Front and profile. 9. ii Chairs of state in white marble from the Vatican Collection.
and
profile.
Front
Plate 40.
Roman
Fig.

Sculptures after Piranesi.
1.
2.
3.
Marble tripod in the Capitol Museum at Rome. Marble vase in the Farnese Palace. Terra-eotta vase in the Vatican Library. The chimerical
to
figure
has reference
human
life.
4. 5,
6.
Marble candelabrum in the Museum of Piranesius. Marble vases from the Villa Adriana.
Fig.
2
.
4
5
6
7,
8,
Plate 41. Bucrania (Baumeister). Copper axe (Racinet). Sheath for the sacrificial knife (Baumeister). Incense box (Racinet). Handkerchief of the sacrifleer (Baumeister). Marble table from Rome (Tatham). 18, 27, 28. Ancient foot-gear (Racinet). Female coiffures (Racinet). 9, 10.
Silver Spoons (Baumeister).
11. 12.
1
s-
14.
axe (Baumeister). Memorial wreath of gold Key (Racinet).

Sacrificial
Priest's ladle (Baumeister).
plate,
from Lower Italy
(Baumeister).
15
(6.
17.
19.
Wine-jug of clay used in religious rites Ivory figure Of an actor (Baumeister). Weight of a scales (Dutuit). Fumigating altar
(Baumeister).
(Racinet).
20.
21.
Sacrificial knife (Baumeister).
22.
23.
24. 25.
26.
Aspergillum (Baumeister). Priests of Cybele in full canonicals with sacrificial implements Wine-jug for use in sacrifice (Baumeister).
Priest's
(Baumeister).
mask
(Baumeister).
(Baumeister).
Incense-box for use in sacrifice
THE ROMAN ORNAMENT.

Plate 42.
THE ROMAN ORNAMENT.

ri.it it'
i;-
THE ROMAN ORNAMENT.

Plate 44.
rdviNI^COMt-i
DOMESTIC EQVITV] ETCONSOKD flj
THE ROMAN ORNAMENT.
89
Plate 42.
1
2, 3.
[.
6.
Marble candelabrum (Canina). Marble table (Canina). Fragment of a bronze candelabrum from Naples (Libonis Silver dish found in the silver discoveries in Hildesheim Marble candelabra anina).
(
(Havard).
7. 8. 9.
Roman scales Dutuii Roman satyr (Baumeisti

Amulet with head of Mercury
Dutuit).
o.
1
Roman sedan chair
(Baumeistei
|
12.
[3.
1
Portrait of Julia, daughter of Titus Portrait Of Augustus Clay oil-lamps (Libonis).
n Cameos, found in Florence (Libonis).
I.
Bronze toilet-vase
(Dutuit).
15.
16.
Roman
19,
21.
As (Baumeister). Silver forks (Baumeistei

coins
1
17. 18.
Vase in chased silver (Marta, Manuel d'ai Bronze from Naples showing Hercules
(Baumeister).
Etrusque
Romaine).
fighting
with
the
snakes
20.
Wine-jug of bronze
(Baumeister).
Plate 43.
Fig.
Hair pins (Libonis). 15. 7, 2. Medaillon with picture of Hercules (Libonis). Massive gold necklace (Libonis). 3. Ear-ringS (Libonis). 4 0, 10, II. 8. Bronze candelabras from Naples (Libonis). Bronze lamp in the Louvre (Libonis 9. 12. Terra-cotta lamp (Libonis). Rings Kenan] 14. 3,
1,
. I
.
lb IS,
20.
2 2.
Pins (Renard).
(Renard).
23. 24. 25. 26.
Needle (Renard). Quiver With bOW
Bronze comb from the Roman-Germanic Museum
in
Mayence
(Renard).
Head Of Medusa
27,
28.
(Libonis).
Silver vessels from the silver discoveries in Hildesheim (Havard).
Plate 44.
Fig.
1.
2, 3.
6.
Costume of a Consul from the later period (Baumeister). A Roman helmet found in Germany (Baumeister). Relief from the Mayence Museum showing a light horseman with
horse
(Baumeister).
(Lindenschmitt).
his
4.
Bronze Chape
qo
Fig.
5.
THE ROMAN ORNAMENT.'

Iron
dagger -sheath
found
in
the
Rhine,
in
the Mayenee
Museum
(Baumeister).
7.
8. 9.
Shield (Renardl. Bronze tripod from Naples (Libonis). Roman military badges (Racinet). 11, i2.
10.
Ivory SWOrd-pommel
(Baumeister).
13.
14.
15.
Bas-relief from Puteoli, showing a Trireme (Baumeister). Helmet of a Centurion Libonis). Marble statue of Titus in state armour, in the Louvre
(Eaumeister).
Marble figure from Rome
(Tatham)
THE POMPEIAN ORNAMENT.
the
neighbourhood
ol
Mount
stood
the
Vesuvius
cities
on the Baj
thn
ol e
of Naples
of
Pompeii, Herculaneum and

i
Stabia.
b)
These
hrist,
ities
were destroyed
in
an eruption
after
<
Vesuvius
su
the
year
63
and wore
buried
thoroughly
for
and
completely
no
trace
ol
that
centuries
where they stood could be found. Their

position was,
1
however, accidentally
1
disj
,
ered
in
the year
748.
The
ii
i|
in the 4 th century, and,
Pompeii became subject to the Romans having been thoroughly Romanised, grew to be
residence
>
the
favourite
summer
the
wealthier
classes.
The
cha-
racteristic tendency of the Romans towards luxury soon made Pompeii a special centre, Greek artists were introduced, style was given to classic
art,
and, finally, a special
Pompeian Style grew
into existence.
The
small
arts
and work
in
metal were brought to a very high state of perfection.
The remains
at Naples,
in
of objects of this class at present preserved in the
museum
ad-
more especially those

are
vessels found
in
the silver discoveries

of
Boscorea,
>n.
extremely beautiful
of
and worthy
art
the
highest
miratii
Peculiarly characteristic
Pompeian
cities,
are
the
mural paintings
of
and the coloured stucco ornamentation. have also existed

in the in
Similar
all
work might
course
other
Roman
traces having- disappeared
course of time.
Four
distinct
and regularly consecutive periods
can be distinguishnd in these mural paintings, the Incrustation Style, already used in Hellenic-Oriental art, consisting- of imitations of manycoloured marble ashlar-work combined with ornament worked in stucco.
After
this
came the
Pictorial
Architectural
Style
which consisted
in
02
exhibiting
,

in
perspective,
on smooth surfaces, paintings

wall
of
fantastic
architectural pictures.
The
was divided
into
panels in free orna-
type which appears to have been

Style, here, the straight wall,
mental style and decorated with small figurative centre pictures. The in most general use was the Prospect
stone architecture that the
was so changed by a rich plav of delicate chamber had the appearance of being larger
than
goes,
really was. These types, as far as their collective arrangement show decided leaning towards Hellenic proto-types from Alexandria, at the same time, however, very many single Ornaments show, in their pure naturalistic style, very great artistic independence. Although the al fresco mural paintings, which were coloured by simple handworkers,
it
are of a most dazzling brillancy of colour,

off so regularly
still,
the gTadations are toned
and legitimately that the
effect of the
in
whole
is
soothing
and pleasing to the eye.
This style of art was,
all
probability, well
known
It
to a large circle.
is
impossible to form
an
exact
picture
of
Roman
life
in
any
Roman
more especially the case with Pompeii which was completely overwhelmed in one night. It is impossible also to differentiate exactly Pompeian from Roman art, for it is highly probable that many objects discovered in Pompeii were manufactured in other
city,
but this
is
parts of the Empire, and that other articles discovered in various other
cities
had
their origin in Pompeii.
Plate 45.
Fig.
i.
2. 3.
4,
5,
8.
9.
10.
Column from the house of the tragic poet in Pompeii (Uhde). Mural ornamentation from the house of M. Lucretius in Pompeii (Uhde). Mural ornamentation from the house of Modestus in Pompeii (Uhde). 6. Capitals from the basilica in Pompeii (Uhde). Pilastercapital, and column from the house of Colvo in Pompeii (Uhde). 7. Capital from the house of Faun in Pompeii (Uhde). Capital of column from the house of Actaeon in Pompeii (Uhde). Postament from the grave of Naevoleia Tyehe in Pompeii (Uhde).
Plate 46.
Fig.
1.
2.
3,
(j,
4.
5.
7.
Mosaic from Pompeii, showing a theatrical scene (Libonis). Mural frescoes from Pompeii (Reichhoit). 8. Mosaic floors (d'Espouy). Mural fresco, the holy marriage of Zeus and Hera (Baumeister). From a mural fresco, illustrating Mediation (Roux aine). Mural fresco with theatrical mask Baumeister).
1
THE roMI'KIAN ORNAMENT.

Plate 45.

Plate 46.

Plate 47.

Plate 48.
97
Plate 47.
Fig.
i.
Marble table from the house of Cornelius Rufus

die
in
Pompeii
Biiiilmann,
Bauformenlehrc
7-
3,
4.
Vessels
in
carved silver from the discoveries of Boscoreale

.
(Libonis).
5.
i.
8,
,.
Bronze table in the Museum at Naples Buhlmann Bronze candelabrum (Libon

q,
ii.
io, hi. Ornaments ai Bronze figure of a Triton

i
(Collection Dutuit).
12.
Lamp
15,
Collection
Dutuit).
13.
14,
..
Pompeiian glass vase 17. Bronze tripods
(Liboni
Li
Plate 48.
Fij
>',
5,
9,
hi.
20, ii,
21.
18,
From Pompeiian mural

10.
frescoes
Roux
7,
..
12, 14.
..
Bronze candelabras Mauch). From Pompeiian mural frescoes (Reichholi 13, 15, 17. Later Sphinx of bronze (Baumeister).
8,
m,
Plate 49.
Fig.
[
10.
Pompeiian mural frescoes (Roux
aine,
Herculaneum
ct
Pompeji).
.
.
7~~.
'
~~
Figure Of bronze (Roux
aine).
SPEI.TZ. Styles of Ornament.

Plate 4Q.
rVT7VVYVYVWVVVVVVVWVYWVVWVY\
THE CELTIC-GERMANIC ORNAMENT.
oubts no longer exist
as to the
fact
that
before
they came into contact with the Romans, the

Celts
and Germans had
their
own
characteristic
national art, even, although the
same had
not
advanced beyond the bronze and

It
iron periods.
i-
difficult
to strictly
separate Celtic
from
Germanic ornament, the connections bet the two races were so varied and so intimate, that what was characteristic of the one was
transplanted
to
the
other.
The
Celts,
v.
who
had occupied the whole of Europe,

Franeonian Warrior
(Hottenrotli
I.
a time driven out
from
Germany and
Austria
by the Germans, there must have been therefore ample opportunity, before the Romans
the Germans,
for
came
into
contact with
Celtic
and Germanic
art
to
exercise mutual and abiding" influence on each other.
The Romans
be-
came, afterwards, the instructors

the influence of
that
of
both
in
ornamentation, and under
Roman art, Celtic and Germanic art came closer to each other, the relationship developing into a most intimate connection
at
period
of the
when
Romans.
fall
the
Germans held possession
of
the
Western
Empire
After the
of the
Roman
style
Empire, Byzantian influence predomia
nated, and as the
Roman
became developed,
new
art
period
Pure Celtic ornament, far purer than in France, existed in the British Islands up into the i2 lh century. This part of the subject, however, will be treated of when dealing with the art of the Middle Ages.
itself manifest.
made

Plate 50.
THE CELTICGERMANK "-ORNAMENT.

(
Vltic-( icriiianic
of
weapons and
useful
Ornament was entirely confined to the decoration articles. Nothing was known of architecture,
not even of architecture in wood, oven
rites
ami
ceremonies wore uever hold

in
within doors, but

a tree
the open air undei
n their
first
attempts
at
architecture, which
alter
were
i
if
made soon m oi hnstunm

( i
the
'eltio-i
introduc-
the
rermanic
.on.
confined
to
themselves almost en-
tireh
Gallic
the building of
All
wooden churtheir splendid
ches and oratories.
Warrior
-
iKacineu.
of
the
Celtic
Germanic
triumphs as seen m the development Church Architecture were achieved a lew
centuries later.
Plate 50.
Fig.
i
and
2. 4.
5.
i'.
Breton embroidery from Pont l'Abbe, Finisterre 3. Bronze Ornament, round in Castel near Agen, in the Museum Bronze buckle, Museum at Clunj
i
(Racinet).
at
Cluny (Racinet).
Belt-buckle, Museum
at
Cluny (Racinet).
I
7. 8,
II.
i2.
1
}.
1.
n>.
17.
Bronze brooch, Museum at Clunj Rai im Neck ornament of bronze (Racinet Belt buckles from the Merovingian Period Racinet). 9, and 10. Bronze fibula, Museum in the Louvre (Racineti. Racinet Bronze fibula from the Merovingian Period, Museum ai h Bronze belt-buckles, Museum at Cluny (Racinet). and 15. Heads of Gallic chieftains from the time of the Romans, after bronze medals (Racinet. Silver brooch from Goldborough in Yorkshire (Racinet). Remnant of a reliquary of iron with bronze ani silver ornament from
i
>
Cashel, Co. Tipperary,

iS.
Ireland (Racinet).
19, 2(.
22.
23. 24.
Brooch with granate and gold filigree-work, found near Abington (Racient). and 20. Bronze fibulae (Racineti. Bronze brOOCh With Silver Ornamentation, found near Lincoln (Racinet). Bracelet from Pont-Audemer (Havard). Bronze brooch found in the graveyard at Blasion (Havard). Buckle found in the graveyard at Chisell-Down, in the isle of Wight
(Racinet).
25.
Bracelet, found
27.
in
Reallon, Hautes Alpes (Havard).
26. and
Bracelets from Carunda
Havard).
3
H
'
3 <#>
I03
Plate 51.
Fig.
1.
Franeoniatl weapons, from

industriels peuples barbares
cle
the
la
Museum
at
St.
Germain
Barriere-Flany, Les Arts
Gaule.
All the following
Figures
in
this
plate are
from the same author).

2. 3.
).
Burgundian ornaments from

Necklet,
Elisried, Canton Bern.
5.
6. -.
8.
9.
.
same origin. Neck ornament in the Museum at St. Germain. Burgundian ornament from Delle near Belfort. West Gothic buckle from Jean-Ie-Pouget, in the Museum at Cluny. Burgundian buckle from Fierier near Tonniges, Haute Savoy. Franconian glass bottle from Aehery-Magot, A Burgundian clay vessel from Tourus, Saone et Loire.
Franconian glass dish from Anguilcourt-le-Sort, A West Gothic clay vase from Herpes, Charente. Old-Franconian comb. Burgundian clay vase from Charnay,
St.
i". 11.
12. 13.
in
the
Museum
at
Germain.
, ,
14.
15.
Anglo-Saxon knife. West-Gothic buckle from Figoret-Guzarques,
Herault.
Plate 52.
/'rum the Merovingian Period.
Fig.
J 5,
6. 7.
14.
81;,, is 16. Ornaments (Hava Sword of the Childerich Roger-Miles Cross from St. Martin, Limoges, made bj Saint Eloi (Havard Chair of the Dagobert, made of gilt bronze (Havard
. .
Plate 53.
Fig.
1
and
2.
German sword
in the
Antiquarian Museum at Mainz

following are
all
Lindenschmitt,
I
Aus
3. 4. 5.
der heidnisehcn Vorzeit.
The
according to the same authority.
Silver needle
from the Franconian graves near Neuhofen.
0.
7.
8.
9.
..
10.
11.
Franconian fibula. Half-drawn dagger from the graves at Hallstadt. Franconian bracelet, Museum in Mainz. Bucket with ore mountings and iron handles from the Franconian graves near Monsheim, in the Museum at Mainz. Bucket with ore mountings found in the graves on the Sehiersteiner Wege. Museum in Wiesbaden. Ear-ring from the graves near Worrstedt. Dagger from Sprendlingen, Rheinhessen.
German Chape, Museum
at
Mainz.
12. 13.
Fibula from the graves near Nordendorf. Necklet from a grave in Wurmlingen, Worttemberg.

Plate
53.
io6
Fig. 14.

Ear-ring in the Museum at Wiesbaden. Shoe found in the turf moor Friedeburg, Ostfriesland, Museum in Hannover. Franeonian belt-buekle, Museum in Mayence. Glass vase found in the graves near Kreuznaeh. Clay vase found in the graves near Ulm. Clay Vase found in the graves Of OsthOfen, Museum in Mayence.
Coffins of plaster of Paris. Clay urn found in the graves near Remingen. Ring from the Museum in Mayence.
15.
16. 17.
18.
19.
.,
20 and 22.
21.
23-
Anglo-Saxon Baptismal Stone

(Muller and Mothes).
^
los Reyes,
>-^
-!
Window from Monastery
St.
Juan de
Toledo
Monumentos de
Espaiia).
(Monumentos de Espana.
THE GERMAN-EARLY CHRISTIAN ORNAMENT.
uiualK. as the political supremacy

to decline,
ol
.1
country
begins
Art
oi
in
1
that
lassie
countr)
art
begins also to decay.
The
decline
From a
Carolingian
pel
in
quence "i the political the Western Roman Empire, as well as of the decisive victory which Christianity finally obtained over Heathenism.
intimate
In
all
was the natural conseweakness and final decay of
Gosthe British
the old historic styles there exists an
Museum
iMnller and Mothes).
connection
tinder
between
aegis
it
religion
ol
developed
the
religion
Art and art. and was so
strongly influenced by
that a style ol art
produced
under the influence of a certain religion could never harmonise with am When, therefore, other religion except that from which it sprung. Christianity received into its hands the remains of classic art, it was
obliged
(
to
change and harmonise them

from
classic
into
at
style
in
unison with
entirely
hristian ideas, tastes,

itself
and necessities, without

influences.
the same time
freeing
On
the
nuns, therefore, of the
Western Roman empire, the German-Christian States erected a new changing everything they found to tit the new condition of affairs, and making use of the peculiar elements of Byzantine art, then
civilisation
in
its
full
glory to form
new
style of art of
it
its
is
own.
The Byzantine
influence
was
so powerful at that time, that
often a matter of real
difficulty for the art historian to
say whether certain works of art belong
to the
Early Christian or to the Byzantine style.

in
covered
the ancient Byzantine city of
The antiquities disRavenna show most remarkable

r
traces of Byzantine influences.
Early Christian art may be regarded as a period of transition the tendency of which was to free itself alike from Classic and Byzantine influence. It was onlv when this latter influence had been entirely over-
IO
come, when, about the year 900 A. D., the Roman style of architecture began to develop itself, that art began again to move along secure lines. The attempts to change classic art into forms more suitable to Christianity were, however, not confined to the Western Roman emAttempts in this direction were also made in Asia Minor, but pire.
finally rendered unavailing by the spread of Islamism. Before their contact with the Romans, the art of the Germans, if we exclude Architecture and Sculpture, even though primitive, was still a thoroughly characteristic, peculiar one. The Eastern Goths, who
were
ruled Italy from 493 to 555, but

lity,
who soon
lost their peculiar individua-
Lombards did. These latter, Northern Italy under Alboin in the year 568, preserved it carefully, and to such an extent that it actually exercised a very remarkable influence on the development of Italo-Roman art.
did not cherish this style of art as the
settled
in
who
Mural painting from the Coemeterium Majus, Rome

(Wilpert, Malereien der
Katakombcn Roms).

Plate 54.

Plate 55.
2SteM
THE GF.RMAN-EARLY CHRISTIAN ORNAMENT.
I'3
Plate 54.
Lombardic Ornament
(I
in Italy.
A. StQckelberg, Longobardische Plastik.)
Fig.
1.
2. 3.
4.
5.
Circular pattern braided work from Ventimiglia. Diamond pattern braided work from Ravenna. Bottom of a basket from Rome. Relief from Ventimiglia.
and
6.
7. 8.
9.
.,
10.
11.
12.
Braided work from Milan. from Spalatro. Braided work from Como. Processional Crucifix from Milan. Braided work from Valeria. Lattice work from Milan. Church cabinet from Aquileja. Relief from altar in Orvieto.
13.
Relief
Plate 55.
Lornbardic Ornament in
(After Professor Karl
g.
1,
Italy.
Frflhkunst.)
Mohrmann and
Dr.
Eugen Ferd. Eichwede, Gennanische

S.
and
5.
Pillar capitals
in
from the church of

at Venice.
Ambrogio,
Milan.
3.
Fountain,
the
Museum
4.
From a balustrade
in the cathedral at Aquileja.

S.
68.
9.
Portals from the church of
Capital of column from the church of
Ambrogio, Milan. S. Ambrogio, Milan.
Crucifix in the
Museum
at
Ravenna
(Delili).
SPELTZ,
Styles of Ornameul.
THE GERMAN-EARLY CHRISTIAN'ORNAMENT.

Plate 56.
Si

Plate
,
S7-
'y-yl-
^\^]..-^Zl'^MWiMf ^^^\^t^ ^'r':u\U

:
^M.-:
Hiig^

Plate 58.

Plate 56.
West Gothic Ornament in Spain.
(After
Fie.
I
Monumentos de
Espafia.)
Cross from the crown of Reeeswint. Crown of Suinthila. Votive crown. Votive cross.
Arm
of a processional crucifix.
Plate 57.
East Gothic Ornament in
Fig
i.
Italy.
<
:.
j,
Frieze from the church at Dana in Syria. (Vogue, La Syrie entrale.) Capital from the church of St. Apollinare Nuovo, Ravenna (Dehli). Capitals from the church of St. Vitale in Ravenna. The church 4 and 5. ol St. Vitale in Ravenna was founded by Uu treasurer Julianus Argentarius being moved thereto by the exhortations of Bishop Ecclesius (524 534 after Christ). The strongly marked Byzantian character of this church is easily explained when it is
remembered
Byzantium
6.
7.
that
very
intimate
relations
existed at that
time
between Ravenna and
(Dehli).
Marble panel from Ravenna (Bilderatlas). Monogramme of Christ in a sarcophagus

in Classe, Ravenna (Arne Dehli, Selections
ol
in the
church of
St.
Apollinare
Byzantine Ornament).
Plate 58.
Fig.
1.
2.
3. 4.
Gospel of Charles the Bald in the National Library in Paris (Havard). Sword of Charlemagne in the Imperial Treasury in Vienna (Havard) Chair of the statue of St. Foy in the treasury at Couques (Havardj Gold crucifix, presented to the monastery of St. Denis by Charles the Bald (Havard).
5.
6.
7.
Crown of Charlemagne in the Imperial Treasury in Vienna Havard). Crown of the statue of St. Foy in the treasury at Conques (Havard). Reliquary medallion of Charlemagne in the monastery at Aix-la-Chapelle
i
(Havard).
8.
9.
i".
Throned Christ from a gospel of Charlemagne (Mailer and Mothes). Hunting horn of Charlemagne in Aix-la-Chapelle iMuller and Mothes). Madonna from the catacomb of St. Calixtus in Rome (Mailer and Mothes).
Plate 59.
Fit.-.
Diptych from the 6 th century, supposed to be the Cathedra of Maxentius

(Libonisi.
2.
Sarcophagus of the Exarch Isaac, representing the adoration of the Three Magi iLibonisi.

Plate 59.
-I
*&>

Fig.
3.
119
AmbO
in Salonica iGagarin, Russische Ornamente).

in
4.
Bookcase
Chalice,
(MQller
u.
mosaic from the church of

to
St.
5.
presented
Mothes).
the
monastery
of
Kremsmunster
Nazeno, Ravenna (Havard). in JiV' by Duke Tassilo
6.
9. 10.
Reading desk of St. Adelgundi (Libonis). and 8. Sarcophagi in Ravenna (D'Espony). Mosaic flooring from the church of St. Vitale The Empress Theodora and her suite. Mosaic
Ravenna
iLibonis).
in
Ravenna
(D'Espony)
St. Vitale,
from the church of
wagiagagaffls
7
1
.'
-;j.
.'..
..,
.^:Tr^TT?-r^r.-~-Tr7-
$MGM^M^^&^^
Altar in the
Museum
at
Ravenna
(Dehli).
THE BYZANTINE ORNAMENT.
yzantine
given to that conglomerate which was developed in the Eastern Roman Empire from all the differant styles which were in existence at that
is
the
title
style
of art
early
period.
The
of a
first
impulse to the
stvle
development
Byzantine
was
given in the year 330 A. D. when Byzantium or Constantinople became the seat
of
(
the
royal
onstantine,
emperor and when Christianity was

residence
of the
its
made the
tine art
established state religion. Byzan-
reached
in
highest glory under
Justinian
Initial in
from a breviary
Library
(Libonis).
years 527 to 563 A. D., grew torpid for some time under Oriental
the
influences, took
the Mazarin
the
Macedonian
on new life again under emperors from 867 to
1056,
when
classic standards of art
were
again employed as examples,
finally declining
suddenly
in
the year 1453
when Constantinople was taken by the Turks. The old heathen temple did not of course satisfy
they erected the basilica
of
all
the early Christians,
in
its
the different styles of art
even though they made use then known, they were forced nevertheplace, but
less
to take special account of Hellenic art.
Notwithstanding' the fact

speci-
that Byzantine art succeeded in producing
mens of architecture, still, it was an art It it. was one which, on account of the lifeless formality into which it gradually developed, could not exist for any lengthened period, even had the
Turks never conquered the empire.
some very important which had no vitality in

Plate 60.

Plate 61.
mmMmmmmsmm
'23
The
political
its
the period of
influence which the Byzantine empire enjoyed during; supremacy, together with the low standard of civilisation
which existed at that period in the Christian-German states of the West, It caused the new Christian art had, however, one important effect. begun to develop to be very strongly influenced by which had already Notwithstanding this influence, there was devethe Byzantine style. loped in the West, from this new Christian art the Roman, and later
on the Gothic styles, while Byzantine art at the decline of the Eastern Roman empire had not brought it to any further stage of development.
Plate 60.
Fig.
i.
Arch and column of the lower gallery

Constantinople.
This church, erected
nian
in
in
the church of St. Sophia,

von
Konstantinopel.)
built
iSalzenberg,
in
Altchristliche
Baudenkmale
fire,
place of a basilica destroyed by

after
was
since
under
Justi-
the years
Milet.
53 2
537,
plans
designed by Anthemios of Tralles assisted

as a
by Isidore of
The church has been used

although a prototype of
mosque
1453-
24.
Details
from the facade of the church of

of St. Mark,
St.
Mark
in
Venice
(Gagarin).
The church
Roman
architecture,
contains
many
in
features peculiar to Byzantian art.
The
construction of this church
was begun
the
year 830, being dedicated

5.
in
the year
1094.
0.
Bronze door in the church of St. Mark, Venice (Gagarin). Arch and capital in the baptistry of the church of St. Mark, Venice
(Gagarin).
8.
7,
Capitals in the church of
St.
Mark, Venice
(Gagarin).
Plate 61.
Fig.
1.
2,
Arch from a gallery in the church of St. Sophia, Constantinople, from the 6 th century (Gagarin). Bronze knockers from the door of St. Mark's church in Venice lArne 3.
Dehli, Byzantine Ornament).
4.
5 to.
Capital from the church of St. Mark in Venice (Dehli). Capitals from the church of St. Mark in Venice (Gagarin).
Plate 62.
After Arne Dehli, Selections of Byzantian Ornament.
Fig.
1.
2. 3.
Stone panel from the Atrium of St. Mark in Venice. Baptistry in the palace of Vendramin, Venice.
4.
5.
6.
Balcony from the church of St. Antonio, Padua. Relief from the church of St. Pietro in Verona. Transept from St. Mark, Venice. Frieze from door of the Zeno Chapel in St. Mark, Venice.

Plate 63.

Plate 64.
127
Plate 63.
Fig.
i.
1.
3. 4.
5.
and Bourdent iLibonis). Gold ring from Border of a manuscript of the 10'h century (Libonis). Stone panel in the gallery of the church of St. Mark, Venice Ivory Bookcover in the South Kensington Museum (Libonis).
the collection of Rollin
(Dehli).
6.
Marble mosaic (Lihonis). Mosaic pannelling in the aisle gallery of the church of St. Sophia, Constantinople iBilderatlas zur Geschiclite dcr Baukunstl. 79. Marble mosaics from the church of St. Mark in Venice (Dehli).
Letters from a manuscript Libonis). Stone relief from the church of St. Sergius in Constantinople (Krauth und
1
i".
11.
Sales Meyer, Steinhauerbuch).
Plate 64.
Fig.
i.
2.
Baptismal font in the church of San Samuele, Venice (Delhi). Cover of an ivory reliquary in the South Kensington Museum showing John the Baptist between Saints Philip, Etienne, Thomas, and Andrew
(Libonis).
3. 4-
Byzantian coffer of ivory. Cover of book of the four gospels owned by

showing the crowning of Romanns IV and Eudoxia.
at present in the
St.
John of Besancon,
II th
Dates from the
century,
National Library, l'aris (Libonis).
Byzantian miniature-painting (Libonis). Leaf of adiptychon in the British Museum showing Michael the Archangel
(Libonis).
Plate 65.
Fig.
i6, 810. Miniature paintings from manuscripts in the National Library, Paris (Gagarin). Lectern, from a manuscript in the National Library, Paris (Gagarin). 7. n. Byzantian crown iHottenroth, Trachten).
1215. Byzantian coiffures iHottenroth). 16. Reliquary (Hottenroth). Chalice (Hottenroth). 17. Arm chairs (Hottenroth 18, 19, 20. 21. Consular chair of state.
1.
Plate 66.
Byzantian Ornament
in Spain.
(After Monumentos de Espafia.) Ruins of the ancient West Gothic cloister of San Roman in Hornija. Capital from the same cloister. Fragment of parapet from the West Gothic basilica, preserved in the cathedral of Cordova.

Plate 65.
;/".,v^l;
<$
.
-^^cwv'
~~
8I||
^j^7^
,**\m&.
'JH ~y
L
-^,
.8
IHK BYZANTINE
IRNAMEN
I.
I'late 66.
pl^wvr^ m:^'-^
:
olilM^niiiMM:; BR^^'îfuoy?yg ^-i

'
WhI* T
H6
SPELTZ.
Styles of
On

Plate 67.
1M;
^W||,|)
&iM
f.
i .111]

Fig.
>31
4.
Outer cornice of the Camara Santa in the Cathedral of Oviedo. 57. and 13. Window from the church of San Salvador in Valdedios.
cejo dc Villa Viciosa.
8,
Con-
and
9.
10.
11,
12. Capitals from the hermitage of Santa Christina in Lena, Oviedo. Medallion from the same church. Pulpit parapet from the same church. 14-16. Capitals from the church of San Salvador in Valvedios.
Plate 67.
Bysantian Ornament in Spam.
(Aftei
.
M mumentos
de Esp:
and
2. 4.
Fragments from a building called the Cisterna in Merida. Fragment from a West Gothic Basilica in Cordova. Enamelled work from a reliquary in the cloister of San Domingos de
3.
Silos.
5,
and
6.
Pillar
from the transept of the Church of
St.
Miquel de Linio,
Oviedo.
Decorative Frieze
(Lib
THE KELTIC ORNAMENT.
rna mental
art,
such as was developed
in
the
British Isles,
but more especially in Ireland,
even during the sway of heathenism, was, without any doubt, a pure Keltic art of its own, without any traces of Byzantine or
South European influences. The very same ornamental work which we find in the old heathen stone coffins are also to be seen
in
the
manuscript paintings
of
the
Keltic
monks of the sixth century. Keltic artists show a most astonishing- and extraordinary
skill
and variety
in the delineation of orna-
Initial
from the
(Owen
7th
century
Jones).
in which the bodies of birds, snakes and fantastic animals are most skillfully interwoven. Vegetable ornaments
clogs,
mental tracery,
were entirely absent

first in
The
in the earlier specimens of this work, appearing the 9 th century, very probably as the result of Roman influence. very great similarity existing between Scandinavian and Keltic
ornament points to a very close connection between the two styles of art, a fact which is all the more evident when we remember that Christianity was introduced into Norway and Sweden by Irish missionaries.

Plate 68.

Plate 6g.
'35
Plate 68.
Fig.
i
2.
Manuscript painting from the 10 th century (Dolmetsch). Initial from a Psalter, lPh century, at present in Trinity College,
Dublin (Owen
Jones).
1
10 th century Owen The Aberlemno cross (Owen .ion. 6. Initial from the 7th century (Dolmetsch). 7 11. Manuscript paintings of Keltic-Anglo-Saxon origin Owen Jones). j>. Ornament from the socle of a cross in the church of Eassie, Angusshire
3
ami 4
Manuscript paintings from the
5.
(Owen
Jones).
13.
Ornament from the

gusshire (Owen
Jones).
socle of a cross in the church at St. Vigean, Ansocle of a cross in the
14.
Ornament from the

shire (Owen
Joni
church
at Meigle,
Angus-
Plate 69.
Fig.
I,
3,
(Dolmetsch and
2,
..
5,
t),
r >-
Specimens of manuscript paintings from the 10th century Owen Jones). Manuscript paintings from the lit" century (Dolmetsch). and 111. Manuscript paintings from the 8 th century (Dolmetsch). Manuscript painting from the 9t" century (Dolmetsch). Initial from the Franco-Saxon bible at St. Denis, from the 9th century
4,
and
8.
(Owen
..
Jones).
11- -21.
((
Specimens from manuscript paintings of Keltic-Anglo-Saxon origin
Iwcn Jones).
Plate 70.
Fig
4
13 Specimens of manuscript paintings from the 7th century (Dolmetsch) Manuscript painting from an Irish Gospel of the 10th century. The border is copied from the Gospel of St. Cuthbert now in the British Museum, and
known
as
the
Book
of
Durham, a book which was written between the

F. S.
yeai
and 720.
(Henry Shaw,
A. Mediaeval Alphabets and Devices.)
From an
Irish Spelling-Book 1M0th.es and Mailer.

Plate 70.
THE ROMAN ORNAMENT.
soon as Charlemagne had succeeded

tain
to a cer-
extent
in
consolidating
his
empire,
he
resi-
selected
A.ix-Ia-Chapelle as
his
place of
in
dence,
artists
and
of
called
all
around
both
him
from
that
city
kinds
the
former
Western
empires.
as well as
from the Eastern
Roman
These artists were engaged in dei orating- and adorning his palaces, and it was here that a new style, the Roman style, based upon classic architecture, and very strongh influenced In I'v/antino art. which stood then
at
Initial
its
highest
after
glory
slowly developed
of
itself.
from a
century
(Dolmetsch).
At
a
first,
the death
,
Charlemagne,
in the
,,
.
art
German
XII
could no t
make any progress

,
empire,
~,
(
.
manuscript
circumstance due to the r tact that
harle-
magne's successor was an incapable ruler under lav diseased and dormant, awaiting with dulled apathy the end of all things. It was not until the year iooo
whose dominion
the
land
had come that new life began to be again manifest, when the religious up by the Crusades was successful in producing some really great, and genuine works of art. The Roman style of architecture, whose earliest architects were priests and monks, the lay element being
zeal stirred
-
introduced later on,

of the
is
a genuine
German
style,
it
is
the embodiment
the
was heavy, but 2'h and 13th centuries. The afterg-rowths of the Roman style were produced by a combination of the same with the Gothic, a style which came in from France, and the Roman pointed-arch style wdiich thereby sprung into
Germanic character.
In the beginning this style
its
it
soon developed, and reached
highest glory
in
THE ROMAN ORNAMENT.

Plate 71.
THE ROMAN ORNAMENT

existence.
all
The Roman
style
itself
spread rapidly from the Rhine into

in
those countries which were included

-
the former "Western
Roman
empire,
its
character becoming changed in accordance with the character
of the inhabitants of
each particular country.
No
country, however, can
show such imposing monuments in this style especially churches In France the Roman style developed into the Gothic, as Germany. and some time afterwards, towards the middle ol the jth century, Germany, following the example of France and using the French Gothic as a standard began also gradually to change the Roman into the
i
Gothic style of architecture.
The Roman Ornament

Plate 71.
(Heideloff,
Fig.
i.
in
Germany.
Ornamentik des
Mittelalters.)
2,
4,
5.
<'.
Keystone of a vault in the church of St. Sebald, Nuremberg. and 3. Arch frieze with consol from the same church. and 7. Bases of columns from the convent church in Heilbrunn, Bavaria. Capital from the church of St. Sebald, NUrenberg.
8.
q.
10.
.,
11.
12.
View and ground plan of large column in the vestibule of the cathedral in Sehwabiseh-Hall. Shaft of column from the portal of the Burggraf Chapel in the Augustinian Cloister, Esslingen. Capital from the same church. Pillar capital from the Benedictine Abbey in Murrhard. Capital from the convent church in Faurudan near GOppingen. Cornice on the tower of St. John's church in Sehwabiseh-GmQnd.
Plate 72.
Fig.
1.
Abacus from the church of

Materiaux et documents!.
St.
This church,
ICiOl,
Michel in Hildesheim, 12 th century (Raguenet, which was begun by Bishop Bernward of

in
Hildesheim
in
the
year
and completed
the year
1033, marks the transition
from the Early to the Late
Roman Style. Abacus from the church of Mormontiers in Alsace (Raguenet). th century (Raguenet). Capital from Rosheim near Strassburg, dating from the Stone cross in the market-place at Treves (Raguenet). Capital and base from Eger (Gruber, Kaisc-rburg in Eger). Capital from the cathedral in Limburg (Opderbecke, Bauformen). This church
l 1
7.
S.
was built by Konrad II in the years 1030 1042, and dedicated in IU46 in the reign ot Henry III. The building operations were conducted by the Cluniac Abbot Poppo von Stoblo. Signature tablet from the 11th century (Muiier and Mothesi. Door-knocker in the Cathedral at Aix-la-Chapelle from the 8'h century
(Raguenetl.
912. Mural paintings from the Cathedral in

13
Brunswick
(Gailhabaud.l'architecturei.
Frieze from Mary's Chapel in the cathedral in Gandersheim iRagueneti.
THE ROMAN ORNAMENT.

Plate 72.
HE ROMAN ORNAMENT.
Plate 73.
THE ROMAN ORNAMENT.

Plate 74.
THE ROMAN ORNAMENT.

Plate 73.
Fig.
1.
143
Frieze from the Burg at

des Mittelalters.)
MQnzenberg
in
Hessen (Opderbecke,
Bauformcn
2. 3.
4.
Frieze from the church in Denkendorf, i: ,h century (Lobke). From a stall in the cathedral at Ratzeburg (Joseph). Ornamentation on shaft of a column from Buchenberg near Goslar,
12 th C enturv (Opderbecke).
;.
6. 7.
Capital from the church in Brenz, Worttemberg, i: lh century (Opdcrbi Base from the abbey church in Laach, 12* century (Opderbecke). Archivolte from the portal of the cathedral at Worms, 12^
.
(Opdei
8.
bci ke),
Capital from the Scottish church of St. Jacob in Regensburg,

(Opderbccket.
12 th century
9.
.
Window from
and
14.
the church at Laach

12
to.
11
Window-column from the cathedral at Worms,
centurj
(Opderbecke)
.,
12.
Portal from the church at Gelnhausen, 12 (Opderbecke). Tympanum from St. Michael's Church in Schwabiseh-Hall, 2 h century
1
(Opderbecke).
13
Base from the church at Arnsburg,
i: lh
century (Opderbi
Plate 74.
Fig.
1
Throne of Emperor Henry

Gospels which
i-
II,
after
.1
miniature
in
in
the
monarch's
own Book
in
ol
at
present
in
the Court Library
Munich (Mullcr and Mothi
Watering-can,
(Mailer and Mothes
in
.
the Royal Imperial
Numismatic Cabinet
Vienna
Comb
of Henry I (Hefener-Alteneck, [Yachten). Wrought-iron candlestick (Hottenroth). Seven-branched candlestick in the cathedral at Brunswick (Mailer ai Bronze candlestick (Hotteni Bishop's crozier from the Church Treasuries in Deutz (Muller and M. Two-handled chalice from the Marienstern Cloister in Saxony [W
and Mothes).
Candelabrum from the cathedral in Aix-la-Chapelle (Hottenroth). Reliquary of oak with gilt reliefs in lead, dates from the year
present
Museum in NQreml Glass painting from 12 th century in Neuweiler, Alsace

in
the Germanic
(Mailer and Mothes).
Plate 75.
Fig.
1.
Wooden COffer, 10* century (Hottenrol). Initials from the time of Joseph XIII Candlestick, 12 ih century (Hottenroth).
Bishop's crozier,
1 1
(Mailer and Mothes).
th
century (Hottenroth).
Chalice, M<li century iHottenr

Initials
Remnants of a small crystal bottle, 10'h from the Bremer Gospel, from the
Thurible Of gilt Copper,
century (Hottenroth).
year 1050 (Mailer and Mothes).
12th century (Mullcr and Mothes).
THE ROMAN ORNAMENT.

Plate 75.
THE ROMAN ORNAMENT.

Plate 76.
SPELTZ.
Styles of Ornament.
THE ROMAN ORNAMENT.

Plate 77.
~1 y*
THE ROMAN ORNAMENT.

Fig.
147
9.
Writing-desk,
after a
manuscript
th
1 1
in
the National Library at Paris (Gagarin).
10.
1
Bronze Church lamp,

StOOl (Hottenroth).
and
century (Mailer and Mothes).
I.
12
14.
Beds, 12 th century (Hottenroth). 13. Fighting warrior, 13 th century 'Hottenroth).

1
15.
10.
Cup
(Hottenroth).
Bishop's Chair
(Hottenroth).
17. 18. 10.
Shoe of Emperor's child (Hottem Clasp of emperor's mantle (Hottenroth).
zo.
Aspergum (Hottenroth). Back cover of the prayer-book of

Bed,
I2'
1 '
St.
Elizabeth
(Mailer and
Moth
21.
century (Mailer and Mothi
Plate 76.
North-German Brh ku ork
r
.
lrc/n'/e<
lure.
Stiehl,
Backsteinbau romanischer
The Roman
and
into parts
style
of brickwork architecture
Holstein, and
wa
into
the Altmark,
Jen
rich
of Mecklenburg,
Pomerania, during that period of time when

these
disl
v
Wendish
in
lands
were being germanised.
As
clay,
this peculiar style
of architecture
prevalent,
the origin of brick-
work
architecture has been traced to

out a serii
careful
1
Lombardy by Herr
O. Stiehl,
Government arch
!
cai ried
11,
><
Backit
steinbau romanischer Zeit, besondi
en und Norddeutschland).
ardy
was
introduced into the Wendish districts by missionaries.
As
the Gothic ^tyle

in
prevalent one at tint period, the brickwork architecture was constructed

Fig.
accordance with
it.
13. Capitals from the convent church at Arendsee. Capital from the church at Jerichow. 4. Capital from the church of St. Maria auf dem Damme at Juterbcgk. ;. b-.s. Arched doorway and capitals from the church of St. Nicolas in Treuenbrietzen. Capital from the cathedral at Brandenburg. 9. 10. Capital from the church at Gadebuseh. 11. Frieze from the church at M611n. 12. Rib profiles from the convent church at Dobrilugk. Bases of pillars from the cathedral at Ratzeburg. 13 and 14. 15 and 10. Forms of pillars from the church at Altenkrempe. Window from the village church at Grossmangelsdorf. 17. 18. Capital from the convent church at Dobrilugk.
Plate 77.
German Enamel Work

(After v Falke and Frauberger,
in
tin-
Middle Ages.
Mittelalters.)
Deutsche Schmelzarbeilen des
The
titul
Art-Historic Exhibition held in Dusseldorf in the year
1002 contained a mest beauthe
and
unequalled
collection of
German Enamel-Work from

in
Roman
Art-epoch.
The
different
works
of art
contained
this
collection
have since been reproduced by Otto von
'
48
THE ROMAN ORNAMENT.

in
Falke and Heinrich Frauberger

des Mittelalters".
their beautifully illustrated
work
Deutsche Schmelzarbeiten
artistic
There can be hardly any doubt but that the German

the Byzantian
cities,
enamel-work
has
its
origin
in
in
empire.
In
Germany
itself certain
centres
for this art
were
established
school.
few
the masters giving instruction each according to his

at Cologne,
own
particular
One
of the
most celebrated centres was
where the great and celebrated

in
master Fredericus taught.

a few othier places.
Fig.
1.
Celebrated schools were also established
Treves, Coblenz, and
Plate from corner pillar of the Maurieius Shrine in Cologne by Fredericus; dates from the year
3,
1 I
So.
4,
and
8.
Enamel plates from the Ursula Shrine

1
in
Cologne, done by
year 1190.
Fredericus in the year
170.
The BenignUS Shrine in Siegburg. Made in Cologne, in the Bronze pillars from the Anna Shrine in Cologne, 1183. Reliquary plate in Fritzlar, from the second half of the 2 h
I
century.
II
Crest of the Albinus Shrine in Cologne, from the year 186. Crest Of the Anna Shrine in Siegburg. Made in Cologne in and 12. Crest Of the Maurieius Shrine in Cologne, by Fredericus
1
the
in
year
S3.
the year
180.
Painting from
Bamberg Cathedral
(Heideiorti
THE ROMAN ORNAMENT.
140
The Roman Ornament

In
in
France.
most
the
provinces
of Franco,
the
Roman
style
of architecture developed itself in a
peculiarly
cially in
characteristic Inshion, while the Antiqua predominated in the south, but
more expe-
Provence,
the Byzantian
style held
and
in
Normandv, the Antique

predominates
in
style
sway in the south-west. In the north of France, was neglected for the rman-Roman, a style which en<
tirely
these particular provinces.
Plate 78.
Fig
1
2.
Portal from the church of St. Ursin, Bourges, 12 th century (Opderbe< Column from the church of Saint Pierre, Chauvigny (Haward, Histoire
philosophic des Styles).
et
3.
<j.
5.
b.
Portal of the church at Surgeres, 11 ih century Opderbe Column from the church of St. Lazaire, Avallon, 12" eentupy (Opderbecki Base from the church at Cusset, 12 tn century (Opderbei Ornamented cavetto from portal of the church at Suger, 12n century
.
>pderbecke
Base from the church at Poissy, 12th century Opderbecke). 8. Shaft of column from the cathedral at Chartres, 12 th century Opderbe 12' century (Opderbi 9. and 10. Base and Frieze from the church inVezelay. Cornice from a chapel in Laon, ll' h century (Opderbecke). 11. 12, Cornice from apse of the church et Leognon, 11 th century (Opderi-.
7.
1
'
Plate 79.
Fig.
1
Relief frieze from Moissae cloister (Havard).
2.
3. 4. ;. 6.
7.
Frieze from the cathedral at Bourges (Raguenet Frieze from the museum at Toulouse, 12th century (Rag ienei Moulding from the church at Aulnay, Charente inferieure Raguenet). Cross from Notre Dame du Port Clermont-Ferrand, llthcentury (Ragm
.
8.
Abacus from the museum at Toulouse (Raguenet). Abacus from the cloister of St. Trophime, Aries (Raguenei Capital from the cathedral at Semlis, 12'h century (v. Pannewitz, Formenlehre der romanischen Baukunst).
<i,
and
10.
11.
12. Capitals from Toulouse (Heideloff). Base from the church of Semur in Brionnais, Bourgogne Capital from the church of St. Severin, Toulouse Joseph).
(Raguenei
Plate 80.
Roman Ornament
Fig.
i,
in the Provence.
(After M. Henri Revoil, Architecture
Romane du
midi de
la
France
and
2.
Bouehe du Rhone. Capital and principal cornice from the chapel of St. Gabriel, Bouehe du Rhone. transition from the classic to the Roman style.
6.
Column and arch from the
cloister of St. Sauveur, d'Aix,
3,
s,
and
10.
Principal cornices.
THE ROMAN ORNAMENT.

Plate 78.
THE ROMAN ORNAMENT.

Plat.'
79.
Si wfe
>
'-y^Lkî2
THE ROMAN ORNAMENT.

Plate 80.
THE RDMAN ORNAMENT.

Plate
81.
THE ROMAN ORNAMENT.

Plate 82.
>&fM
\
1
Willi) II
isb
N0P2RSCV.VX1
THE ROMAN ORNAMENT.

Fig.
4.
/
155
Pillar
9,
and
8,
12.
from the abbey of Montmajour. Pillars from the castle of Simiane, Basses-Alpes. Pillars from the church at Thor, Vaucluse.
ir.
Plate 81.
The
Alice
1,
Norman-Roman Ornament.
['architecture
Y Ruprich-Robert,
Normande.)
3.
1.
and Pillar capital from the church of Montevilliers, Seine inferieure Portal of the church of Anisy, Calvados.
2.
5.
Tympanum from a door

from the year
;i
1
1
Capital from the church of Montevilliers. of the church at Marigny, Calvados.

>,
and
<
pr<
ents the
6.
7.
Window
Portal of the church at Beaumais. Calvados. of the church at Saint-Contest.
Plate 82.
The
Norman-Roman Ornament.
I'architeclun
(After V, Ruprich-Robert,
Fig
1 .
Norman
2.
.;.
Painted capital from the church of St. George de Boeherville, 13th century. Capital from the church Mint Saint Michel (Mauche).
Pillarcapital from the church at Breteuil
and
11.
<
ii
4, 6, 9,
5. 7.
Columns from the church of
St.
Gervais, Rouen, ilth eentury.

aus Granit).
8.
.,
10.
Norman alphabet, 11'" century. a!ter M. de Caumont. Column from the Chapter hall of the Abbey of Hambe (Mauche, Capital from the crypt of the cathedral of Bayeux. Cross from the church Sainte Trinite in Caen.
Plate 83.
Fig
1.
Iron grating from the church of the holy
2. 3.
4.
St. John of Malta Provence (Havard). Door mounting from the sacristy of the old cathedral at Noyon Glass painting from the cathedral of Chartres iHavard). Baptismal font in the church at Besme, Champagne (Raguenet).
in
Aix.
^Havard)
5.
6.
7.
8.
Bishop's erozier (L. Roger-Miles, Comment discerner les styles). Glass-work of colourless glass in the church at Bonlieu, Creuse (Havard). Cloth fabric from the Abbey Saint Germain-des-Pres, Paris, 11th century (Roger-Miles). Crozier of Archbishop Abaldos, who died in the year 933, in the cathe-
9.
..
10.
11.
dral at Sens (Roger-Miles). Gold embroidered silk (Roger-Miles). Iron lattice-work in the museum at Rouen, 13th century (Raguenet). Iron lattice-work from the cathedral at Puy, 9 th eentury (Raguenet).
THE ROMAN ORNAMENT.

Plate
8v
THE ROMAN ORNAMENT.

Plate
|.
THE ROMAN ORNAMENT.

Plate 85.
THE ROMAN ORNAM1

Plate 84.
Fig.
t.
I.S9
2.
from the sacristy of the old cathedral of Noyon (Havard). Chafing-dish from the Archbishop's palace in Narbonne, 13ih century
Wooden
coffer
(Muller and Mother).

3. 4.
5.
6.
7.
Ciborium from the cathedral of Saint-Omer (Havard). from the prayer-book of Charles the Bald Roger -Mil. -si. Measuring cruet from the church treasury of St. Denis (Mailer and M Wooden arm-chair (Roger-Miles).
Initial
1
Seal Of the Capitol Of Toul. 1127
1218
Arj Renan,
le
costume en France).
8.
9.
10. 11.
12.
Tabouret (Roger-Miles). Jewel of the Holy Tear of Vendome (H Eagle from hilt of a sword, 10th century (R Small-writing-desk for writing on the knees Roger-Mi Paten of open-worked silver, gilt and chased, 13 th century
11
'
Plate 85.
in.
In
iiili
Enamel-Tscork in the Middle A^t-"t
the Middle Ages, certain centres

in
art
were
fori
one of the most celebrated art-schools
tic
12 th century of
is
being established
this
in
at
Verdune.
rhc
Verdune Altar
Nicholas
is
the
most
in
renowned work
1191,
art
at
during
present
epoch.
relit:
It
was prepan
ent at
of Verdune
the year
and
the
Klosterneuburg near Vienna (Karl Dreschler, Der Verdunei

Fig.
1.
Vlti
2 ib.
A table from the Verdune Altar. Enamelled plate from the same.
'
b^W'ivH*-^'
"
-C
I
rpflRTWITiSrf^^
T&K AS NMR ANDQF0RE5 VE5TR05 c'opom
MOilN OtVcndLX
XVin
*\\J\\
.,+NA
St.
LORA 1
syidCPJJICj\TyR LA^M
i
Frieze from the church of

(Revoil. Architecture
Pierre de Maguelonne
le
(Hecourt).
Romane dans
midi de
la
France.)
THE ROMAN ORNAMENT.

Plate 86.
WJSt
Ik
iPftt
THK ROMAN ORNAMKNT.
[6l
The Roman Ornament

The Lombard-Roman
style style
in
Upper and Middle

of
style.
Italy.
shows evidences
Germanic influence but does not evince

In
such a high degree of development as the German-Roman
Tuscany and Venice,
this
had to give way before the antique or Byzantian
style.
Plate 86.
Fig.
I
Pulpit in the cathedral at BitontO, llAcentury (Raguenet).
2
..
Window column in the museum at Brescia (Mohrmann). Frieze in the museum at Brescia (Mohrmann)
Rosette from the vestibule of the church at Pomposa (Mohrmann). Fragment of column in the museum at Brescia (Mohrmann).
.,
Plate 87.
Fig.
1.
Frieze from Verona
Mohrmann).
z.
3.
4.
5.
6
7.
Frieze from the cathedral in Matera (Raguenet). Capital from the cathedral of Torcello near Venice, 1 & century (Raguenet). Italian rose-window after Rosenkranz (Bilderatlas der Baukunst). Portal from the cloister of St. Abondio, Como (Joseph). and 8. Capital and arch from the church of St. Zeno, Verona (Molun
1
Door from the church of the Fathers
in
Padua
(Raguenet).
Plate 88.
(After Prof. Karl
Fig.
i
Mohrmann and
Dr.
Eugen Ferd. Eichwede, Germanische Fruhkunst.
and
3.
Portal from the church of St. Stefano in Bologna. Sockle from the principal portal of the cathedral at Verona. and 5. Lions on the portal of the church in Modena.
2.
The Saracen=Norman Ornament

The Normans were
afterwards,
originally a
in Sicily
and Lower
in
Italy.
Germanic
tribe
which had settled
Norway, and who

founded a
in
in
being forced through
over-population to leave their Scandinavian home,

Sicily
colony
these
in
Normandy.
In In the
They conquered
the
1 1
'
and Lower
Italy
and established also colonies

style
countries.
h century
in
characteristic
Roman-Norman
style,
had developed
Normandy.
Norman
colonics
Lower
Italy,
this
being very strongly influenced
by the Islamite style of the Saracens, developed further which reached its highest glory in the 12'h century.
Christian
art,
into another
most characteristic
from
union
style,
From
in
this
combination of Islam and

this
the
only
the
example
courage,
perhaps of the kind

strength,
history,
of quick
Oriental fancy with

ot
and power of the Northman, have sprung works
art
whose
delightful,
and entrancing beauty charm the beholder and excite his wonder and
admiration.
SPELTZ.
Slyles of Ornament.
THE ROMAN ORNAMENT.

Plate 87.
>"#"_.."
-ive-
:,h-..
Yx'A^]
THE ROMAN ORNAM1
Plate 88.
Y:;.':",
;'-;-: :t 7:-.
-^s
THE ROMAN ORNAMENT.

Plate 89.
j ihi ibi \m\ /
THE ROMAN ORNAMENT.
'65
Plate 89.
Fig.
1,
2
5.
Arcades from the aisle of the King's ehureh Santa Maria 6, and 7. Nuova, Monreale (J. J. Hittorf et L. Lauth, Architecture moderne de la Sicile). and 3. Ceilings from the same church (Hittorf). Arcade from the cathedral at Monreale (Camillo Boito, Architettura del medio
4,
evo
in
Italia).
This church was built between
tin-
years
173 and Il82, and restored
between the years l8l6

S.
v
I
SQ.
Arch from the church of Santa Maria Nuova, Monreale
(Hittorf).
Plate 90.
(Alter
Kutschmann, Mcisterwerke der sarazenisch-normannischen Kunst

und Untent.il'
in
Sizilien
Fig.
1.
Relief on the front side of the altar of
St.
Cataldo.
Baptismal font in St. Cataldo. 35. Window arches from the palace of St. Antonio, Palermo. Ear pendent from the coronation hood of Queen Constance II. Mosaic from the Capella Palatina, Palermo. 7. 8. Palmette frieze from the same church. Mosaic from a window-reveal, same church. 9. to and 11. Mosaic friezes from the cathedral at Monreale. 1:. Mosaic from the church of the Martorona, Palermo.
2.
(.
Plate 91.
Fig.
1
and
3.
2.
From
(Hittorf
5.
Mosaics from the church of the Martorona, Palermo (Kutschmann). the ceiling of the King's church Santa Maria Nuova, Monreale
and Lauth).
4 and
<>.
7
s.
Fragments from tablature in the side aisle of the Capella Palatin, Palermo (Kutschmann). Mosaic from intrados in the same church (Kutschmann). and 9. Mosaics from the cathedral at Monreale (Kutschmann). Entablature painting from the cathedral of Messina (D'Espony).
Mosaic from the church of Santa Maria Nuova, Monreale

(Hittorf
and Lauth).
THE ROMAN ORNAMENT.

Plate 90.
THE ROMAN ORNAMENT.

Plate q
i
THE ROMAN ORNAMENT.

Plate 92.
THE ROMAN ORNAMENT.
69
The Roman Ornament

Roman
in
in
Spain.
but
church
architecture
was
influenced
from
Southern France,
it?elf
the Ornament,
consequence of the influence of Moorish Ornamentics, developed
independentlv.
Plate 92.
(From Monumentos de Espana.
Fig.
1.
4.
5 7.
10.
11.
the church of San Isidore Leon. Mouldings from the same church. Capital from the same church. and 6. Column and arch from the church of San Lorenzo, Segovia. Soffit from the same church. and 9. Column and arch from the Gate of Mercy in the same church. Cimbia from the old cathedral of Salamanca, r/ransition from the Byzantian to the Roman si le. Column from the church of St. Peter and Paul, Barcelona.
and
3.
.
Window from
Plate 93.
(From Monumentos de Esp
Fig.
1.
2.
Portal of the epistle side of the church of San Milan in Segovia. Arch from portal of the parish church of San Martin, Segovia. and 8. Window from the ancient cathedral of Salamanca.
I
Reman stvle. Capital from the Pantheon San Isidoro, Leon. 4. 57. Metopes from frieze in the church of San Lorenzo, Segovia. Stone chest in the Pantheon San Isidoro, Leon. The use to which 9. chest may have hern put is unknown.
the Byzantian to the
this
Plate 94.
(From Monumentos de Espana.)
Fig.
1.
Arcade Mayor,
and
6.
in
the interior of the apse of the church Santa Maria de Villa

Infiesto.
Concejo del
Capital and base from the tower on the cathedral at Oviedo.

4.
Camara Santa of
the
3 5
,
and
Frieze from the church of Santa Maria de Villa Mayor.

in
Pillar capital
7-
from tower in no. 2. Sarcophagus probably of King Alphonso the Wise, Santa Maria la Real de las Huelgas, Burgos.
the cloister of
Frieze from portal of the church of San Lorenzo in Segovia (Monumentos de Espana).
THE ROMAN ORNAMENT.

Plate 93.
^^
THE ROMAN ORNAMENT.

Plate 94.
.
I
^-
IT
mimwmflffimtQSMim*. m
j
"^
lt|'^ !llj ,uil1

-^
>
-<4
lll
t J > |JP3J
mum Up tWi.lP
.'
i-v
a 71 ^w
-*'
'.J * '
.1
'
"
-r I ..M^.i
,|
jtJl-ji
.- ,
l'
THE ROMAN ORNAMENT.

Plate 95.
,v^,. *l^~r*
4
--.
; ;?v,'
>
flu
'3^V; ^
4
THE ROMAN ORNAMENT.
The Roman Ornament

The
1.
in
England.
period consisted simply in using
in
art of the early
Middle Ages
in
England can be divided into two periods:
The Anglo-Saxon period from 449 to 1066.

the remains of
The
The
art of this
Roman
architecture found in the country, or
directlv
imitating them.
imitation of the
2.
The Norman period from
1066 to
[89.
nit
1
art
<!
this
period
was an
Norman French, developing
gradually
characteristic national style.
Plate 95.
1
11
1.
Norman mural paintings on the altar

Cathedral.
land by William B. Scott).
of
Our Lady of
in
Pity,
Durham
Dates from the year 1154 (Antiquarian (.leanings
the North of Eng-
2. 3.
1.
5.
6.
7.
Door in Peterborough cathedral, 2 * century (Raguenet). Column from Canterbury cathedral, from the year 1070 (Pannewitzj. Balustrade from the cloister at Canterbury, from the year 1115. Capitals from the church of St. Peter at Northampton (Graul, Bilderatias.) Large door-knocker from Durham Cathedral (Scott). Tomb of an English knight, 12th century (Hefener-AJteneck).
1
Plate 96.
Fig.
1.
Capital and base from the church at Lastingham, Yorkshire, 12*

tury (Pannewitz).
cen-
2.
3.
Capital from the same church (Pannewitz). Capital from the church at Dunfermline, Scotland (Pannewitz).
4.
Capital
from the church of

in
St.
Peter-at-Gowts, Lincoln,
Anglosaxon
(Baldwin Brown, The arts

5.
early England).
b.
7. 8.
Capital from the church at Canterbury (Pannewitz). Capital from the parochial church at Waltham (Pannewitz). Capital from the white Tower of the Tower of London.
9 and
.
11. 12.
13.
Double window of the east facade of the tower at Deerhurst 10. Pyxes (Hottenroth). From the chasuble of Thomas A'Beckett (Hottenroth Coffer from the church at Brampton, Northamptonshire, Norman ornaments from St. Saviour church, Southwark
1.
(Baldwin Brown).
12
th
century.
(Pugin, Gotische
Ornamente).
.
14.
Late-Roman burned flow plates, yellow and red, from the church at BlOCkham; 13 th century (Dolmetsch).
Plate 97.
(After V. Rupprich-Robert, Architecture
et
Normande du XI
et
XII siecle en Normandie
en Angleterre.)
Fig.
1.
2.
3 4.
Door of Rochester church, Kent. Arehivolte at the door of Peterborough cathedral, Northamptonshire. and 5. Window columns in the Abbey church of St. Albans, Herefordshire. Baptismal font in Sculthorpe church, Norfolk.
THE ROMAN ORNAMENT.

Plate 96.
THE ROMAN ORNAMENT.

Plate 97.
THE ROMAN ORNAMENT.

Plate 98.
THE ROMAN ORNAMENT.

Fig.
6 and 9.
7
10.
and
n.
Baptismal font in Winchester Cathedral, Hampshire. Mural paintings from same cathedral. Archivolte of the portal of St. Peter's Church, Northampton. Column from the crypt of Canterbury Cathedral, Kent.
8.
Plate 98.
(After
Fig.
1
James K. Colling, Details of Gothic Architecture.)
Capital and base from the crypt of vestry in Canterbury Cathedral. Window from the Patrixbourne Church in Kent. and 3. Capital from the church at Walsoken, Norfolk. Southern portal of the small church at Totham, Essex. and 7. Western portal in the tower of the church at Etton, Yorkshire.
4.
5.
Plate 99.
Fig.
1
12.
From Norman cornices

Fig.
I.
(Bannister F.Fletcher,
II20.
in
1
history ot Architecture).
Zig-zag from
Lincolnshire,
St.
2.
Chevron from
Nebule,
Billet, Billet,
St.
Contest
3. 4.
Peter's at
Cowi
'.
Winchester,
Canterbury.
hi
5. 6. 7.
Beaks Head, Hinksey.

Chevron, Westminster
100,7.
8. 9.
Chevron, North Himskey.

Iffley,
Oxon.
10. II. 12.
Billet,
Abbaye aux Dames.

4'
Double Cane, Stoneleigh.

Embattled, Lincoln,
1 1
>.
13.
14
the Cathedral at Winchester (Baley Scott Murphy, English and Scottish Wrought Ironwork). 16. Capitals and base in the western tower of the church at Lincolnshire (Baldwin Brown, The Arts in Early England).
Grating
in
Plate 100.
Fig.
I.
2.
3. 4.
Canon's Staff iHottenroth). Ship in which Duke William
came over
to
England
iHottenroth).
5
b. 7. 9.
Anglo-Saxon pyx (Hottenroth). Anglo-Saxon SWOrd-hilt (Hottenroth). and 8. PyXeS (Hottenroth).
Norman
Mitre of
Shield (Hottenroth).
Thomas A'Beckett
(Hottenroth).
Norman sedan chair
(Hottenroth).
10.
11.
Anglo-Norman woman with water-jug (Hottenroth). Cross from Monasterboiee Abbey, Ireland, dates from
Stokes, Early Christian Art in Ireland).
Styles of Ornament.
the year 924 (Margaret
SPELTZ,
THE ROMAN ORNAMENT.
THE ROMAN ORNAMENT.

Plate ioo.
THE ROMAN ORNAMENT.

Plate IOI.
%u\Xj:
THE ROMAN ORNAMENT.

Fig. 12.
181
Anglo-Saxon dagger,
15.
13 and
14. 16.
17. 18.
from the I0* century Candlesticks (Hottenroth). Coronation spoon iHottenroth). Dragon ship, [i* century (Hottenroth).
(Hottenroth).
Lantern
(Hottenroth).
Norman knight
in
chain armour
(Hottenroth).
Plate 101.
(A. H.
I'ig ',
Shaw,
F.
I.
A.,
Mediaeval Alphabets and Devices.)
3i
5.
6.
Letters from the
works of Josephus and
others, 12* century.

in
2,
4,
[3.
Letters from
the sann- period taken from manuscripts
the British
Museum.
Arched doorway from the church at Framlingham, Norfolk.

From
the middle of the
12 th centur\'
(V.
Rupprich-RobcrO.
THE SCANDINAVIAN-ROMAN ORNAMENT.
mi*
n Norway, the Scandinavian Ornament

intimate relationship with the
is
(
stands
a
eltic,
in the most circumstance which
was first introduced into South Norway, where English influence had to give way before the German, stone architecture is predominant, one of the most beautiful examples of this style being the cathedral at Lund, a Germanic long house basilica. The founder of this cathedral appears to have been King Harold Hein, its construction having been commenced somewhere about the year 1074, a short time The construcafter the church at Dalby was completed. tion of the cathedral was carried on with great zeal, esdue to the
fact that Christianity
Norway by
the Irish.
In
pecially
by King Knut the Holy, whose anxiety
for
tin-
success of the building was so great that he himself under-
From side portal of the

church at UrneS(Dolmetsch).
took the task of collecting from his subjects the money necessary to complete it. Besides being found in South
,T
,r Norway, stone architecture 01 a most decidedly early b-er^ J manic style is also predominant in Sweden and Denmark. In the north of Norway, however, and during the same period, a This style in all typical style of wooden architecture was developed. present time, there probability had its origin in England, although at the is but one example of a wooden church throughout the whole country, namely, the w ooden church at Greenstead, near London. The greatest and most powerful influence, however, to which the Roman-Scandinavian wooden style of architecture was subjected during its development was the influence exercised by Irish-Keltic Art. It must not be forgotten, at the same time, that the peculiar Norwegian parish churches appear
,
,
,..
,,
184
to

of their
have had an independent development

in
rated, ornamental portals of these churches
own, the richly decobeing very characteristic.
Three periods are noted

1.
The
archaic
form,
the construction of these churches. or the period of Irish influence up to the
year
1 1
50 after Christ.
2.
The
period distinguished by the
Roman
form, a style, which,
in all probability
was taken from the Anglo Saxons and Anglo Normans
up
to the year
1250 after Christ.
of Gothic influence up to the decline of art. 3. The Gothic could never entirely remove the influence of the Roman, a style which had already taken such deep root in the country.
The period
There are three styles of portals: 1. The Sogn Type. This takes its name from a country district, and is distinguished from the other styles of portals by the delicacy and elegance of the tracery work, no different or distinct periods of development being apparent. 2. The Thelmark Type. This type of portal may be seen at the
church of Christianasand. The traceries are broad, very often rough and coarse, and in strong contrast to the foregoing style. The development and decadence of the Thelmark type of portal can be much better observed and followed than the Sogn type.
3.
The
Figurative Portals.
This
either to bible history or to mythology,
The
artistic
treatment of the figures
is
of portal, which belongs found only in South Norway. far behind that of the Ornament.
style
is
Plate 102.
Roman Ornament
(After Sesselberg,
Fig.
1.
in
Norway.
This church was built
Skandinavische Baukunst.)
Capital from the cathedral at Nidaros, Drontheim.

in
the year
161.
2.
3
4.
0.
7-
and
Shaft of column from the church at Wal. Window from the cathedral at Lund. s. Door from the church at Torlosa. Capital from the cathedral at Lund. Soekle from the church at Wal.
Plate 103.
(After Dietrichson and Munthe, Die Holzbaukunst Norwegens.)
Fig.
I.
Portal Of the Church at Aardal,

church was
built
in
at
is
present
in
the
museum
at Bergen.
This
the
year I20O, and
the most elegant example of the Sogn-
Valdres type of Ornament.

Plate 104.
THE SCANDINAVIAN-ROMAN
Plate 105.
^ C
n^
1
iter'* 2&
:
im Ms
i*S
k^lP^ v r L ^
1
jk;c
^~-*îi
aCvv
I
=o
X,

Plate
1
06.

Fig.
2
l8q
and
4.
Column and capital from the church

wooden churches.
It
at Urnes, one of the most

This church on the road
after Christ.
interesting of Irish
3.
is
very ancient.
lies
1
Portal of the Andreas Church in Borgund.
leading from Christiania to Bergen, and dates apparently from the year
5.
150
6.
7.
8.
West gable of the church at Urnes. Remains of a ruined Irish church in Hopperstad. Portal from the Church at Hitterdal, dates probably from 14 th century. Mask from a wall pillar in the church at Hegge. This church was
made mention
of in the year
1.^27.
first
9.

Column from the
10. ii.
aisle of the church at Hitterdal. Unrolled cylindrical capital from the church at Hegge. Part of a chair from the church at Hitterdal.
Plate 104.
(Alter Dietrichson and Munthe.)
Fig.
i.
Half of the outer west-portal of the church at Hegge

bishopric of
in
Valdres,
Hamor.
2.
3.
Half portal of the church at Hemsedal in Hollingdal, bishopric of Christiania. Half of portal of the church at Hitterdal in Thelemarke'n; bishopric ot
Christianasand.
i.
5.
b.
North portal of the same church. Portal of the church at Rennebo, Orkedal, bishopric of Drontheim, in the museum at Drontheim. Portal Of the Church Of TOnjem, SOgn, bishopric of Bergen, in the museum
at
Bergen.
Plate 105.
Fig.
1,
and
3. 4.
5.
Pot-hanger
b.
chair in the museum at Christiania. in the same museum (V. Ruprich-Robert). Prow of ship in the same museum (V. Ruprich-Robert). Door-mounting in the museum at Bergen iMohrmann). Door-mounting in the Hedal church iMohrmanm.
2.
Arm
Plate 106.
The
Roman Ornament
(After
in
Sweden.
Mohrmann.)
Fig.
Baptismal font in the museum at Stockholm. 4. 2. Ornament from a baptismal font in the same museum. Capital from the crypt of church in Dalbi, Sweden. 3. Inscription on a baptismal font in the museum at Stockholm. 5. 68. Columns from the crypt of the church in Dalbi, Sweden.
1,
and

Plate 107.
THE SCANDINAVIAN-ROMAM ORNAMENT.
191
Plate 107.
Roman Ornament
(After
Fig.

in
Denmark.
Mohrmann.)
in the
i5, and
6. 8.
7.
Painted frieze from altarplate
church at
Sal, Jutland.
Portal of the church at Ripe, Jutland.
Altar of the church at Sal.
Stone Ornament from the Cathedral at Lund

(Sesselberg).

Plate
1
08.
THE RUSSIAN ORNAMENT.
artaric influence
which dates chiefly from 1^37 to |.8o, may be regarded when the Tartars were in power e why the pure beyond any doubt as the chii
1
to
Byzantian style originallj established in Russia came be changed later on into the specific Russian
Initial from a Gospel intheRum-
Ornament. Into Russia, as into every ether country where thev appeared, the Christians brought with them a new style oi art, which developed itself afterwards
accordance with the national character of the people of Russian Art may be said to date from the end of the io' h century under the reign
in
jantzow
in
Museum Moscow
-
The commencement
of
(Dolmetsch).
Vladimir the
Great.
In
the
latter
part
of
the
Middle Ages and towards the beginning of the Modern period. Italian artists were invited in great numbers into the country and were engaged
in
the construction of
numerous monumental
to
buildings.
The
influence of
Italian
Oriental Art, however, was already so verj
great, that even

it
Art
was not powerful enough
entirely
eliminate
in
from
the
country.
Wooden
architecture plays a great part
Russian ornament.
Then-
exist at present in
Russia some Old-Slavonian manuscripts dating from
the iot h century.
Plate 108.
(Altjr E. Violet
le
Due, l'Art Russe.)
Arch of a portal in the church of St. Dimitri, Wladimir. Russian capital. Cupola of the Wasili Blajennoi Church in Moscow. Russian column. Stucco ornament.
Plate 109.
(After Gagarin, Russische Ornamente).
Fig.
I.
From
from
1
St.
th
George's Church in Jurjeff-Polsky, Government

century.
of Vladimir;
dates
2.
Wood carving on an
Polsky, Government
Icon,
it> th
century.
3.
Relief decoration of a stone wall in the church of St. George, Jurjeffof Vladimir.
4.
From a
1
silver
mounting of a picture of Christ

Church
in Antsehishat, Tiflis,
til
century.
From St. George's 5, and 6. SPELTZ, Styles of Ornament.
in Jurjeff-Polsky, 13
th
century.
I

Plate
1
09.
THE RUSSIAN ORNAMI
13*

Plate
in.
ss^g.
wp> CPP
tHjp9
vp IW* ^BB* ^v;^
Pip
^Tj^*
97
Plate 110.
Fig.
i,
and
2.
;.
5.
6. 7. 8.
Painted ornamentations from an Old Russian Psalter, in the Imperial Moscow (Dolmetscli, Ornamentenschatzl. From a Psalter, in the library of the Holy Trinity, Moscow (Dolmetsch). From a prayer-book, in the Miracle-Cloister at Moscow (Dolmetsch). From a prayer-bOOk, 5 th century, in the Bjaloserski Cloister in Moscow Dolmetsch).
4.
Public Library at
Club in chased iron (Libonis). Old Russian helmet (Libonis). Chalice belonging to Antonius the
sion,
Roman
in the
Cathedral of the Ascen-
MOSCOW.
Dates from 12
th
century (Libonisl.
9.
to.
11.
Krubok (beaker) belonging to Prince John III. (Libonis). Spoon belonging to Bishop Antonius, in Moscow, 12* century iLibonis). Eagle devouring a Cloud, made of Siberian gold, at present in the Museum
the Hermitage (Moscow).
of
12. 13.
Altar in Antschishat in Tiflis. 14 th century (Gagarin). of the Czar in the Cathedral of the Ascension, Moscow. This church was built in the year 1475 R v an Italian architect named Rid. Fioravanti, a fact which
Pew
explains
14.
why Italian Renaissance Details from the Figs. 12.
influence
is
so observable
in
the Ornament.
Plate
(After E. Violet
Fig.
i.
ill.
Due, I'Art Rus
-
le
:, 3.
4,
Embroidery from a Russian shirt. and 5. Ornaments from throne of the Czar Alexis Mikailowitch. Diadem in enamel-work, i' ,h century.
Mural painting after Gothic motifs.
from very remote periods,
is
6.
The custom
of Tree-worship,
transmitted
here plainly discernible.
From a Gospel
in the Cloister at
Nowgorod
(Dolmetsch).
THE ISLAM ORNAMENT.
In ancient times, art
was the expression
of the relig-ious feelings of a people.

therefore, a
When,
happened to be introduced, the development of art went on upon new lines. When Christianity became predominant, ancient classic art was put aside,
religion
new
and a new style of art, the Early Christian and Byzantine, took its place. Whenlslamism spread abroad, Islam art sprung into existence,
Decorative fragment from tomb of the Sultan El-Ghoury (Prisse).
and following the wonderful conquests of the Moors, quickly advan-
ced to a high state of development.

This does not mean, however, that a specific Islam style was formed.
which Mohammedanism spread abroad left it no time its own, and the conquerors found it easier and more convenient to make use of artists and material, and whatever else alreadv existed in the conquered countries, for the construction and decoration of their own beautiful buildings. The appearance of Mahomet in Arabia in the year 610 had no effect whatever on art in Arabia, and no common single homogenious Mohammedan style is to be found from India to the Straits of Gibraltar. All kinds of influences,
The
rapidity with
to develop a peculiar art of
in
accordance with local conditions, are evident, such
as,
for example,
Antique,
Early Christian, Byzantine, Phoenician, Hebraic, BabylonianThese, together

art,
Assyrian, Persian, Egyptian, and even Indian influences.
with what remained of Arabian
combined with their own original contributions, were all formed into one whole, one single, new style. As the pictorial reproduction of men and animals was forbidden by the Mohammedan religion, Islam art was obliged to confine itself to geometric and vegetable Ornament. This command, however, appears to have been promulgated in the later periods of Islamism, and to have
THE ISLAM ORNAMENT.

originated in the fanatism of the
IQ9
priesthood, for animal
Mohammedan
ornaments have been found which date from more ancient times. There is a g-eneral absence of plastic work in Islam art, the Mohammedans
appearing to have had no understanding for this class of work.
The Arabian-Moorish Arch.

The Horse-shoe Arch
first
quadrant
it
eg
formed by drawing with ec as radius and

is
dividing
into
three equal
parts.
is
the
e
first
point of division, a line
From drawn
a,
to
and prolonged towards the other

//
side.
From
an arc
the point
where
its
produi ed
line
line intersects
l*
the perpendicular bisecting

is
drawn with ne
as radius.
The
point where
this arc intersects
OP
ef
is
the middle point of
the principal are with the radius
d e.
formed by
equal
parts
The Ogee Horseshoe Arch

dividing the
line
is
into
three
.v
and drawing perpendiculars through the points and v. From each of these perpendiculars a part is cut off equal in length to one of
the three equal divisions, the parts so cut off being joined by a horizontal line. From the
points of intersection
to I
and
:,
with the radii
and
in
is
o
/'.
e,
arcs are described which inter-
sect
line
Through
this
point
horizontal
drawn, the points of intersection/) and
being the centres of the two circles of the

arch.
The Moorish Ogee Arch

points of division
e
is
formed by
dividing the line a b into six equal parts.
The
and d are the centres of the segments a f and b g. The lines e f and d g are found by constructing an equilateral triangle on d e, and prolonging the sides to
f and g.
The perpendical
to the point
i,
is
translated
through which the drawn. The lines e f and horizontal line k I is d g prolonged cut this line in the points k and /, these two being the middle points of the arcs /' m and g in. The points a and b are the middle points for the continuation of the arcs /' a and g b downwards.
downwards
THE ISLAM ORNAMENT.

Plate
112.
THE ISLAM ORNAMENT.
THE ISLAM ORNAMENT.

Plate 114.
THE ISLAM ORNAMENT.
203
The Arabian Ornament.

Towards
style ol art
the middle of the 7
th
century the Islamites developed

feature.
in
Egypt a characteristic
of which the pointed arch was the distinguishing
Plate 112.
Fig.
]
5.
Columns and capitals from

13.
Cairo,
17
th
century
{Prisse
d'Avennes,
la
decoration Arabe).
0,
and
Windows from
the mosque Thelay-Abou-Rezyq. 12* century

Jones,
iPrisse
d'Avennes).
7.
Cornice stones from mosque of the Sultan Kalaou (Owen

of Ornament*.
Grammar
8. 9.
and
11.
12. 14.
Architrave moulding from the same mosque (Owen Jones). 10. Wrought-iron door knocker from Cairo (Owen Jones). Soffit from the mosque En Nasireegeh (Owen Jones). Stalactite ornaments from Cairo (Dolmetsch).
Frieze from the mosque Thelay-Abou-Rezyq
(Prisse d'Avennes).
Plate 113.
Kig.
i4, 810, and
5,
6.
7,
Decorative details from the interior of the mosque 13. Ahmed-ibn-ToulOUn, 9 th century (Prisse). Wooden trellis work, 12 th and 3 centuries (Prisse). 12, and 10. From a wooden ceiling in the mosque at Qous (Prissi and 11. Wooden trellis work from the mosque Thelay-Abou-Rezyq,
>'>
1
2 th ce ntury (Prisse).
14. 15.
From the mosque Tekieh Cheikh Hacen Sadaka, 14 th century (Prisse). Interior window decoration from the mosque Queycoum, 14 th century
(Prisse).
Plate
Fig.
1.
114.
15
Window
of open-worked plaster of Paris in Gama-El-Achrafleh,

stuff in the
^cen-
tury (Prisse).
2.
3.
Sample of
(Prisse).
museum
at Utrecht, 14 th century
(Prisse).
Wainscotting made of faience in the mosque in Cheykhoun,
14
th
century
4.
Wainscotting of faience
in the
palace of Ismael Bey,
i6< h century (Prisse).
Plate
Fig.
115.
13.
4. 5. 6.
9,
Samples Of mosaic Work, 16'h century (Prisse). 12. Helmet and arms from Toman-Bey (Libonis). Lamp from the mosque in Kalaou. In the museum at Cairo Lamp from the mosque El-GhOUry. In the museum at Cairo
and
(Libonis). (Libonis).
THE ISLAM ORNAMENT.

Plate 115.
'
THE ISLAM ORNAMENT.

Fig.
7. 8,
205
and
Mosaic frieze from the tomb of Barsabay, 15 th century (Prisse). Decorative fragment from the tomb of the Sultan El-Ghoury 13.
(Prisse).
16. 14.
10, II,
15.
and
and
Wood carving from
the
mosque at Qous,
1
[7 th century [Prisse).
.,
Border Of wall-tiles, 16* century (Pri Carved joists from the hospital at Moristan,
3 h century (Pn
Enamelled glass lamp from the mosque of Sultan Bargong

I
'l1
century (Prisse).
THE ISLAM ORNAMENT.

Plate
1 1
6.
JmmL
THE ISLAM ORNAMENT.
The Moorish Ornament.

In
the wonderful buildings of the Moorish kings in Spain in the

in
13
th
and 14 th centuries,
in
more especially
lacing
the Alhambra in Granada,
the Alkazar in Seville,

in
its
and
the Cathedral at
Cordova, Islam Ornamental work may by seen
highest splendour.
In the artistic interartists
and interweaving of geometric and arabesque Ornament,

free rein to
Moorish
show
extra-
ordinary talent, and give
the wonderful
powers of fancy and imagination which

eye,
they possessed
rich
in
such a high degree.
Despite the exuberance of the ornamentation and the

1
and
vivid colouring of the paintii
ri
li
Ornament never wearies or confuses the

other easily
the
technical
drawing and the colouring of each single system of Ornament beeing so clearly
so
distinct,
defined
and
that
each can
be distinguished from the
and
dearly.
Lettering
was
often used
by the Moors as Ornament.
Plate 116.
Ornament Jrom
In
the Caliphate in Church of

St.
Toledo.
la
the old Svnagogue, at present the
Maria dc
Blanca, Toledo.
Fig.
i.
2.
3,
Capital from the central aisle. Capital of the lower story.
Stucco ornament from the arch of the central courtyard. 46. Console under the tie beams of the aisle. Pillar capital of the arch of the upper story. 7.
8.
Console of the gallery at the entrance.
Plate
Ornament /rum
Fig.
1,
117.
tin-
Caliphate in Granada.
and
2.
Arch panellings
in the
Alhambra
ijunghandeli.
Qunghandel).
Capital from the

and
5.
Alhambra
Decorative details from the Alhambra
(Junghandel).
from the Alhambra (Dolmetsch). Wall panelling from the Alhambra (Dolmetsch). Taken from portal of the mosque in Tangiers (Uhde). Beginning of arch in the Alberea Court, Alhambra (Uhde). Beginning of arch in the Myrtle Court of the Alhambra (Uhde). Beam head from Toledo. In the Archaeological Museum, Madrid (Uhdel. Lambrequin from the Alhambra (Uhde).
Capital
Plate 118.
Ornament from
Fig.
1.
the Caliphate in
Granada.
Wall pannelling from the Alhambra (Dolmetsch). Decorative details from the Alhambra (Junghandel 2, and 3. 4 b. Wall pannellings from the Alhambra (Owen Jones).
THE ISLAM ORNAMENT.

Plate 117.
THE ISLAM ORNAMENT

Plate
1 1
8.
SPELTZ.
Styles of Ornament.
'4
THE ISLAM ORNAMENT.

Plate
119.
>^îlrj|i|]|^^MLTJ)|k^
THE ISLAM ORNAMENT.
Plate 119.
(After
Fig.
Monumentos de
Espafia.)
Ambassadors, Granada. Taken from the lower part of the Mirador de Lindaraja 4. Alkazar of the Alhambra, Granada. 57- Tile facings from the royal chamber of Santo Domingo
13.
Tile facings in the Hall of the
in the
royal
in
Granada.
Plate 120.
Fig.
1.
Door from the Alhambra

Boabdil's
10,
ii'hde).
2.
3,
,
SWOrd
iLibonisl.
and n.
58.
Mosaic borders (Owen
Jones).
4, 0,
7.
and and
Plastic wall-border decorations (Owen Jone?). Enamelled glass bottles (Libonis).
Glass
o.
lamp from a mosque (Libonis). Corner ornaments (Owen Jones).
EH ^^ri^^^^Tî^^^^TîT^rtrtrt^rTt'rtr^r^T^ri^riît^rii^^Ti^v^T:^:^:^:^:!
^^^^^^^^^^^j^^^^^^^Êg
c D
Cornice Impost from the Central Arch of the Court of Lions in the Alhambra, Granada (Monumentos de Espana).
14'
THE ISLAM ORNAMENT.

Plate
1
20.
THE ISLAM ORNAMENT.

Plate 121.
KSyBE
214
THE JSLAM ORNAMENT.
The Saracenic Ornament.

origin,
The Saracens, who originally came from Northern Arabia, like were both for a long time the chief standard bearers of Islam
the
art.
Moors
of
Hamitic
When
Sicily
was
conquered by the Normans, the Saracens placed their art

in
at the disposal of the conquerors,
cases Christian churches were ornamented and decorated by Mohammedan artists. In manner a peculiar Saracen-Norman style ot art developed itself in Italy (see page 161). Unfortunately, there are so very few remains of pure Saracenic art in existence that we cannot form any general view of what it really was.
this
many
Plate 121.
(After
Kutschmann, Meistervverke der sarazenisch-normannischen K'unst

in
Sizilien
und Unteritalien.)
Fig.
i.
2,
4.
Fragment of a wooden ceiling in the Museo Naeionale at Palermo. and 3. Panellings of a wooden door in the Martorona at Palermo. Door soffit in the Museo Naeionale at Palermo.
The Ottoman Ornament.

as the cradle of Ottoman architecture. In the reign ol mosque was erected in this place by a Greek architect named Christodulos, being finally completed under Murad II. by the architect Ilias Aali in the year 827 of the Hegira, or 1424 A. D. The aesthetics of this mosque was very strongly influenced by
Brusa
I.,
may be looked upon

at
Murad
and
his
command,
Byzantine
led
art, but the artists who afterwards came into the country from the east gradually Ottoman architecture along the lines of Oriental art. After the capture of Constantinople, Ottoman art developed independently, quickly rising into its highest splendour, being, however,
as
was only
natural to suppose, very strongly influenced by the Persian, Arabian, and Byzantine
methods of ornamentation.
be a conglomeration of
This independent character was lost at the decline of the

art,
political
supremacy of the empire, when Ottoman

to
all
is
aping
West European
architecture, finally
came
possible styles.
Ottoman architecture
the only Islam art in which, similar to Greek art, the constructions
were
rules
carried
out
according to fixed laws,
and the dimensions fixed according

it
to
the module,
These were drawn up by Ilias Aali, the architect of the mosque at Brusa, an artist who may be looked upon as the real originator of the new Ottoman architecture. Later on, Chaireddin, architect of the mosque of Sultan Bajesid in Constantinople, fixed precisely the peculiar form
impossible to reach.
of
the
capital,
a stage of development
which even Byzantine architecture found
the
single
detailed
forms
being fixed and arranged definitely by Sinon,
an
architect living in the reign of Suleiman

I.
Kammi.
In
He
adopted the following orders:
The
Obliqitt-edge
Order
(Fig.
I).
this,
which reminds one of the Grecian - Doric

the lower galleries with a
into
1
Order, pillars are substituted for columns, and the capital has an abacus with an oblique edge.
Similar to the Doric, this Order
was employed
in
maximum
height
latter
of 6 modules and
9 parts.
Each module was divided
2 parts,
and each of these
again into 4 subdivisions.
For the construction of the arch,

points
the breadth of the
same
is
divided into 8 parts, the
of division
and B, being the points nearest to the centre, are the centres of the
segments
for the arch.
THE ISLAM ORNAMENT.

2.
21
the ornamental
in
The Brtccia Order
(Fig. 2).
This receives
its
name from
in
work
of the
capital
It
which resembles the arrangement of the stone fragments

the
architect Sinon,
certain breccia formations.
was invented by
and
is
employed
the lower stones, especiall}' for
Fig. 2.
tombs.
It is
is
impossible to
use this order

for
in
secular buildings.
The maximum
height ot the
column
the
3
io modules,
of the
parts,
and
is
the
construction
into 8 equal
of the arch,
parts.
width
same
divided
Upon
are
of these
CA
and
F,
two
equilateral
triangles
t
constructed, four corners of which namely
Cand
and ZTand
F
B,
being connected by arcs drawn from the central points

tangents being drawn at
3.
A and
and E.
(Fig. 3).
,
The Crystal Order

architect
This Order,
which was
is
fixed
by the
Chaireddin
and the arch of which

is
similar to that of the oblique
edged Order,
the richest Order the Corinthian
of
Ottoman architecture and corresponds
to
or
Composite Order.
crystals
The
capital consists of a
group of crystals,
niches,
being
also
used
to
decorate the dome,
and
This
edges of the cornice, as well as the front of the steps.

is
the
only Order which
was used
in
the
interior of secular
buildings.
not,
In contrast to other styles, the

rule,
as
a general
Ottoman Order does make use of Ornament fashioned from

itself,
plants,
but uses instead the material

is
that
is
the stone,
trom which the column
made.
Ornamental forms taken from the vegetable world were,

however, employed by a few
in
this
artists,
the principal plants used

(see
text-figs
FT
way
being
the
pea-tendril
page 222),
the gourd, Fig
3-
the
water-melon, pome-granate, canary-bird flower,
:rr
and the amarinth.
THE ISLAM ORNAMENT.

Plate 12 2.
i T*
UMTVi
THE ISLAM ORNAMENT.

Plate
123."]
m M^ ^ P m
V7-
fg
v-*"'
âE
S5 PP1
THE ISLAM ORNAMENT.

Plate 124.
i
7/XX
I
$
1'
THE ISLAM ORNAMENT.
-'9
Plate 122.
Elements
of
Ottoman Architecture.
(After Sebah, Die ottomanische Bauknnst.i

Fig.
i,
and
8.
4.
Capitals of the Crystal Order,
after Sinon.
2, 3.
and
and
Pedestal Of column, after Sinon. Capital and principal cornice of the Crystal Order.
5, 6.
Cornice of the Crystal Order. 7. Cornice with console.
Plate 123.
(After Sebah, Die ottomanische Bauknnst.i
1.
2. 3. 5.
Frontal with ornamental Cuflc characters from the Jeehil-Djami mosque This mosque was completed by the architect [lias Aali in the year 827 Mahommedan time, which in our time corresponds to the year 424 after Christ. Border of a niche in the Jechil Djami mosque in Brusa. and 4. Portal borders from the same mosque. Bronze trellis work in the Taouk Bazaar.
in BrUSa.
r
Plate 124.
(After Sebah, Die ottomanische Baukunst.l
Fig.
1,
and
2.
Spires of Ottoman cupolas.
3.
Stalactite mouldings on the large

in Brusa.
window of the Jesehil-Djami mosque
4.
5.
Glass
6.
window from the same mosque. Decoration on bars of window in the same mosque. Door panel from the same mosque.
Plate 125.
(After Sebah, Die ottomanische Baukunst.)
Fig.
1.
Concave moulding with glazed brick from the Jesehil-Djami mosque

in Brusa.
4,
2,
3.
6. 7. 8.
and 5. Iron mountings. Shaft of column from the tomb of Sultan Suleiman. Bronze lattice work. Window with marble sculpture dating from the time of Sultan Selim. Ceiling from the Jesehil-Djami mosque in Brusa.
9.
Paving-tile ornament.
THE ISLAM ORNAMENT

Plate 125.
THE ISLAM ORNAMENT.

Plate 126.
222
THE ISLAM ORNAMENT.
Plate 126.
Fig.
and 4. Taken from a fountain in Pera, Constantinople (Owen Jones). From a tomb in Constantinople (Owen Jones). From the Yeni Djami mosque in Constantinople (Owen Jones). 5, and 6. Glazed clay ornaments from tomb in Mouradieh (Dolmetsch). 7, and 8. Glazed clay ornaments from the tomb Jeschil-Turbey of 9, 10, and 18. Mahomet I. (Dolmetsch). Glazed clay ornaments from the mosque of Jesehil11 13, 16, and 19.
i,
2,
3.
Djami at BrUSa
14, 17.
(Dolmetsch).
Jones).
Jones).
and
of the Sultan Soliman I., Constantinople (Owen Decoration of the dome Sultan Soliman I. in Constantinople (Owen
15.
From tomb
Ornamental Pea-tendril.
Transition from naturalistic to Ottoman Ornament
(Sebah, Die ottomanische Baukunst).
THE ISLAM ORNAMENT.

Plat.
THE ISLAM ORNAMENT.

Plate 128.
THE ISLAM ORNAMENT.
225
The Arabian Persian Ornament.

Although
in
its
system of ornamentation Persian-Islamite

still,
art
followed
the
fundamental
principles of Islamite art,
its
most marked characteristic feature consisted
in the
employment
to this
of richly coloured clay plates.
The extreme
Haroun
al
loveliness and beauty of the architectural structures
of the
ancient Kaliphate under

of ornamentation.
Raschid
in
Bagdad and Ispahan are due

in
method
prolific
Although the geometric Ornament
this style
does not show such
combinations as that of the Arabians or the Moors,

its
its
vegetable Ornament,
on
the
it.
other hand, with
greater variety while keeping close to nature,

its
more than makes up
for
Arabian-Persian art reached
highest glory towards the end of the l6 ,h century.
Plate 127.
From Ispahan.
(Alter
Fig.
1,
Dolmetsch, Ornamentenschatz.l
and
2.
Spandrels
from the college of Medresseh-Maderi-Chah-SultanOf Stone.
Hussein.
3.
OpenWOrked WindOW-arch
and
b.
The dotted background
is
stained glass.
4.
5.
Spires.
tile,
Faience
16*
century.
7.
8. 9.

Wainscot border of faience.
Openworked window-case of stone

and
1
(belongs to Fig.
3).
10.
12.
Columns. Minaret of the mosque Mesdjid-i-Chah. Wall border.

1.
Plate 128.
(After Friedrich Sarre,
Fig.
1.
Denkmaler der persischen Baukunst.l

In
Tile paintings from a palace of Shah Abbas the Great.

of F. Sarre.
possession
2.
,
3,
5.
and
6.
Wainscot in the dome of the Medresse of Kora Tai, in Kcnia. Wainscot in the Liwon of the Court of Sirtseheh-Medresseh in Konia. 4. Brickwork mosaic from the mausoleum of Mumine Chatun in Nachtschewan. Inscription in similar technique from the same mausoleum.
Plate 129.
(After Friedrich Sarre,
Fig.
1.
Denkmaler der persischen Baukunst.l
Faience mosaic from the dome-chamber in the Blue Mosque at Tebriz. Brickwork mosaic in the mausoleum of Mumine Chatun at Naehtschewan. 35. Mural decorations in the dome chamber of the Medresse of Kari Tai,
2.
in Konia.
SPELTZ.
Styles of Ornament.
THE ISLAM ORNAMENT.

Plate 129.
THE ISLAM ORNAMENT.

Plate
i
jc
i5"
228
THE ISLAM ORNAMENT.
Plate 130.
Fig.
i.
2,
and
4.
5, b. 7,
Copper vessel from Kasehan (Dolmetsch). Ornaments from the British Museum (Owen Jones). 3. Wainseotting made of faience plates (Dolmetsch). ii, and i2. Ornamental work on metal vessels (Dolmetsch). Glazed ball (Dolmetsch).
Old-Persian faience plate in the Museum Cluny, Paris Fragments of knives and forks (Dolmetsch). Persian Carpet, 16* century (Dolmetsch). Manuscript painting from the Khoran (Dolmetsch).
8.
and and
(Dolmetsch).
9,
io.
13.
14.
Faience decoration from the mosque of Sheik

(F.
Safl in
Ardebil
Sarre).
THE ISLAM ORNAMENT.

Plate
131.
v. '-v. vv>V>.-,-\\
.v
**,*.*-
=5
,..v.v.v ,*.*.'.. '.'.vx*-*.
THE ISLAM ORNAMENT.

Plate
132.
THE ISLAM ORNAMENT.
The Arabian-Indian Ornament.

When
naturally
Islamism made
its
appearance
in
India in the
J'*1
century,
it
found already there
an ancient style of art which
was
characterised by bizarre gorgeousness, a feature which

later
very
became also associated

this
on with Arabian-Indian ornamentation.

their
The
buildings
erected at
period display,
rises
into the
however, a peculiar splendour entirely
own, a splendour
which verv often

of ancient
most luxurious beauty.

art,
This
its
stile
of ornamentation,
made up
Indian
elements and of Arabian
reached
highest glory in the
l6 lh century,
plants in natural stvle being preferred to the geometric

laid
ornament of the Moors.
The command
down by
the
in
Khoran
that
living
animals should not be represented artistically was not
regarded either
the Indian or the Persian-Is'amite art.
Plate 131.
Fig.
i.
2,
and
From the temple at Vijianuggar, built in the year From a minaret in Akmedabad, built in the 3.
Figure
2 is
(I
years
14301450
(Uhde).
to be placed above
lit:.
3-
4. 5.
Principal entrance to the mosque at Jampur. 143S 1448 (Uhde).
Wooden sculpture-work from Burma
(Dolmetsch).
Plate 132.
Fig.
1.
2. 3.
Open worked wall-pannelling of sandstone, from Fathepur-Sikri (Dolmetsch). WindOW from a hOUSe in Amritza (Indian Architecture and Ornamentl. Pillars from the mosque Rani Sipre in Ahmedabad (Indian Architecture and
Ornament).
4.
Column from the palace of the Shah Jehan

and Ornament).
in
Agra
(Indian
Architecture
5.
Arch from the palace Of Amber
llndian Architecture
and Ornamentl.
Plate 133.
Fig.
I
Copper can in the museum at Munich Dancer's costume from Ceylon (Libonis). Mahout's lance (Libonis). Embroidered quiver (Libonis). Powder-horn (Libonis).
Faience plate (Libonisi. Battle-axe with etched ornament Vase of incrusted silver (Libonisi. Faience vase (Libonisi. Damascened vase (Libonisi.
(Libonis).
iDolmetsch).
THE ISLAM ORNAMENT.

Plate 133.
THE ISLAM ORNAMENT.

Plate 134.
234
THE ISLAM ORNAMENT.
Plate 134.
Fig.
i,
and
9.
Ornament from damascened metal-work
(Doimetschi.
2.
3.
Mahout's lance, enamelled (Doimetsch). Gold embroidered State sunshade (Doimetsch).

and
4.
6.
7.
Embroidered fans (Doimetsch). 5. Frieze from an iron, silver damascened, vase (Libonis). Marble inlaid-work from the monuments of Shah Jehan and the
Muntaz-i-Mahal
(Doimetsch).
Begum
8.
Ornamental work from metal vessels
(Doimetsch).
Decorative work on a damascened shield, gold on steel, in the Ethnographical Museum of the Louvre (l'Art pour tous).
THE GOTHIC ORNAMENT.
rthern France
the
at
began
style
to
develop the Gothic from

this
Roman
its
when
latter
had arrived
new style, which spread rapidly Germany, Italy. England, Spam and other countries, owed its origin to that desire for a freer, more intellechighest
splendour.
This
ever
of Europe
development which animated the peoples about the year 1200, and to a thorough change in the entire civilised life of the period. On one side were abstract intellectual ideas, on the other, intensive, impulsive emotionalism, and religous mysticism. These
tual
various feelings found their expression
in
the
From an English
14th
development of the Gothic style, which, although it originally proceeded from Northern France, is, nevertheless, to be regarded as the
expression of a pure
century manuscript
(Owen
Tones).
German
style.
With the
in
exception
in
of a few
degenerate examples
Late Gothic, the Ornament

is
in the Gothic style
subordination to the Form. The Gothic Ornament never overgrows or conceals the tectonic superstructure, but, on the contrary, is specially employed to supplement and complete the impression of the Form in a harmonic manner. The principal Ornament
always
kept
strictest
of
the Gothic
is
the
leaf-moulding, the
in
plants being always selected

in
from native Flora, the manner

ced.
which they are worked being
nearly
every case a pretty sure guide to the period in which they were produIn Early Gothic, in the 13th century, the leaves
in a naturalistic
were nearly always
worked
manner with a
slight leaning to conventionalism.
Later on, the leaves were produced with more force and energy, be-
?36

finally,
Late Gothic, very far removed from resemblance to the original form. During this epoch they were gnarled in appearance, and were also made almost entirely hollow, two circumstances which resulted, first in imparting stiffness and rigidity, and secondly, from the sharp contrasts of light and shade which the hollow leaves produced,
coming
in
in
giving them an unsettled and unsteady movement.
In the selection
of plants, symbolic allusions figures

in
were
also
often taken into account.
The
of
very
men and many cases
animals
in a
made
use of in the Gothic were employed

caricatural manner.
humourous and
The name
title
Gothic has no connection whatever with the Goths.

nated
The
as
its
Italians desig-
everything barbarian
also
coming from the North
Gothic a
which they
gave
to the
new
style
which made
appearance from
that direction.
It took a thousand years before the Classic or Grecian-Roman style was developed from the primordial origins of Oriental and Egyptian art, and, in a similar manner, it took another thousand years before the Gothic, with help of Byzantine and Roman art, was developed from the Classic. With the Gothic, a point has been reached beyond which it appears to be impossible to develop Ornament thus far shalt thou go and no farther. Mankind, however, did not feel inclined to rest satisfied with the Gothic, they turned back again to the Classic in order to per-
fect
it
further, to
develop
it
in
accordance with the
spirit
and the feelings

art.
of the times, as the youngest sister of Byzantine and
Roman
From a German
15th
century manuscript
(Dolmetsch).
237
The Gothic Arch.
The Ordinary Ogive Arch is drawn over on equilateral triangle by describing' circles from .1 and /> with the span oi the arch as
diameter,
said
circles
cutting
each other
is
at
the vertex C.
The height
of the arch
equal
to 0,866 times the span.
The German Ogive Arch

two
oi
circles
is formed by whose diameters are two-thirds
the span.
parts,
J!
The span
circles
.1
is
divided into three
equal
points
being
oi the
drawn
arch
is
from
as
the
dia-
and C with
C and
]! I)
meters.
The height
equal to
0,045 times the span.
points outside the opening.
The Surmounted Ogive Arch or Lancet Arch has the two central To find the same, the quadrilaterals abed
and
bfde
are described on
both halves of
the breadth or span, and the base line of the
arch produced to the points

//
and
so that
and
bm
are
are each equal in length to
the
diagonals be and be.

circles
From
i
the points
h
and m,
dia-
drawn with
and
arch
m
is
as
v meters.
The height
in
of the
equal to
0,970 times the width.
The Tudor Arch, employed extensively

it
England,
is
described by
dividing the with into 4 equal parts, and describing a semi-circle down-
wards, with the points of bisection of the width

'A
as
centre and with half the width as radius.

points of divison
The
and
are the central
;&_# _&/_&]
points of the
commencing
is
circles of the arch,
and upon them an equilateral triangle with

vertex
"
downwards
constructed
the
sides
rr cr 9
being produced upwards and downwards. The points C and D found by the production of
the
semi-circle
said
sides
to
are
the
central
points
of the inscribed
of the arch
curves which cut each other at the vertex E.

is
The height
equal to 0,369 times the width.
!38
The Ogee Arch

base
line,
is
constructed
triangle
describing an isosceles
by on the
equal
sides
the height of which
is
to half the width of the arch.
The
of the triangle are produced upwards. The two points v and s are the centres of the two small counter circles. The lines Jc s, k p, v i, and i q must be equal
to
is
each other.
The height
of the arch
equal to 1,009 times the width.
Arch from the Royal Castle
in Lisbon
(Souza, Church of Batalha).
23Q
The Gothic Ornament
in
France.
ery
gradually from Northern France,
where
its
origin
is
to
be
found, Gothic architecture spread over the entire of
German-
Christian Europe.
After
many
the
constructive attempts
finally
made
in
both
the
at
Autun and Vezelay, Abbot Suger

I
erected
St.
years
141
all
[ 1
44
Abbey
very
Church
ot
Denis.
Although
influence,
this
church
shows
many
traces
of
is
Roman
combii
as do
Early Gothic buildings, and
a
it
nation of old architectural habits with
new
ideas,
From a
14t h century
the
first
and most important example of Gothic architecture.

Pans, was erected
beginning
of
That great master-piece of Early Gothic, the cathedral of

Notre
Manuscript
(Racinet).
Dame
the
in
in
the years
lit)",
1182.
was
at last
Towards
fully-
the
13* century
form
until
it
the
complete,
developed
it
and
fully
ripened
flourish
of the Gothic
finallv
arrived
at,
from which time

its
began
to
developed
into
the
period of
1
highest
glory.
in
I4' 11
in
and
f' 1
century were called,

Stile.
France as the Flamboyant
The after-growths ot the Gothic in the Germany Late-Gothic, but were designated The dene for greater slimne
it
now
apparent, and the tectonics being neglected at the same time,

stilled
finally
in
happenthe end
ed that the Ornament grew over and

overtook almost
all
the form,
late
which
stvles of architecture
Principal cornice from Notre Dame de Paris (Violet Base from Paris Cathedral (Violet le Duel.
le
Due).
Cornice from the Notre
Dame
at Chalons
(Violet le Due).

Plate 135.
-4J
Plate 135.
Fig.
I.
2.
3.
4. 5.
from the Paris Cathedral, end of the 12* century (Opderbeckei. Gallery from Rouen cathedral, 2 th century (Opderbeckei. Crockets from a church in Rouen (Opderbeckei. and 6. Gargoyle from Reims cathedral (Album de la Cathedrale de Reims). Eagle from the apse gallery in the cathedral at Reims (restored). (Album
Finial
1
de
7.
la
Cathedrale de Reims.!
Finial from the southern

(Opderbeckei.
tower of the cathedral of Chartres,
2 * century
8.
9.
10.
11.
.,
Cavetto ornament from the Abbey church at Larehant (Opderbeikn. Finial from Amiens cathedral, 1230 lOpderbeckei. Spire from the church at Poissy, 13& century (Opderbeckei. Pillar capital from Notre Dame, Paris if;. Dehio, and G. von Bezold, Die
kirchliche Baukunst des Abendlandes).
,.
12.
Cross from an arch-pier in the cathedral at Reims (Album de

de Reims).
la
Cathedrale
Plate 136.
Fig.
1.
Capital from the cathedral at Amiens.
derbecke).
2. 3. 4.
5. 6. 8.
Capital from middle of 13th century, after Violet le Due. Capital from the church of St. Chapelle, Paris, 1240 (Opderbecki Capital from the church of St. Martin des Champs, Paris, 1220 (Opderbecke). and 7. Capitals from the cathedral at Bayeux, Calvados (Raguenet, Materiaux).
Capital from the Church at Sens
(Salle synodiale),
1240 (Opderbecke).
9.
.,
Capital from the Church at Vezelay, middle of 13 th century (Opderbecke). Base in crypt of the church at Rosnay iRaguenet, Materiaux).
10.
n.
12.
Base of a stair-baluster, Lyons (Raguenet). Capital from the cathedral at Nevers (Album der Kathedrale von Reims). Base from the church at Brou, Asn
(Raguenet).
Plate 137.
Tlie
(After M. Violet-Ie-Duc, Dictionnaire
Fig.
1.
Gothic Flora.
siecle.)
Raisonne de l'architecture Francaise du XI e au XVI e
Cavetto moulding, vine leaves. Conventionalised arum. 4, and io.

Fig-leaf.
Leaf of the bellflower.

Cavetto mouldings, maple-leaf and flowers. Cavetto mouldings, cress leaves and seed.
Parsley-leaf.
Conventionalised lily. Leaf of the meadow-rue.
SPELTZ.
Styles of Ornament.
'

Plate
136.
THK GOTHIC ORNAMENT.

Plate
[37.
16*
THE GOTHIC ORNAMI
2 45
Plate 138.
Fig.
i.
Tympanum from
Stone vase,
(Violet le Due).
the church of St. Severin in Bordeaux, 124:

found
St.
in
(Violet le in;
2. 3.
13 th century;
Aix, Provence (Raguenet, Materiaux).
Portal of the church of
Genest at Nevers,
St.
middle of the
i2'i>
century
4.
Vaulted-ceiling rosette from the priory of

1
Martin des Champs, Paris,
3 in cen t ury (Raguenet).

.
5.
6.
7.
Door-knocker from Cordes, Tarn (Kn Door-knocker from Bayonne, 13* century (Raguenet). and 9. Vaulted-ceiling rosettes from the church of
:
St.
Severin, Paris
(Raguenet).
8.
10.
Arcade from the Chapel of the Virgin, Paris, Door from the Episcopal palace at Beauvais,
i,'
1'
century (Raguenet).
1
Oise;
6 > century.
Plate 139.
(Gothic mural painting after P. Gelis-Didot et H.
I.affillce,
La peinture decorative en France
du
Fig.
1.
XI'-
au XVI--
siecle.)
Stencil painting
2.
3.
from the church of Chateloy near Herisson, Allier. Frieze painting from Coney Castle (A From the roof Of the Church at Cunault, Maine et Loire, beginning of the
I
4 th century.
4 b.
Textile paintings in the chancel of the cathedral at Amiens.

which have had
in
patterns,
their origin,
without any doubt,
in
the Orient,
were
also
very frequently used

7.
8.
flat-painting.
9.
10. 11.
12.
13.
From From From From From From From

is
the chapel of St. Antony in the cloister of the Jacobines in Toulouse. the church of the Jacobines in Agen. the church at Romans (Drome). the the the the
chapel of Saint-Crepin in Evron (Mayenne). church of Saint-Oures in Loches dndre et Loire). sacristy of the cathedral at Clermont. Chapel at PritZ (Mayenne). This reprents the month of September, and
one of the 12 Panneaus which give a representation of the twelve months of the year.
Plate 140.
Fig.
I,
and
2.
Belt With
knife,
15 th century
(Violet le Due,
Dictionnaire
raisonne
du
mobilier francaise).
3-
Reliquary, in the
tings (Violet le Due).
museum
at Cluny;
a crystal cylinder with gilt
copper moun-
Coiffure of
Queen Isabel de Baviere,

1
1395
(Violet le Due).
Buckle, Purse,
I4 h century (Violet le Due).

!
Embroidered Prayer-book Bag,

15
th
4' k century (Violet le Due).
century (Racinet, Le costume historique).

(Violet le Due).
Lock Of coffer
Harness,
15 th century (Violet le Due).

Plate 139.

Plate
140.

Plate 141.
^49
Plate 141.
1,
and
and
3.
8.
Textile pattern, 15 th century (Gelis-Didot
et
Laffillee).
2,
4..
Enamel-work
14
11
'
in
copper
(Roger-Miles).
Armour,
century (Roger-Miles).
5.
6.
7.
Glass painting from the cathedral at Bourges (Owen Jones). Glass painting from the cathedral at Angers (Owen Jones). and 9. Textile patterns, l6<l> century (Gelis-Didot et Laffillee).
Plate 142.
Fig.
I.
Painting from a prayer-book in the National Library at Paris.

Latin text dates from the year of Mekenen,
is,
1
The
398, the painting, which
lias
been ascribed to Israel
however,
ot
a later period.
I
Stall in the
museum
at Cluny,
S^'cenuiix
Bajot,
Election
les
Meubles ancicns).
Credence table, 15"> century (Raguenet). Tabouret from the bedroom of Louis XL Lorraine wooden coffer in the museum at Cluny,
i4 :h century
(Bajot).
Plate 143.
Serviette border,
lu'l>
century (Raguenel).
8. 9I
O.
I.
Printed Cloth, IS* century (Raguenet). Goblet, with transparent enamel (Havard). Antique cameo, said to be portrait of King Charles V (Havard). Processional crucifix of beaten silver, chased and gilt (Havard). Silver cooling-tankard (Havard). Altar candlestick of chased silver (Havard). Prayer-book belonging to St. Louis iHavardi. Bread-knife, in gilt silver filigree-worked sheath (Havard). Wine cup of beaten, gilt Siver, in the cathedral at Reims (Havard). Neck ornament and goblet of the Niveller rifle-corps (Havard). Ebony cassette in the museum of Cluny (L'art pour 101
Rose window from the Abbey at Braisne iViolct le Due). Base from the Cathedral of Meaux (Violet le Due..

Plate 142.
H1IIS

Plate 144.
253
Gothic Ornament in the Netherlands.

Netherlands,
nto
the
Gothic
architecture
soon
made
its
way, a most natural circumstance considering

that
style
how
near
country lay to France, the land where the Gothic
had
its
origin.
all
Varied specimens of Gothic architecin
ture
this
appeared
style
iany,
over Belgium, but on

very
Holland,
where
by
was
later
strongly
influenced
and where, for obvious reasons, plain brickaiv
work
architecture had to predominate, the examples

varied.
SSL
Initial
far
more simple and not so

and most
nun
peculiar
in
One very remarkGothic

style
in
able
:
feature
of the
from Israel of Mekenen

(Hirth).
consists
the
extreme care with which
the
entire
is
decorative-work, even the very minutest details,
carried out.
The most important cathedral

in
in
Holland
was
built,
under Cologne influence, by Bishop Henry of Vianden
the
years 1254
1267;
the most important monument of the Gothic in Belgium being the celebrated cathedral of Antwerp, which was begun by Jean Amel of Appelmans from Boulogne in the year 1352. The most splendid examples of Gothic architecture, however, were the Rathauser or Town
Halls, the finest
specimen being the Rathaus
in
Lowen.
Plate 144.
(After Ysemiyk, Art dans
Fig.
1.
les Pais-Bas).
Embroidery-work from the frock of a king-at-arms, during the reign of

Philip
II.
The Spanish
coat of arms are embroidered
in
coloured
silk
on a foundation
Madrid arsenal.
of carmine-red velvet.
2.
3.
Two
robes similar to
this are still
preserved
in the
4.
the cloister of St. Servais, Mastricht, 15 th century. Chimney-piece in blue stone from the Pas-perdus Hall in Mons, 15 '''century. Balustrade Of granite, l6*h century. This is employed at present as sockle (or
a
Window from
copper grating
in
the chapel of St. Walpurgis
in
Furni
s.
Mounting on the door of the treasury chamber

Of St. Paul, Liege
(L'art
in the
cathedral
pous
tous).

Plate 144.
!55
Fig.

Plate 146.
SPELIZ
Styles ot
Oruamen
>7

Plate 148.
259
Plate 147.
(After Pugin, Gotische Ornamente.)
Fig.
Crocket from Winchester cathedral. Finial of a stall in Oxford. Stone ornament from Westminster. Crocket from Warwick. Finial of a stall in Norfolk. Capital from Southwark. Stone ornament from Winchester cathedral.
Plate 148.
(After Pugin,
Fig.
1.
Types d'arclutecture gotique.
Small tower over entrance gateway to the manor house at East Bars-
2.
..
ham, Norfolk. Window from the New College, Oxford.
3-
Monument
Back of
to Sir
.,
45-
stall in the
Finial of a stall
Richard Carew in the church at Beddington, Surrey. chapel of All Souls College, Oxford; made of oak. in St. Catherine's church. Tower Hill, London.
Plate 149.
(Pugin and Walker, Gothic Architecture.!
Fig.
1
-3.
4. 5,
7.
Console from the George Inn, Glastonbury. Western gate at Abbots Barn, Glastonbury. Details from Abbots Barn, Glastonbury 6, and 8.
9.
Window from Raglam Castle, Monmouthshire. Canopy on the west facade of the chapel at Haughton, Norfolk.
Plate 150.
(Pugin and Walker, Gothic Architecture.)
Fig.
1.
2,
3,
Panel from the town hall of Vicar's Close, Wells. Details from the dining hall of the Manor House, Great 5, 6, and S.
Chalfield.
4,
7,
10.
Details from western doorway of Magdalene College, Oxford. 9. Mantle-piece in the entrance-hall of the Episcopal palace in Wells.
Plate 151.
(After Pugin,
Fig.
1.
Types
d'ai
chitecture gotique.
2.
3,
4.
the north facade of Baliol College, Oxford. Finial of a niche in Fakenham Church, Norfolk. and 5. Knockers and lock of the gate. Beddington Castle, Surrey. Door of the chapel Magdalen College, Oxford.
Oriel
window on

Plate 149.
i cZ
,'v
mms
lliraWtmtnl
$M$?^<!^MM*MM^!$^&^&'*;
:
"-
>*"
^- c
, <
';.<:"j^;-i^>^
'>:.
Sft?i

Plate 151.
/UK'
II
t
I
r
.v

Plate 153.

Fig.

6.
Arched ceiling from

8,
7,
io.
All Souls College, Oxford. of the mantle-piece in East-Bersham Castle, Norfolk. Oak ceiling- in the church at New Wolsingham, Norfolk.
and
9.
Glazed
tiles
Plate 152.
iP.
Talbot Bury, Remains of Ecclesiastical Woodwork.)
Fig.
14.
s o.
7,
9, 8,
Roof Roof
", and
io.
in St. in
i2.
Mary's Church, Bury.

Suffolk.
Lavenham Church,
and
Roof in the church at Burford, Oxfordshire. Roof in the church at Wantage, Berkshire.
Plate 153.
Fig.
i
2
3
from Exeter Cathedral, 14"' century (Raguenet). Girth support from the same Cathedral (Raguenet). Rosette from Chester Cathedral, 15th century (Raguenet).
Finial
4
5
Holy-water font from the church at Bradfleld, Suffolk (Raguenet). Pulpit in the church at Bridgewater, Somersetshire (T. Talbot Bury). Chimera from a pew in Oxford (Pugin). Tympanum from the facade of Wells Cathedral (Raguenet). 9. and to. Burned clay tiles, 14th century (Owen Jones).
Plate 154.
1.
From a
stall
in the
church at Westonzoyland, Somersetshire

(Builder, J.
IT. Talbot
Bury, Remains of Ecclesiastical Woodwork).

2.
Candelabrum from the church at Piddletown

Goblet Of gilt Silver,
7,
1904).
34.
5.
15 th century
(Libonis).
6.
and 8. From a manuscript of the Middle Ages (Owen Jones). Coronation chair in Westminster Abbey (Libonis). Stall from the church at Wantage, Berkshire (T. Talbot Bury).
9.
1
Glass Glass
1.
window from Merton College, Oxford (Pugin). window from the church at Southwell, Nottinghamshire (Owen Jones).
Plate 155.
(Lewis F. Day, Windows,
1.
book about Stained and Painted
Glass.)
2. 3.
4. 5. 7.
Middle Gothic glass-painting in Norbury, Derbyshire. Lead glazing in the church at Brabourne, Kent. Painted glass mosaic, representing the Queen of Sheba, in Fairford. Grisaille glass from Salisbury cathedral. 6, and 8. Late Gothic glass-painting in Wells. Glass painting, showing Edward the Confessor, in York Minster.
THE GOTHIC ORNAMENT

Plate 154.
K
IW f,.i

Plate
1
55

Plate 150.
^hrTTrA-TiyTr-rT^j-rr-
aggesss

Plate
157.
270
Plate 156.
Fig.
i.
2.
3,
5.
Coffer in the sacristy in the church at South, Lincolnshire (Colling). Panel from the church at Trull, Somersetshire (Colling). and 4. Panels from the baptismal font in the church at Great Goverley, Lincolnshire (Colling). Gilt iron lock from the hall in Beddington Manor House, Surrey (Pugin).
Plate 157.
(Franklin A. Crallon, Gothic
Woodworking.)
End of a seat in the church at Breadsall, Derbyshire, 15 th century. Stall from Gaston, Surrey. Canopy over the tomb of Edward III. in Westminster Abbey, 1380. Door from the church of St. Lorenz, Norwich. End of a seat from Wittey, Surrey, 15 th century. Panel in Tudor Style from the South Kensington Museum.
Plate 158.
Fig.
1.
West portal of the church of the Holy Mary

dicular Style.
(Colling).
in Beverley.
In the
Perpen-
2. 3.
Gate of the Bishop's Chapel in Ely Cathedral (Baley Scott Murphy). Portal of the Presbetry at North Peterton, Somersetshire. In Perpendicular
Style (Colling).
4-
Door of the church at Booking
Essex
(Colling).
Plate 159.
(Henry Shaw, Mediaeval Alphabets and Devices.)
Lettering from the monument of Henry III. in Westminster Abbey, 1272. 24, 6, and 7. Letters from the monument of Richard II. in Westminster
1.
Abbey, 1400.
5.
8. 9.
to.
Letters from abenedietional in the possession of the Rev.W.Maskell, 1480. Grotesque lettering from a printed I6*h century book. Signature of a wood-engraver, 15 th century. Initial from a manuscript in the British Museum.
Plate 160.
English Monumental Work.
(After C. A. Stothard,
The monumental
effigies of
Great Britain.)
From a tombstone in the Ingham Church, Norfolk. Crown of the Earl af Arundel, died 1487.
Ladies' coiffure,
15
th
century.
Sheath of dagger belonging
to
Lord Hungerford,
died
1459.

Fig.
2J
Lion.
the Confessor's chapel.
5. 6. 7,
Queen Berengaria'S crown, wife of Richard Coeur de Shoe Of Henry III., died 1272, frum a tomb in Edward and 8. Pocket and brooch of Queen Berangaria.
Necklace,
and
11.
9.
15 th century.
io,
12.
Lord and lady de Thorpe,
Norfolk church.
Spur of Sir Hugh Calvely, in the church of Bunbury, Cheshire,

the
end of
13.
14.
14^ century. Belt buckle of the Earl of Warwick. Hilt of sword belonging to Sir John Peche, from
Lullingstone, Kent.
16.
his
tomb
in
the church at
15,
and
Sword-hilt and end of sword-bell belonging to John de la Pole,

of Suffolk.
III.,
Duke
17.
18. 19.
Shoe Of Edward
died
io
1377.
taken
from his tomb
in
Westminster Abbey.
.,
End Of a
2".
14* century. Head-dress of the Earl of Westmoreland's wife. Glove of Ralph Neville, Earl of Westmoreland, from
belt,
his
tomb
in
Staindrop
church at Durham.
Head-dress of the Countess Beatrice d'Arundel,

rom
a statue in the Trinity Church, Arundel,
13 th century
I
Violet
le
DucJ.

Plate 158.
the
c 1 1
'
f /
159.
2.
1+ .5.
SPELTZ,
Styles of Ornament.
18

Plate
1
60.
75
The Gothic Ornament in Germany and Austria.
soon as the Got

rious
y\e
had well entered on

it
its
victoto
march
its
throughout England,
began also
make
way
gradually throughout Germany, where,

its
on account of
French
title
origin,
it
came
g< mi
.ill
known under
Although
i
the
of
"Opus
f rancigenum".
it
had not completely

until
won
the victor
,h
I
Art
about the
at
century,
in
all
it
was
nevertheless,
this
time,
full
The Early Gothic continued up until the >thic The oldest enl ury. nning of the 14 1" the cathl dial at ir building in Germany
its
forms.
!i
'
From a
15 th
century Manuscript
The
leburg which
was consecrated
specimens
in
in
the year i-.V|. the
(Dolmetsch).
most
to
beautiful
of
Gothic
are
the
however
Gothic Style
the
be found
at
the
Rhineland
when
reached
s
,
its
highest
perfection,
the Cathedral
Vertical
Cologne,
far
which
year
in
1:4
being
its
noblest work.
The
predominates
was begun in more in the German
than
any other Gothic,
i.- l:;.)
Ty^
Coat of
Arms from the Rathaus at Luneburg.

(Fritz
Rosette
from Neubrandenburg.
Rosette from Stargard.
Gottlob, Formenlehre der norddeutschen Backsteingotik)

Plate 161.
! [
|1WT
^n
>
iiiiii.iiiiiimi
'.,um[
Mi.*umy
277
Plate 161.
lAfter Heideloff,
Fig.
1.
Ornamentik des
Mittelalters.)
Frieze from the passage between the Nicholas Chapel
and the cathedral-
2.
3. 4.
5.
6.
church at Aix-la-chapelle, 1480. Finial from the fountain in the market square at Rottenburg on the Neckar, late Gothic. Crocket from St. Kilian's Church at Heilbronn. Balustrade and inscription from the court-yard of the house .u.d 8. Adler Str. L 308, NQrnberg. Capital from Cologne Cathedral. Finial from a stone Tabernacle in the Hospital Church, Esslingen, thi
work
of
Matthaus von Boblingen.
7.
Finial
in
from a design of a monument

I'll'
1
to St.
Sebaldus
in
Nilrnbprg.
ore bj
Vischer am]
liis
smi
in
508 and
1509.
.,
9.
10.
Vaulted roof console from the Lilienfeld Cloister near Vienna. Baptismal font in Munncrstadt on the Lauer.
Plate 162.
Fig.
1,
3,
2.
4.
Capitals from the cathedral church of St. Peter at Wimpfen T.i. im Tal near Heilbronn (Zeller, St. Peter, zu Wimpfen Capital from the church of the Cistercian Cloister Lilienfeld near Vienna. Capital from the cathedral at Frankfurt on the Main, 4' h century (Ragu<
and
b.
i.
e
5.
Column from the

Mittelalterliche
St.
Blasius Cathedral, Brunswick,

in
5
1
'i>
ctntury
(Hartung,
Baukun>t
Deutschland).
in
7.
Capital
and base from the princes' tomb

(Heideloff).
the Holy Cross church near

(Heideloff).
Vienna
8.
Capital from a
window
of the Saalburg on the Saale (Franconia)
9.
Capital from the Cathedral at
Worms
(Raguenet).
Plate 163.
Fig.
1.
2. 3.
4.
Door from Ober-Kraniehfeld (Heideloff). Late-Gothic door from Coburg fortress Heideloff). Portal of the Elizabeth Church in Marburg (Hartung). Bridal door on the north side of the choir in the Sebald Church, Nurnberg, 14 th century.
1
Plate 164.
(After Heideloff,
Fig.
1
Ornamentik des
Mittelalters).
5,
Late-Gothic ornaments in flat wood relief in the gallery balustrade of a house in the Hauptmarkt, Nurnberg. and 8. Wood-carving from a writing-desk in the rectory of St. Lorenz,
4.
Nurnberg.
6,
and
7.
Pannelling from stone gallery in the choir of the Cloister Church
in Blaubeuren.

Plate 162.

Plate 163.
jBBBadflBLmflnfl*ittBiBBgifca

Plate
164.
<j*
^j**
gS^
skS&I
tifitf
iimti
fcÛ^

Plate
ins.
282
Fig.

9.
From a
and
ii.
stall in the Cloister
10,
Wooden
Castle.
rosettes
Church of St. Clara, Nurnburg. from t,he rose chamber in the Princes House,
Coburg
.,
12. 13. 14,
Window in the St. Lorenz rectory, Nurnberg, 1458. Window in a private house in N&rdlingen. and 15. Window from the ruined Hospital in Esslingen.
Plate 165.
Fig.
i,
and
3.
Glass
window from
the church at Hundelshausen (Ungewitter, Land-
und Stadtkirchen).
2.
Relief over the door of the chapel

(Heideloff).
tower
in the Paris
church, Rottweil
in the National
4-
Stained glass from the cathedral at Regensburg,
now
Museum
5.
6.
at Munich (Dolmetsch).
7,
Glass painting from the Frauenkirehe, Esslingen (Dolmetsch). Pulpit from the church of the Ursuline Convent in Fritzlar (Ungewitter). and 8. From the Cathedral church of St. Peter in Wimpfen im Tal (Zcllcr, St. Peter zu Wimpfen Tall.
i.
Window from
the
Stargard Gate, New Brandenburg.

iFritz
Gable at the Market side of the Rathaus in Konigsberg.
From
the South Chapel
of the Katharinen
Church, Brandenburg.
Gottlob, Formenlehre der norddeutschen Back'steingotik.l

Plate
i

Plate 167.
285
Plate 166.
The
(Alter Fritz Gottlob,
German Brickwork
of North
Gothic.
Formenlehre der norddeutsclicn Backsteingotik.)
The Roman Brickwork Architecture

Italy,
Germany, which had
its
origin in North
became, very naturally, after a time,
prevalent, gradually charged into the
when Gothic Architecture developed and became Brickwork Gothic. The marked differences between the
to
Brickwork and the Stone Gothic

used, and to the different
were due as a matter of course,

in
the different
materials
manner
which these materials, stone and

and
in
brick,
had
to
be treated
The Brickwork was very probably

Germany, where sandstone
is
prior to the Stone Gothic,
the level plains of North
scarce, there gradually arose a special style of
Brickwork
( ..
quite in keeping with the peculiarity of the building material and the character of the
Fig.
1.
pi
2. 3. 4. ;. 6.
Window from Window from
the Nikolai Church in Wismar*. the Rathaus in Lubeek.
North portal of the Marien Church, Konigsberg, Prussia. Counterfort in the same church. Rose window from the church at Prenzlau. Principal portal in the Cloister Church, Berlin.
Plate 167.
(After Hcideloff,
Fig.
1.
Ornamentik des
in
Mittelalters.)
Green glazed heating stove

tains
1
Burg FQssen on the Lech. The
stove con-
the
following inscription
Dieser Ofen Wol-gcstalt ward gemacht do
man
zallt
14 jar bey
Hannsen Seltzmann Vogt zu Oberndorf".
This stove was made
in
1514 bv Hannsen Seltzmann, Steward at Oberndorf.

2.
the Harpies.
3.
Quiver, after a painting from Albreeht Durer, showing Hercules conquering At present in the Burg at Nurnberg. Late-Gothic double goblet Of gilt Silver, in possession of the family Knopf
in
Nurnberg.
tO
4.
Monument
Graf VOn Henneberg, done

still
in
bronze by Peter Vischer, from a
sketch by Albreeht Durer

5.
existing.
6.
Arms Of Wttrttemberg and Savoy, from a tomb in the Stiffs Church in Stuttgart. Late-Gothic ornament from the bridal-carriage of Agnes of Hesse, wife of Duke John Frederick of Saxe-Coburg (1555). in fat relief, carved in wood
and
gilt.
7.
Eagle from pannelling of the door of the Emperor's room in Seheurlis House, Nurnberg.
Plate 168.
(After F. Pankert, Tiroler Zimmergotik.)
Fig.
1.
Wooden
Tiles
ceiling in Joehlsthurm, Sterzing.
from the Burg in Meran. Marquetry from a table. 3. 4 7. From a wooden ceiling in Freienstein. 8 11. Tie-beams of a wooden ceiling in St. Martin, Ahrntal.
2.
THE GOTHIC ORNAMENT
289
Plate 169.
Gothic ornamental Iron-work from the Germanisches
Fig.
1,
Museum.
Niirnberg.
4,
2, 3, b.
Door handles. 13, and 16. Lock mountings. Door mountings. s, 12, 14, and 15. Wooden door with iron mountings.
7,
9,
11,
8,
and
10.
Plate 170.
1.
2.
tin Late-Gothic erozier, from a tombstone cathedral at Regensburg (Heideloff). Late-Gothic candelabrum of bronze from the church at Kraftshof near
iii
3.
|.
Gilt
Nurnberg (Heideloff). wooden cross,

/
from
an altar
in
the Marien Church at Hersbruck (Heideloff).
Gothic cradle
and
Heideloff).
5,
6. 8.
Manuscript painting, 15 th century (Dolmetsch). from Bozen (Paukert, Zimmergotik). Late-Gothic balcony ceiling from St. Michael's Church, Hildesheim
CofTer
Die Schmuckformen der Monumentalbautei
Gothic
SPELTZ.
Styles of Ornament.
Wooden Ornament.
19

Plate 171

Plate 172
19*

Plate 173.
mk
isk

Plate 171.
Fig.
i.
:.
3.
4.
Late-Gothic arm-chair from the ancient armoury in Nilrnberg. chair from Tyrol, [5* century. Door from Kunkelstein Castle (Paukert). Late-Gothic lectern from the Stifts Church at Herrieden, near Ans-
Arm
bach
Heideloff).
5.
Stall
from the Elizabeth Church, Marburg
E.
Wasmuth,
Alte
und neue
Kirchenmobel).
b. 7.
Table from the Rheinland, 15 th century (Falke, Mittelalterliches Church pew Of oak. In all probability this belonged to the rival
of Holland, and
is
Hausmobiliar).
Kaiser Wilhelm
therefore from the
3' 1 ' century
it
is
now
in
the Warthurg.
Plate 172.
(inline hi ill
Ornament.
(After E. Paukert. Tyroler Ziminergotik.

Fig.
i,
and
4,
3.
Ornament from Kunkelstein

6.
Castle.
2,
and
Stuff patterns after paintings in the castle of Trotzberg.
5-
Ornament from
and
8.
Neustiet.
printed on linen.
Wall-paper,
Plate 173.
Fig/
1.
WrOUght-iron Candelabrum,
at
end of the 15 th century,
in
the National
Museum
Munich
and
8.
(Hirth).|
2,
7,
in the
3. 4.
Crowns of tin on the head of a picture of the Blessed Virgin Church of St. Martha, Ndrnberg, with details Heideloff).
.
5.
Late-Gothic goblet of gilt silver (Heideli u Rosette of sheet-iron on the knocker of the sacristy door in the church of St. Lorenz, Nurnberg Heideloff). Badge of the confraternity of the "Holy Mount", with the symbol of
St.
Aegidius
Heideloff,
'.
0. 9.
10.
Late-Gothic Censer, from a copperplate by Martin Schongauer Chain of the order of the Swan (Heideloff). Outlet of a water barrel (HeideioffY
Heideloff).
Plate 174.
Fig.
S.
13.
Late-Gothic initials, from different parchment manuscripts (Hirth, Formenschatz). Early-GothiC letters, from Rheinland manuscripts (Dr. Karl Lamprecht, Initial-
Ornamentiki.

Plate
3.
II.
10.
THE GOTHIC ORNAMENT

Plate
175.
HU'D'MiiX9ADtnamar-0
uHipiutraptiMtiii
gj^t^^y^^l^^flii^^P
3.
2gb
Plate 175.
(Alter
Wilhelm Weimar, Monumental-Schriften.)
Fig.
i.
2.
From a bronze plate in the Stifts Church at Baden-Baden, 1497. From the bronze tomb of Bishop Tilo of Trotha in the cathedral at
Merseburg,
died
15 14.
3.
4.
5.
in bronze, from the tombstone of Anna von Wiershausen (died 1484) in the Elizabeth Church, Marburg. From the engraved bronze tomb-plate of the Seholt in Nurnberg, who died in 1469. In the church at Langenzenn near Filrth. Bronze tomb-plate of Jakob von Gulpen (died 1455) in the St. Gum-
Inscription,
engraved
bertus Church, Ansbaeh.
r
Window
in
Bebenhausen Wurttemberg.
Cloister,
Window
in the Courtyard of Reichenbach Cloister, Ulm.
Wurttemberg.
Window from
the Rathaus of
Nurnberg.
(Heidelofl",
Window from the gable of the now ruined Preacher's Church

in
Ornamer.tik des WiUelalters.)
Nurnberg.

Plate
176.
298
Plate 176.
Gothic
(After
Fig.
Ornament
in
Hungary.
Dr. Bela von Czobor and Emmerich von Szaley, Die historischen Denkmaler Ungarns.)
1.
Helmet of Banus from Croatia and Helden, by Szigetvar Nikolaus Zrinyi

(died 1566), in the Court
Armoury
Collection, Vienna.
2.
Helmet of Georg Castriota Skanderbeg, Duke of Albania (1403 1467),

the Court Armoury Collection at Vienna. Goblet Of gilt Silver, IS ,h century, was presented in 1640 to the Protestant church in Miskolcz by Gregor von Miskolcz. Horn Vessel for holding Oil, gilt silver mountings, property of the Eszertom
in
3.
4.
Cathedral.
5.
Reliquary Hermes Of
Hungarian
1
St.
LadislauS,
of
gilt
silver,
ornamented with chain
mail.
ltl
century work.
In the cathedral
church at Gyorer.
Bronze Baptismal Font, made in 1484 for Menardt Church by Johannes von Novavilla.
299
The Gothic Ornament
in Italy.
Italy
Gothic
art
made
stile
its
way
first
at
about the same time as

the
title
it
did
into
Germany.
This
of art
received
of Gothic
in
Italy,
word which was used by

the
the Italians at that time to signify barbarian,

In
or
anything coming from the north.

Horizontal
Italy
than
in
either
Germany
in
or France,
more importance was placed on and it was only very
seldom that the Vertical predominated
that country.
The
Italians
did
not
pay much
attention to the
development of the tower, which very often stands
From a
14th century
quite
apart
from
a
the
church altogether.
in
The Iransciscan and Dominican

the spread of the Gothic throu
II
Orders played
Italy.
very important part
Manuscript
(Racinet).
The Italian Gothic, however, could nev< Roman, and Byzantine reminiscences, and Italian Late-Gothic
numerous Renaissance
motifs.
life,
from Classic,
is
mixed with
a hold
its
Classic
thej
art
had
tak.
rig
on
the Italians,
that
it
was
so
much
it
part of their
had become so imbued with
spirit
they really found
impossible to become true lovers of the Gothic.

in
As
lassie
a consequence,
Gothic art.rapidly declined, and,
the
I3 lh century, a decided
movement
(
to break
away
alto-
gether from the style of the period, and to turn back again to the old
Art
began
to
make
itself evident.
Plate 177.
(After G. Rohault de Fleury,
Fig.
La
I"oscane au
1,
and
2.
3.
4.
6.
Arch of the Signoria Loggia in Florence. 5. Painting by Piero di Guido (1386) representing Charty, in the Signoria Loggia, Florence. Lion from the city wall in Pisa. Pillar from the corn-market in Florence. Mural painting from the city hall, Florence.
Plate 178.
Fig.
i.
Window from a house

(Raguenet).
in the
Synagogue Street
in Trani,
13
th
century
2.
Crest of the church of Santa Maria del Fiore in Florence,

(Raguenet).
i+ th century
3.
4.
5.
Bronze knocker from Florence, 14 th century (Raguenet). Window from the Convent of St. Theresa in Trani (Raguenet). Mosaic floor from Florence cathedral (D'Espouy, Fragments d'architecture
la
de
Renaissance).
7.
6.
and
Mural painting and
pillar
from the Castle of Pandino,
14 th century
(Camillo Boito, Arte Italiana).

Plate
177.
TTnrnrira^'gTgrrwgosMllgtiBSIâEE
303
Plate 179.
Fig.
1,
and
3. 4.
2. Altar in the church of Orsanmichele (D'Espouy) Band-pattern, 15 h century iRagueneti. Door border from Florence, is' century (Raguenet).
11
Plate 180.
Fig.
1,
2,
5.
Locks and keys from the National Museum in Florence 3, and 4. Credence from the Villa Real del Poggio near Florence, 15 th
(Boito).
century
(Raguenet).
6.
7.
Fragment of a fresco-painting by Jacopo Avanzi in the Oratorium of the St. Giorgio church in Padua (Boito). From a monument by Bonjacopo Sanoita in the choir of the St. Antonio Convent, Padua iHoito).
Plate 181.
Fig.
1.
Tunic from the Mliseo CiviCO

ground,
1
in
Turin, made
of carmine-red velvet
on a gold
t!l
century (Boito).
2.
3.
4. 3.
<>.
Carpet pattern from a tempera painting by Nieeolo Alunno (1466) in the Pinakothek at Perugia (Dolmetsch). From a tomb in Fano (D'l Mural painting from the Castle of Pandino, end of the 14 th century (Boito). Table-cloth border, 15th century, the pattern is blue iRaguenet).
Railing round the
7.
Reliquary
in
monument of Sealiger in Verona (D'Espouy). the treasury of the Pitti palace in Florence, end of the
14<h century (Boito).
Plate 182.
The Venetian
(After Cicognora, Fig.
1.
(iotliic.
di Venezia.)
Monumenti
2.
3.
4.
s.
Capital and base from the court-yard of the palace Ca d'oro. Balustrade in the first story of the same palace. Window Ornament, capital and base, in the first story of the palace. Capital and base from the second story of the same palace. Capital and base in the first story of the Doge Palace.
same
6.
Ground plan of
No.
5.

Plate
1
80.
THE GOTHIC OKNAMENT.

Plate
1
8 1.
0m
pâi sag
,
ifi
XT' *>v*
s
w.
mmm
St
Wss&m
irjfrt v^<
a^kA .A A iu aU >J, stfSraSSfc HI
SPELTZ.
Styles of
Ornament

Plate 182.
THE GOTHIC ORNAMENT

Plate 183.
;o8
Plate 183.
Fig.
i
8.
Manuscript paintings from the 14th and 15'h centuries
(Racinet,
L'Omc-
ment polychrome).
Stuff pattern
from an altar in Milan, with the badge of the Duchess Bonne of Savoy. At present in the Museum Poldi Pezzole, Milan
(L'art
pour
tous).
I!
THE GOTHIC ORNAMENT

Plate iSs.
THE GOTHIC ORNAMENT
The Gothic Ornament
in the
Pyrannean Peninsula.
soon after
in
it
had begun to develop

that
is,
it
into its highesi
France,
half
of the
tury,
about the year 1225,
the Gothic
It
was introduced
from Fran^
n Peninsula.
in
it
did
na'i
undergo here that change

ideaItaly,
accordance with the
which
the
in
underwent
oi
in
Germans and
still
very extensive number
Moorish Motifs
existing
felt.
the country having had to

of the oldest
is
make
their influi
One
monuments of
of Burgos
in
the Gothic in the
Peninsula
the
Cathedral
which was
century.
under North French influence
the
13'''
The
From a
15th
century Manuscript
de-tower
1
of
1
this
Cathedral
was
complete
(Monumentos de Espana).
:--
!'
Plate 184.
Transition Style
1
esti/o
mudelar
Monumentos arquitectonicos de Espana.
Fig.
r,
and
:.
Door borderings from the Palace de los Ayalas in Toledo. 3. Door bordering from the chapel of Santiago of Santa Maria in Aleala
de Henares.
Details
4.
5.
6.
from the house called de Mesa in Toledo. Frieze from the door in No. 2. Crest of the Church of St. Mark, Seville.
Plate 185.
(After
Fig.
i,
Monumentos arquitectonicos de Espana).
and
3.
4.
2. Window from the house Lonja in Valencia. Window from the cloister of St. Juan de los Reyes in Toledo. Middle column of a double window from the tower of the Lonja house
in Valencia.
5. 6.
Stairs pillar
in
from the Hospital de la Latina Sarcophagus of King Don Alphonso VIII and
the choir of the church of Santa Maria
in
Madrid.
his Consort
in
Donna Leonor,
La Real de Huelgas
Burgos.

Plate
1
86.
iiininnniiHpî^
'
Plate 186.
Fig.
13.
Details
from the
cloister of St.
Juan de
Gregorio
los
Reyes
in
Toledo (Monu(Ri
mentos de Espana).
4.
Balcony from the court-yard of
St.
in
Valladolid
Plate 187.
Fig.
i.
Finial
from transept of the church of
St.
Juan de
los
Reyes
in
Toledo
(Monumentos de Espana).
2
3.
Linen insertion, 16 th Century,
blue pattern on a red ground (Raguen
Wrought
(Mira
iron
Candelabrum from Tarrasa,

St.
province of Barcelona, 13
,h
century
Leroy).
4.
Window
panel from the cloister of

I
Juan de
los
Reyes in Toledo
(Mira L<
[Mira
1
(Monumentos de Espana.
5.
6.
Back of a stall seat in the Cathedral of Leon, [5 th century Ceiling from the Cloister of St. Juan de los Reyes in Toledo
Painted sockle in the interior of the tower of Santo Domingo, called the Hercules Tower, in SegOVia (Monumentos de Espana).

Plate 187.

P
e
rS8.
316
Plate 188.
The Manual Style in Portugal.
(After Frei Luis de Souza,
Church of Batalha.)
Indian,
An extremely
developed
in
peculiar Gothic,
its
influenced
by Moorish,
and other foreign forms,

its
Portugal,
to
most
beautiful
example being the Cloister of Batalha with
monu-
ment erected
the
memory
of king Manuel.
On
the
'h
August 1385
Dom
Dom
Joao,
far
King of
Portugal at the time, found himself opposed to a very powerful Spanish army,
his
superior to
to
own
in
numbers, under the command of Don Juan, King of Spain.
Joao turned
the Virgin for help in this critical situation,

that he
similar
and promised,
if
She would give him the

in size
victory,
would erect a building

structure
in
her honour which would far outshine
and beauty any
throughout Christendom.
As
the Portuguese
,
did
actually
beat the Spanish,
and gained an overwhelming victory over them

out his promise.
Dom
Joao immediately proceeded to carry

and
artists
He
called together the foremost architects
from
all
parts of Europe,
and
in
the very
laid
same
year,
1385,
of the
in
which he won
his great victory,
close to the scene of
battle,
the
foundations
famous and beautiful Cloister of Batalha.

later,
is
erected to king Manuel,

not, Fig.
who
reigned
is
the most beautiful item in this structure.
The mausoleum It was
however, ever finished and

I
still
incomplete.
Arch over the door of the mausoleum to King Dom Manuel. Areh in the Loggia of the same. Principal cornice of the same. Spire of the tower in the North facade of the Cloister of Batalha. Entrance door to the mausoleum.
9Mj
"C^ firc^r =-*i
Hh
s
Frieze band on the South front of the Church of Santa Maria in Belem
(Hatipt,
Baukunst der Renaissance
in
Portugal).
THE CHINESE ORNAMENT.
the fact
third
that Chinese art dates hack into the thousand before Christ there is no doubt.
<
During- their long existence, the
hinese neither
received nor imparted any thing, but kepi up

a
permanent
and
most
rigid
isolation.
It
is
therefore only quite natural to expect thai

nothing- whatever
thi
would develop an originality which should have

in
common
with the products
Chinese
Ornamental Frame
(Racinet).
With the exception of a few geometric combinations whose employment in art lies near at hand, ami which therefore may he dis'covered at tin- same nine in different artof other nations.
centres, this peculiar originality holds true.
of
l'hi'
general
lack
of
character
Chinese Ornament
is
remarkable
for
decided
order and plan, a failure which

Girandiere says,
may
in
very possibly be
the very spirit of
due
to the
absence of a Chinese Architecture.
This absence of an archilies
tecture, as
Chavannes de
la
the Chinese nation.

of the
The conception of the sublime is beyond the reach understanding'. They keep their attention entirely directChinese
symbolises
ed to an intimate enjoyment of their nature and to the petty art which Although the Chinese are bad at drawing, still they handle it. Ornament with such power of fancy and imagination, and with such a
taste for colour, that their products, especially in
Keramics, Incrustation,
of effect,
and Textile-work, are perfect examples of

thereby
far
superior to those of other nations,
harmony and who have
and
as a matter of
fact taken
them
as models.
in
The
untiring patience, however, which the

difficulties,
Chinese love to display
overcoming technical
often results
in turning the artistic into the artificial.
In the plates devoted to Chinese
ed to Keramics as being the art
Ornament, special attention is directfor which they are principally famous.

Plate 189.

Plate 189.
Fig.
I.
Pillar Crest Of the
Pagoda Of Ho-nang.
The Chinese column has no

ol
capital,
being broken through by supports (Chambers, Designs

2.
Chinese Buildings).
From
the colonnade in the court-yard of the
Pagoda
of Cochin-China.
(Chambers).
4.
6,
8.
1
1.
2.
3.
Pagoda in the eastern suburb of Canton (Cham Chinese 17th century furniture (Chambers). and -. Base of the column in No. 2. Roof crest of a small temple in the western suburb of Canton (( n Spire of a Pagoda on the Ta-Ho, between Canton and Hoanj Part of a Ting of the Pagoda in Cochin-China (Chambi Part of a curtain of a canopy bed, embroidered in gold and silk, 5th
Pillar crest of a
o,
5,
and
io.
(Dolmetsch).
The Chinese Keramik.

In
his
history
of
Chinese (Ceramics,
five
Ernest Grandilier divides
the products of C:
Keramics, chronologically, into
epochs:
(o.bo
Under the dynasty of Song
20u| and
the
dynasty of Yonen (1260-
Under the dynasty of Ming (1368 162O).

3.
From
4.
the end of the latter dynasty to the death of Khang-Hi (1620 72 Under the reign of Yung-Tching and Kien-Long (17:2 1796) The modern epoch.
1
:).
Plate 190.
Fig.
I
Censer Or Ting, used by Kaiser Fon-Hi when making offering th century. Heaven and Earth, dates from beginning of the
1
to
the
spirits
of
Vase with the mythological dragon, from the Yung-Tching epoch (1723 1730). Vase with the goddess Si-wang-mow, Goddess of a long life, from the
same period,
4, 0,
and
Tea-pots, from the Ming epoch, 1368 5. Ib20. Vase, from the Khang-Hi epoch, 1662 1723. Statue of Konan-inn, goddess of Charity. Antique vase in the Museum Adrien Dubouchet, Limoges.
Plate 191.
Fig.
r,
and
3.
4
5.
2. Vases from the Yung-Tching epoch. Vase from the Khang-Hi epoch. Wine-can from the Khang-Hi epoch. Vase from the Song epoch 9601260.

Plate
i
go.

Plate
191.
SPELTZ,
Styles of Ornament.

Plate
192.
THE CHINESE ORNAMEN
323
Plate 192.
Fig.
Key from the Khang-Hi epoch. Cup from the same epoch.
Vase from the Song epoch. Plate from the Kien-Long epoch. Vase from the same epoch. Fragment of table plate from the Kang-Hi epoch. Vase from the Yung-Tehing epoch, with raised gold
more probable
Mythology.
to
Meander,
which,
it
is
suppose, was discovered by the Chinese themselves, rather than
an imitation from the Greek.
The other
patterns on the vase relate to the Buddhist
Plate 193.
(After
Fig.
i
I-'art
pour
tous.)
in
3,
I
and
'
8.
Ornamental butterfly from an antique porcelain plate,

1
the
nault collection.
4.
5.
'o. 7,
Antique gold censer, in the possession of Admiral Coupvent des Antique tea-pot, from the Gasnault collection, now in the Museum collection. Antique bronze vase from M. D and 9. Bronze vases from the period of the Ming dynasty,
collection.
at
Limoges.
in
the Bing
.,
10.
Antique bronze candle-stick.
Ornament for laquer painting
(Racineti.

Plate 193.
525
The Indo-Chinese or Kmer-Ornament.

In
the
countries
lying
between India and China an extremely peculiar and very ancient

which may be regarded as a transition from Indian
and was
first
art
art.
developed into existence,

It
to
Chinese
is
but very
little
studied
made known
in
Europe on the foundation of

in
the
Musee des
antiquites
cambodgiennes by M.
I.ouis Delaporte,
Lieutenant
the French Navy.

is,
Similar to Indian architecture, the
Kmer
is
overloaded with Ornament, but this overloading
however, made up
for in
the regularity and
harmony which characterises
it.
Plate 194.
(Alter
Fig.
1.
I.
'art
pour tous.)
2.
3.
4.
Ceiling from the sanctuary of Dangkor-Vat, : h century. Upper portion of a soekle in the same sanctuary with mask of the God Rheon the Bad. Stone relief on the exterior of the same sanctuary. Mural decoration in the same with the Brahmin Gods.
Plate 195.
I
Alter
l-'art
pour
to
Fig.
1.
2.
3.
Door of the temple of Loley, 7* century. Frieze with Asparas (heavenly dancing-girls) and pillar from the sanctuary of Angkor-Vat. Column from basement story of the temple of Angkor-Vat.

Plate 194.

Plate
195.
?XsS^3^HS'3H32SS'
^mMr^T'^ v W^-'t W^f'Mm^
$&$
ijgj
UiStii* i*S~2
'
Va< V'V
>^r ,in
..^_* : -^':
/Ji
'lji'
.ni^XL
-jrtt..
Ii,:
,-,
THE JAPANESE ORNAMENT.
espite the fact that Japanese art

in
had
its
origin
China,
it
nevertheless represents a deitself.
cided
is
individuality peculiar to
less
strict
This
due to the
is
manner
in
which
as
thev divided the work.
The Japanese Ornaconventional

the
mentation
not
so
Chinese, for they directed their

after nature than the latter.
ristic
work more The characte-
expression of the ancient Chinese epochs was also further weakened by the
fact
that the Japanese did not hesitate to
introduce
their
other
and newer elements

in
into
work, much once happened to the Doric in Greece by overloading its Ornament. While Chinese
the same
fashion as
-
Art remains to-day

it
at the
same point where

in
stood thousands of years ago, the Japanese

striven,
have always
The actor Tomedjuro
in
especially
recent
years, to perfect their products of their art
Nakamura
Kaishi.
in the role of the
accordance with foreign models. The oldest Japanese art -epoch dates
is,
Painted by Tori-i-Kigount
from the Heroic Age, that
from about
1750
(Bing).
the year 960 before Christ to the year 278

after Christ, at which period the Daymios, together with their feudal Lords the Samurai, reigned over the country, until finally the whole empire became united under the Mikado. During the second epoch, from 278 to 1108 B. C, Buddhism made its appearance, and was constituted the State religion in 624 B. C, thus The power of the Mikado introducing Chinese and Indian influences. was considerably weakened by the Shogun (Imperial Chancellor) during

Plate 196.

Plate 197.

this period.
331
During the
third epoch, from
1108 to 1549, the Shogunate
(Imperial
Chancellorship)
was
in
possession respectively of the Taira,
Minamata, and Ashikaga
families.
1
of the fourth period, from 540 to 1868, the country and introduced Catholicism, which was. Portuguese entered the however, destroyed in 1638 by the Dutch.
At
the
commencement
In
the
year 1868 the power of the Mikado was established anew,
and European civilisation introduced. While in the Chinese Keramic, porcelain predominated, Japanese Keramic on the other hand is distinguished for its pottery.
Plate 196.
Fig.
1.
2. 3.
Lock mounting Scabbard mounting
(L'art
pour
(L'art
tous).
pour
tous).
From the eastern door of the temple Shin-Shin-Sekte

Konstruktionen un8 Kunstformen der Architect ).
-
in
Kioto
(l
4,
5,
and
ii.
Ancient Japanese vases
(L'art
pour
r
tous).
;
ami
7.
Sword scabbard and
hilt (L'art
,olir
8.
Altar press in the temple of Miyo-Jin-Ahagi
(Ulide).
Plate 197.
(Afti
:
Justus Brinkmann, Kunst nnd
Handwerk
in
Japan.
Fig
i.
Wooden
ceiling in the temple of
Shogun Tokugara Jyemitsu at Uyeno
near Tokio.
2.
Post at the entrance of the principal door of the temple Nishi-Hongwanji
in Kioto.
the ends of the post and the cross
br.rs
rest
in
bronze plate
.,
3. 4. 5.
.,
Roofed public lantern in the province Ise. Balk ceiling of the Hondo from O-baku-san in Uji valley. Painted drapery on a wooden column of a Nikko temple.
three-leaved
Above,
Awoi-Mon
of the
Tokugawa-Shogune.
6.
Bronce nail-head from the castle of Himedji.

Awoi-plant (Asdrum caulescens).
Shows
branch of the
12.
711. Nail-heads from an old temple and old castles. Rolled-Up curtain, front and back views.
Plate 198.
Fig.
I.
Iron engraving -plate from

Formenschatz).
the
chaser Kinai,
8 th century
(Bing,
Japaniseher
2.
3.
Painting on an ancient beaker-shaped vase
(Dolmetschi.
From an embroided
polychrome).
silk robe, i6'h century (Bingi.
4.
Chain-mail from a copper dish decorated on both sides iRadnet, lornement
512.
Japanese laequer painting.

Plate 198.

Plate
199.

Plate 200.
335
Plate 199.
Fig.
I.
Domestic COCk,
The
text gives the
from the book Ye-hon-sha-h. >fu-Kuro,
beginning
ol
18
tl>
century.
names of the
the
different colours (Brinkmann).
2.
Ridge-till, Oni-gawara from

nische Haus).
temple of Horinji,
th
century (Baltzer, I>as japa-
3.
4.
Ornamental phoenix head as ending of a balk

Folding Screen,
painted
of the artist Korin which were published by Hoitzu.
(Baltzer).
by Korin about the year I7OO.

called also
at
Taken from the designs
(Brinkmann).
5.
Helmet Of MiamotO Yoshi-iye,

Emishi, about the year
I
Hochinamen-Toro, conqueror of the

the temple treasury of Itsukushima
[00 A.
1>..
present
in
The rounded, turned-down

a
picture
sides of this helmet are of leather,
on which
i>
stencilled
of the
God
Indo
who
is
surrounded with (lames.

in in
Taken from the works

of the
of Itsukushima dzu-ve
6.
which were published
the year 1842 (Brinkmann).

the
Young
girl painting, from a woodcut
Ehou Tama Kadzura
7. 8.
9.
quawa Sukenobu, from the year I7.V'. Border-tile ornamentation (Baltzer, Das japanische Hausi. Border-tile ornamentation, with chrysanthemum and water waves, the am the renowned hero Kusunoki (Baltzer). Founded vessel, chased, for storing the utensils used for smoking
(Brinkmann).
Plate 200.
Japanese
Textile Motifs.
(After L'art pour tous.)

Fig.
1,
and
3, ;,
4.
Carpet patterns.
;.
2, 0.
and
Stuff patterns, I7 ,h century.
Pattern from the mantle of a Bonsa.
Sword and scabbard of a Daimio, from the Arima Family,

18'h century (Bing).
336
Pillar decoration
from the temple of Angkor-Vat
(L'art
pour
tous).
SPELTZ,
Styles of Ornament.
Tea-pot of beaten Copper in Ghent.

Late Renaissance.
(Ewerbeck und Neumeister, Die Renaissance
in
Belgien und Holland.)
THE RENAISSANCE ORNAMENT.
in
the
141I1
century the
<
>rder ol Knight-
hood had already outlived its time, people consequently saw that the impossible conditions associated with
Feudalism required
in
to
be completely changed
order to suit
the
new
ideas of Religion, Art, and Science
From an
Italian Manuscript
(Dolmetsch).
which now began to become prevalent Humanity broke the fetters with which Feudalism had bound it, and in all branches
to lay the foundations of a
life.
of
human
activity
men appeared
new
Social,
Religious, Artistic, and Scientific
universal re-birth, called
by
the Italians Rinascimento,
by the French Renaissance, took place. The Gothic, which had never really become part of the Italian nature, could no longer satisfy the new ideas, consequently Classic Art was had recourse to, it was the nearest to hand, and its creations were those
had always pictured before their eyes. It is impossible to think that the ruins of the imposing monuments of Classic Art in Italy could have had no influence on Italian Art. Such influences are, as a matter of fact, to be seen in the more or less prominent reminiscences of Classic Art seen in the Byzantine, Roman, and even
Italian
artists in
which the
the
Gothic Style
in
Italy.
Italy
became
at
that
time,
in
Poetry,
Architecture, Plastic,
world.
and Plainting, the leader of the entire Christian Epoch is the complete dissociation from intimate corall ideas then prevalent in the Middle Ages, from the then customary, and from the influence of the porate connections
Characteristic of this
Church, and the change of the individual to a freer independent, purely
34Q
humanistic,

intellectual
specially supported
development. This new movement which was by the study of nature and antiquity, grew to the
first
most complete perfection,

spread over
all
from which land the other various countries of Europe.

in Italy,
it
afterwards
"
'.-..'
try
W_m
TSt
TVT
77T
T7T
Tr:
n.W..HT
.777 .JIT
777
TIT
7TT
-77-TJT.TTr
TT7
.777
777
V; V
77
Window
in the
Courtyard of the Doge Palace

(Buhlmann, Architektur.)
in
Venice
34'
The Construction
(After
of the Arch.
W. JEEP,
Bauratgeber.)
rawing the Elliptical Arch. If A II be the height or minor axis, CD the span or major axis, then
from the centres,
,1
semi-circles
(Fig.
i).
are
described with
C and A
now
/.'
as
radii
Any number
are
Florentine Initial.
(Pctzendorfer Schriftenatlas.)
of radii,
such as
.1
/.'
and
AG,
oi through the contact of each of these with the two semi-ciri one vertical and one horizontal line are drawn.
described,
and
points
The
points points
ol
intersection
Ellipse.
of
these,
in
this
case
and
L,
are the
foci
fixed
of the
The
of the
Ellipse
arc,
arc
found
(Fig. 2)
by describing from
/>'
with the radius
AC, an
whose points
of intersection
E
O
and
/'
with
M-
Fig-
the
horizontal
line
CD
are
the
foci
required
(Fig.
2).
After having
and /', the lengths DO, DP, marked on CJ) different points, such as CO, and CP are taken in succession within the circle, and with them, from E and 1] arcs are described whose points of intersection G, H. L, and K, are fixed points of the Ellipse. On the drawing-board, pins are and a string then fastened to them in such a manner driven in E and stretched it forms a broken line E B F. If a lead-pencil be that when moved within the stretched string an Ellipse is described. one marks Fig. 3) a point L, and Or, on a strip of paper 2? the lengths of both the then, beginning from it, measures off on and P are obtained. semi-axes and AD, whereby the points in AD, and the If P be now laid in the continuation of AB, and
7*',
MN
AB
point
L marked,
then this
is
a point of the ellipse.
B
342
THE RENAISSA>JCE ORNAMENT.
By means
ing-
of transpostion an Ellipse can also be described
by draw-
on to the major axis and making it equal to

cribed with
CD
2
(Fig. 4) the line
ED
at
AB,
the semi-circle
DFE
any angle desired, being then des-
AB
as radius
and the middle of E D as centre. On this any point is taken such as B, and through it II is drawn perpendicular on to ED, C E, and the parallel to it are also drawn, and at the 1
HH
1
perpendicular
H K
lt
whose length
is
equal to
H B.
con-
is
t
now
a fixed point in the Ellipse.

(Fig. 5)
is
The Rising Elliptical Arch structed by drawing from' the

horizontal projection of both the
centre
E of the points A and B
the semi-circle
the
same
AB
A
Through any point G on is drawn on AD. When has been marked, gh is made equal to G K,
a perpendicular
A ED.
the fixed point g of the Ellipse being then found.
Or,
AG
is
drawn
(Fig. 6)
perpendicular on
D, and from
a quadrate
FKG
with radius
AC=CB
From
to
described.
On
I,
this
any points whatever
such as L, K, H, are taken and connected to
AG
by the horizontal
C,
lines
k, h.
the perpendicular
Cg
1
is
drawn on
AB, and
bv through
it
the above-mentioned points joined

parallel lines;
Eg
is
perpendicular on
AD.
now drawn On Cg
the height intended to be given to the arch

is
now marked, and

?j
a straight line
connected with g by to which parallels are drawn

g
x
through
7q
Je
Through the
points
of are
intersection with these, parallels to

Fig. 6.
AB
I
drawn, and from

h
Eg
the lengths
L,
1c
K,
H, are drawn to both sides, whereby the
fixed
points m, n, on one side, and

all
n 1 on the other are obtained,
they being
fixed points of the curve.
The
whose
Ellipse,
direction of the joint,

is
which should stand as perpendicular as

(Fig.
1
possible on the arch,

joint
is
obtained by drawing from the point
),
to
be determined, equal pieces
MO
MO,
and
and, with a larger circle-opening than

semi-circles,
on to the describing from
NO
and
and drawing
FO
as the direction of the joint. to the foci
Or, lines are drawn from
(Fig. 2)
and
F,
and the
angle
ELF,
thus formed bisected, the bisecting-line gives the direction
of the joints.
343
The Basket Handle Arch with

with
3 centres
is
constructed, by making,
AB
(Fig
7)
as
/'
the breadth and CI) the height of the arch.
CF
equal to
the line
CD, and
equal to
F, bisecting
A E,
and drawing through the poinl
of bisection the line

ll
H( perpendicular
until
it
to
.1
I'-
is
now produced
meets
CD
pro-
duced
II 1)
the point G.
L
II.
<<
is
now
/,'
the middle
point for the arch
that
fir the arch

A'.
K. and Or,
for the
is
arch
CE
(Fig. 8)
made equal
to
CD,
'
and
is
I.
divided into two equal parts.
now made
is
equal to three and
CF
equal to
four of such parts, and the line

(r
FG K
//
drawn.
of
now
the middle point of the arch A A.
that
of the
L.
arch
KDL
is
and
the
arch
B
Or,
than
HF
/'
made, but smaller .1 ed in EG drawn and b drawn perpendicular to EG. It I'l.M be now drawn, then are middle points of the arches A M and /' .1/.
(Fig. oj
AE
CD, I>G made
equal to
/'.'.
//.
I.
and
and
The Basket Handle Arch with

tained
(Fig.
10)
5 centres
is
ob-
by drawing the height from the

span
is
centre
into
of the
five
equal parts.
CE, and dividing -I E Now CF= CG = GH= 7

in 3 parts.
such parts.
CF
divided into
HEL
and
II,
drawn, whereby the points F, M, and the middle points of the arcs A A", 7v L, and L
are obtained.
Or, a semi-circle
is
FK
Fig. o.
drawn
5
',
(Fig. 11)
from
over
and divided into the points m, n. ri, and m inn. nb, bn'. >i' a/', m' A,
drawn.
and
equil parts, marked by
and then the lines Dm, /. On, On, and Om'
The
point
in
it
the centre of
OA
is
now
Om.
point
marked and through

of the
MC
drawn
parallel
to
V
V ~N<?
--
This parallel cuts the chord

curve.
Bm
in
M, the
first
Through F, the middle point of the line OC, N F is drawn parallel to n 0, which, when produced, cuts the middle line in E. In the same way MC is produced cutting NE in J>. The same
operations are carried on at the opposite side, until
finally,
Fig
the points C, D, E. D'

of
'.
are found, which are the 5 middle
points
the
segments of the
circle.
From C and
arcs
are des-
344
cribed with
as radii,
CB
and
finally
and ("A as radii, from D and D' with D from E with the radius NE'.
EN =
M and
D'Jf
Fig. II.
The Basket Handle Arch with more than five centres (Fig-. obtained by dividing the semi-circle described over A' B' into as
12),
is
many
Fig. 12.
THE RENAISSANCE ORNAMEN

parts as the required
is
345
7.
number
of centres, in this case

first,
Another semi-circle
to the
now
described concentric to the

arc,
having the radius equal
height of the
and the
radii
Through the
intersections
Om', On', Op', "p. On, and Om drawn. of these radii with the smaller semicircle,
I,
the horizontal lines nm'". in'", cde, n"
and
m" g are drawn, and on to them the perpendicular lines from the points m', >t'. )>'. p, ,
and m.
'(. /'.
The
<1.
intersecting points thus obtained,

I,
C,
r.
and
g,
are
the
fixed
points
|
of
the curve.
an'
The chords between
these
.1!
now drawn and perpendiculars erected The points of intersection of their centres. these with each other and with A II being the
centres
I'.
< >.
t
R,
S,
'/'.
U,
and
I'
oi
the
arch
required to be drawn.
The Rising Basket Handle Arch centres (Fig, [3), when the A and
from
/.'
and
con-
consequently the span

structed
AC
are
given,
is
by bisecting AC, and drawing /' /. perpendicular to A<' it, making (ill equal to D G, equal to AG, and then drawing
GE
/;
//
M.
drawn.
tin-
Through IS the horizontal .1/ is now the centre for .1

IS
IS
/.'
is
and
A"
Fig. 14-
of
centre for
Or,
E.
given.
when the Then A G

it.
BC
is
ig. if and one .1 are drawn and All perpen1
dicular to
BE
is
made equal
to
to
.1 II.
I'.
E
to
drawn perpendicular
.1
/.'.
ISC.
to
CG
.4
I:
parallel
CD
F
The
made
1)
equal
<"/-.',
the line
I) II
drawn
from
horizontal,
and the ate
described
and
from //. Rising Basket Handle

is
Arch
4 centres
into to
obtained by dividing
BC
from Tig. 15)

'
Fig. I;
4 equal parts,
BC,
is
bisecting I)
making CD equal to BC, drawing I> L parallel L in M, and describing from 31 the semi-circle 1> EL.
-
This
now
divided into
equal parts, and the chords
F D, drawn, and produced out beyond the circle. from H, the arc described from L. the are arc CE from I>.
The
arc
L H, HE, and A K is now
KG
GE
from E, and the
346
The Renaissance
in Italy.
hronologically distinguished, there
are
three Epochs of the Renais-
sance
in
Italy:
1.
2.
3.
The Early Renaissance from 1420 to The High Renaissance from 1500 to The Late Renaissance from 1540 to
the Cinquecento.
of Classic his
1500.
1540. 1590.
The
the the
last
first
of these therefore coincides with the Quatrocento,
with
The
first
architect
who
studied
monuments
artist
Art closely and intimately, and trans-
mitted their
spirit into
own works, was

By
the
Filippo Bruneleschi,
1
an
the
of
powerful gerius, towards the end of the

1
4^
1
and
beginning of the
5'h century.
construction
in
of the
Cupola of the Cathedral
in
Florence,
which
in
spite
of
all
hostility
he completed
43,
Bruneleschi became the tounder of the Early Renaissance which developed from the Florentine
School.
During
this
period
he
was
also
engaged with the

and
churches
of St. Lorenzo
di
and
St. Spirito,
the Pitti Palace, and others.
Bruneleschi was followed by Michelezzo

spirit,
Bartolomeo
C39
the
1472)
who was
of palaces.
animated with the same
who was
principally engaged in
building
Bartolomeo was followed by
Leon Battista Alberti (1404

Giuliano da Sangallo (1445
14/2),
1516),
Benedetto da Majano (1442
497),
Cronaca (1454
Ijoq),
others.
Antonio da Sangallo the Elder (1455

artists
1534),
ar>d
became
felt
also
even
in
other centres of Italian
art,
The influence of the Florentine in Rome, Sienna, Pienza, Urbino,
and other places.

Venice, and
it
Lombard
of Rafael.
artists
introduced
the
Florentine St3'le into

Donillo Bramante (15 00
was brought
into
In
Rome by Donato
The
it
Milan,
I S , 4)
Bologna, and
wno became
there
the
teacher
Lombardv, the Renaissance had naturally

introduction
of the
to be brought into
unison with the Brickwork Architecture.
Renaissance into Venice
was
at first difficult,
but once established
developed into most unexpected perfection, being

to
very favourably influenced by the noble building-material peculiar

tation Style
the district.
The
Incrus-
developed also
genius
in
Venice
into
great
perfection,
principally
by the
efforts of the
celebrated
Andreas of Vicenza
and developed the
called
Palladio
(15$
1580).
who
introduced
new
is
Style throughout Italy
The number of artists was almost countless. The

artistic
It
Renaissance
in Italy
possessed a distinctly aesthetic tendency with ideals based on pure

the case with the former historic styles.
all
grounds and not on religious grounds as
permitted
mankind
to
develop and
live in
conscious enjoyment of
physical and spiritual beaut}-, and, conse-
quently, reached a state of perfection in art which can only be compared to that of the Grecian.
In
the High Renaissance, which followed the Early Renaissance, Decoration
was not paid

of
much
attention to,
deeper study was given to the ancient monuments, and consequently the
into
Tectonic
Form came once more

treated,
to
possession
of
its
proper place.
to
The Order
Columns
This
were rigorously
and a clear and forcible profile given

buildings
in
the single members.
was due
Bramante,
whose
Rome more
especially his designs for the
Church

of St. Peter,
i;
opened the way thereto. In this Church, after Brabante, the following Masters were engaged: Giuliano da Sangallo, Fra Giocondo da Verona It i;i;i. Raffael Santi, Antonio da Sangallo, Baldassare Peruzzi, Michelangelo Buonarotti, Giacomo Barozzi da Vignola, Jacopo
della Porta,
Carlo Moderna,
to
Lorenzo Bernini, and others.

the artists
It
would
he
impossible
in
such a
in
work
Italy.
as
this
mention
all
who took
part in the development of the
new Art
Besides
Rome
and Florence, one of the most important centres of the High Renaissance
still
was Genoa, whose

In
palaces of the Late Renaissance
excite our
I
wonder and admirati

'
the Late Renaissance,

for
which followed the time of Michai
in
art
became apparent,
the
traditions
the
theorists,
who had now
risen
into
repute,
attempted
for the
to
formulate
of
of Classic Art
on fixed principles, and to establish rules

this
employment
the architectural form.
From
is
movement sprung
in
the
worked
ont plan of Vignola, Palladio,
Scamozzi,
and others, a plan which,

still
spile
ol
the better knowledge of Grecian Archilei

at the
which we now possess,

thus
recognised as the standard even

a
present day.
The plan
developed
in
prevented,
fortunately,
all
disunion
of art, which
on account of the System of
Michelangelo
which
no
Form was disposed, would otherwise most undoubtedly have
taken place.
^j^ MWJtiH^
i
The 5 Orders after Vignola.
*)
The numbers given

is
in
the
height
normal height
in
of one
metre,
drawing are millimetres on the supposition that the total For to find out the divided into looo millimetres.
dimensions
the height.
centimetres which
correspond
For nearer details see,
to this number is simply to multiply such with "Speltz, Sau lenformen der agyptischen, griechi-
schen und rOmischen Baukunst".

Plate 20
1.
349
Plate 201.
Florence.
Florence was the principal centre of the Early Renaissance and developed a type of
palace which
Fig
i.
become the standard

in
for all
Italy.
Window from
built
the court-yard of the Palazzo Riceardi.

the year
14311
This window was
designed and begun
by Michelozzo Michelozzi.
The
court-yard
was
by Bartolomeo Amanati.
iSchiitte,
Ornamentale und
architektonische Studien-
blatter aus Italien.)

2. 3.
Principal cornice of the facade of the
Octagonal column
designed and
in
same palace (Schotte). stucco-work from the Palazzo Vecchio.

in
in
r/his
was
in
constructed
the
year 1298
by Arnolfo
di
Cambio, but enlarged

in
1434
by Michelozzi, and
1550 by Vasari.
The stucco-work was done
the
year 1565
by Marco da Faenza on the occasion of the marriage of Francesco de
Medici (SchQtte).
i.
Capital
from the column court-yard of the Palazzo Gondi.

work was begun
in
the con-
struction of this
5.
the year 14911 by Giuliano da San Gallo (SchQtte).
6.
Sepulchral slab from Santa Croce, Florence (Dolmetsch). From a monument in the church of the Holy -Apostles
(L'art
in
Florence
pour
tous).
Plate 202.
Florence.
Fig.
1.
Facade
sance).
in
sgraffito-work from the palace of Montalon (D'Espony,
Renais-
Detail
3.
4.
of a cornice from the Hall of the Two Hundred in Palazzo VeCChiO (Schutte). Door border in the Hall dell' Orologio in the Palazzo Vecchio (SchQtte). Sketch for a folding-door, fr< m a pen and ink drawing by Giovanni da Bologna.
(Hirth, Formenschatz.)
In the Florence.
5.
Coat of arms
in stone relief
from the Palazzo Ferroni
(L'art
pom
Plate 203. Rome.

In
the
development of the Early Renaissance

in the
Rome
played no part at
first,
the style
being introduced from Florence.

Fig.
i.
From the tomb of a prelate

This tomb, which was
hardt,
built
church of Santa Maria del Popolo.

is,
by Andrea
Tatti called Sansovino,
according to Burkof
the
most perfect work which has ever been produced by the union
loft in the SiXtine
Deco-
ration and Sculpture (Hirth).

2.
Balustrade Of a
sance
in
Italien).
Chapel
(Holtzinger, Geschichte der Renais-
3,
and
in
4.
Details from the facade of the Palazzo Farnese,
built
by San Gallo
the years 1470

6.
1546
(Schuttel.
5,
and
Flat-reliefs
(Dolmetsch).
from a tomb-plate
in
the church of Santa Maria del
PopolO
6.
From a tomb
This, the
same as
1460
1529.
of a prelate in the church of Santa Maria del Popolo. Fig. I, was built by Andrea Tatti called Sansovino in the years These tombs in the choir of the church are the tombs of the two
(Hirth).
Prelates Basso and Sforza Visconti

Plate 202.
TO'AvA\Yi\w^mw/A\WW^^^
riUHJIiAMMIMM
THE RENAISSAN(
ORNAMENT.
Plate 203.

Plate 204.
T8a

Fig.
g.
353
9.
Sgraffito-work from the house No. 82, Via Giulia iDolmetSgraffito-work from the house No. 148, Via dei Coronari (Dolmetsch). Sgraffito-work from the house No. 4, Borgo al vieol del Campanile
(Dolmetsch).
Plate 204.
Rome.
Marble frieze in the church of Santa Maria del Popolo (Holtzinger). Mural painting from the Rafael Loggia in the Vatican (L'art pom Sgraffito-work from the house No. 82 Via Giulio (Dolmetsch). Mural painting by Annibale Caracci in the Palace Farnese (Hirth). Painting in the Rafael Loggia in the Vatican (D'Espony).
Plate 205.
I
enU
c. in
The Renaissance
teristic
did
not
make
its
appearance
Venice
until
the
year
i]y\
but
in
combination with the older architecture native to the city developed into a peculiar and characstyle.
(Alter Cicognora,
Fig.
1,
Monument]
in the
di
Venezia.)
and
2.
Column and archivolte
Presbytery of the church of Santa
Maria dei Miraeoli.
Plate 206.
I
'enice,
(After Cicognora,
Fig.
1.
Monumenti
di
Venezia.
Monument
1.
3.
the married couple Generosa Orsina and Maffio Zeu in church of Santa Maria Gloriosa dei Frari. Door border from the Royal Chapel in St. Marc. Equestrian statue by Bartolomeo Colleoni on the Piazza A of Saints Gio
to
and Paolo.
4.
Mantle-piece in the Hall of the Antique College in the Doge Palace.

Constructed by Vicenzo Scamozzi (1552
6 1 6).
Plate 207.
Certosa of Pavia.
(After Hirth, Formenschatz.)
Fig.
1.
Pillars
marble.
from the niche with principal facade.

1
1
The
material used
is
white
The principal sculptor was Ambrogio Fossano, called Borgognone, but the work was begun in the year 49 by Giovanni Antonio Amadio. In this master work of the Italian Early Renaissance, however, which was completed at the end of
the
15 th century,
other
sculptors
also took part,

il
amongst them being Christoforo da

called
Roma, Andrea
2.
Fusina, Christoforo Solari called
Gobbo, Agostinho Busti

calls
it
Bambajo.
all
Window
ration
in the principal facade, Burkhardt
the Triumph of
Deco-
Work.
3.
Pilaster, frieze,
Styles of Ornament.
and principal cornice.

23
SPELTZ,

Plate 205.

Plate 206.

Plate 207.
THE RENAISSANCE ORNAM1
Tafel 208.

Plate 20Q.
"i
,.i :"
i.i
in
i.ji^Tî
;'.
.'
:. '^
~.
'
;_
'
;_.
'
-^.J
'
'
'
"
359
Plate 208.
Sicily.
(After
Fig.
i.
J. J.
Hittorf et L. Lauth, Architecture
Moderne de
la
Sicilc.)
2,
3, 4, 7.
Door from the Benedictine Cloister in Catania. and 5. Fountain in the Cathedral Square at Messina. and 6. Reliefs from the large fountain on the Cathedral Square, Messina. Window from the Benedictine Cloister in Catania. Neptune statue from the large fountain on the quay at Messina.
Plate 209.
Fig.
1
Portal from the church of

italienisclien
St.
Andrea
in
Mantua
(Nicolai,
Ornament der
Kunst des
15.
Jahrhunderts).
Glass painting in
1140,4
the Library
at Florence, done by Giovanni da Udine
1564),
(Hirth).
Inlaid
Small column from the Palazzo Municipale in Perusa (Raguenet). marble-work in the floor of the cathedral of Sienna (Doimetsch).
Flat-relief
from the tomb of the Vendramin

Venice
(Dolmetsch).
in
the church of San Gio-
vanni
e Paolo,
Caryatide
(Raguenet).
Wrought-iron railing from Venice (L'art from the Palazzo Durazzo
pour in
tous).
the
Via Novissima, Genoa
Ceiling in the Ducal Palace in
Mantua
(Nicolai).
Stairs to Massapiea in Florence iRaguenett.
Plate 210.
Fig.
1.
Intarsia
work from a
Stall
in
the church of Santa Maria Novella,

(Boito).
Florence
2.
3.
(Teirich, Intarsienl.
Coffer in the Parish Picture Gallery in Spoleto, 16 th century
Table, Italian-WOrk, from
the
Ib h century,
!
at
present
in
the Arts
and Crafts
4.
5.
b.
Museum in Berlin (Boitol. Bronze knocker from the Strozzi Palace, Florence (D'Esponyi. Wooden panel from the Castle Of SalmeS. Piedmontese work of the l6'h century. Intarsia work from a Stall of the Certosa near Padua (Teirich, Intarsien).
Plate 211.
Keramic.
Fig.
1.
2.
Faience dish from Urbino Roger-Miles). MajoliC dish by Maestro Giorgio da UgibiO,
i
in
the South Kensington
Museum.
in
Dates from the year 1525.
The Arabesques
of this
Master are generally done
yellow and green (Jannicke, Keramik).

Plate 210.
THE RENAISSANCE ORNAMENT

Plate 2i

Plate 212.

Fig.
363
Apothecary's vase from Castel Durante. In the British Museum (Jannicke). Majolica can by Maestro Giorgio da Ugibio (Jannicke). Venetian dish. In the South Kensington Museum (Jannicke). Floor with marble mosaic in the Cathedral of Sienna, rhe work ot
Beccafumi from the year 1372 (Raguenet).
Albarello from Sienna. In the South Kensington Museum (Jannicke) ChaffagiOliO jug. In the South Kensington Museum (Jannicke).
Plate 212.
Fig.
I.
Sweetmeat bOX,
and
4.
alter a
drawing ascribed
to
Benvenuto
Cellini
(Havaidi.
i; ,h
2,
Venetian glasses from the Murano Glass Works,

pour
11. tons).
century
(L'art
3.
10,
and
6.
Venetian glasses (Roger

at
Miles and Havard).

in
5, 7. 8,
and
Can Of enamelled gold,
present
the Uffizien, Florence
(Dolmetsch).
Cellini.
Goblet Of beaten Silver, gilt and chased, said to be the work of Benvenuto and 9. Cut glass dish With enamelled COVer, lt>d> century (Havard).
Plate 213.
Fig.
Court mantle of embroidered silk (Roger Miles). Crotchet-work, 16 th century (Roger Miles). Venetian embroidery with raised embroidered flowers (Rogei Application embroidery, i6< century (Dupont and Auberville).
Silk
damask,
16 th century (Dupont and Auberville).
Genoese velvet pattern (Dupont and
Auberville).
Plate 214.
Fig.
1.
Book-marker from the Milan Chronicles of Bernardino

Alexander Minutiauo, 153
(Hirth).
Corio.
Milan,
2.
Alphabet for embroidery from the year 1529.

di
From
his
the
work "Esemplario
in
Lavori" by Nicolo Zoppino, a Venetian drawer and copper-engraver (Hirth).
3.
Initial
Of Johannes Regiomontanus, taken from

(Hirth).
work "Epitoma
Alma-
gestum Ptolemei", Venezia 1+96

4.
5.
0.
7.
Head-dreSS, Ib th century (Roger Miles). Initial of the printing-office of Ottavio Seoto. Venice 1490 1510 (Hirth). Leaf from the works of Nicolo Zoppino, see Fig. 2 (Hirth). Venetian embroidery pattern from the year 1543. From the work "Esemplario di
Lavori" by Giovanandrea Vavassore
(Hirth).

Plate 213.
I'HK
KKNAISSANCK ORNAMENT.
Plate 214.

Plate 215.
37
Plate 215.
(Alter llirth, Formcnschatz.)
Fig.
I.
Candelabrum decoration,
Venetian bellows,
[6<i>
after a
hand drawing (Dolmetsch.)

the
2.
century.
3.
Sword,
Naples.
said
It
to
be given
by Francis work.
to
Graf von I.annoy,
Vice-Regent
ol
is,
however,
Italian
4.
Ornamented harp,
after a
water-colour drawing
in
the Uffizies
Italian
in
Florence.
5.
Casque of the Archduke Ferdinand of Tyrol.

mented work from the year i$5In
gold-damascened orna
of the
the Art Historical Collection
Imperial
House
in
Vienna.
Window from
the Laurenziana Library in Florence.

(Dolmetsch.)
3 68
The Renaissance
in France.
ext into France the
new Art made

in
its
way
from
Italy,
but could not,

in that
however, succeed
completely displacing the Gothic

place between
country.
mutual interchange took
both styles each became
imbued with the elements of the other, and gradually there arose the
French Renaissance.
The new
art
devoted
such
as,
itself
more
to
Profane than
the
to EcclesiI.,
astical Architecture,
for
example,
castles of Francis
Printing
Initial.
Blois,
Chambord, and others, which may be regarded as master-pieces

It
(Dolmetsch.)
of the French Renaissance.

circles.
also penetrated gradually into middle-class
In
France as
in Italy,
certain single individuals
became
parti-
cularly prominent in the High Renaissance, Pierre Lescot (15 10

Philibert de l'Orme,
1578),
the Builder of the Louvre,

ot a
the Builder
of the Tuileries
(
under Catherine de Medici, also author
Codex of the Renaissance, Jean Bullaut

In
!578),
is
Followers of the former, and others.

of the
the
period
of the
later,
Later Renaissance the
Palace
Luxembourg was
built
bv
Salomon Debrosse and,

builder of the Sorbonne.
by
his pupil
Jacques Lemercier (1585
1654)
who was
also the
The Early Renaissance

II.
generally reckoned from 1500 to about 1550,

is,
and the High Renaissance from Heinrieh
to
Louis XIII., that
from
1550 to 1043.
from 1453 to
Roger-Miles divides the French Renaissance into 4 periods:

1.
Under the
reign of Louis
XL, Charles
I.
VIII.
r
and Louis
I
XII.,
or,
1515.
2.
3.
Under the reign of Francis Under the reign of Henry

from 1547
to
from
'
II.,
47-
II.,
Francis
Charles IX.,
Henry
III.,
and Henry
IV.,
or
[610.
of Louis XIII. from
4.
Under the reign
1610
to
1643.
The second and

and the Style of Louis
able, the
fourth Periods
XIII.
In
are
also
specially
described as
the Style
ot
c;
Francis
1,
the time of Louis XIV.
when pomp and
display w
e tashion-
Renaissance Ornament degenerated and gradually developed into the Barocco Ornament.
Embroidery Pattern.
(Roger-Miles.)
>
Plate 216.
(Alter Raguenet,
Fig.
i.
Materiaux.)
Door Crest
2.
3.
Lallemand, Bourges, io ,h centui Window of a house in the Rue des Foeques, Dijon, i6<h century. Claustra of Panneau of the quire-end in the Cathedral, Rodez.
in Hotel
l6 tn century.
(Aveyron.)
From
4.
Door of a private house
in
Langres, Haute Marne,
n >' century.
Plate 217.
Fig.
1.
2.
Frieze ornamentation of a hall in the Louvre (Raguenet). Corner door in the Rue de la Grosse Horloge in La Rochelle, Charente
Inferieur,
I6
' 1
century.
3.
Capital
from the Baptistry of Louis
XIII.
in
Fontainebleau
(Mauch).
Castle
(Dolmetsch).
4. 5.
6.
Doric Renaissance Order after Philbert de Lorme
Keramie Wainseotting
(Raguenet).
(Raguenet).
Fire-place in the Ducal Palace, Nancy,
Meurthe
et
Moselle,
i6 <h century
7.
Crest of the stalls in the church of Arques near Dieppe,

(Raguenet).
i6'i>
century
8.
Hermes from the Hotel d'Assezat, Toulouse,

(Dolmetsch).
Henry
II.
9.
Bas relief from Hotel Carnavalet, Paris,
6*
century (Raguei
Plate 218.
(Rodolphe Pfhor, Palais de Fontainebleau.
Fig.
I
Capital of marble.
Proceeding from
Demolition.
Exterior pillar in the Chapel of St. Saturnin. Soekle from the Chapel of St. Saturnin. Porte Dauphine. Pillars from the Baptistry of Louis XIII.
Plate 219.
Fig.
1.
5. 6.
time of Francis I. iRacinet). time of Henry II. (Racinet). time of Charles IX. iRacineti. time of Henry III. (Racinet). Decorative motif by Jean Cousin, from his book on Perspective (Racinet). BOOk-printing Ornament (Hirth, Formensehatzl. Window Ornamentation in the Louvre, from the time of Henry II. (Dolmetsch). Cofferred ceiling from the ancient Grand Chamber of the Parliament of Normandy in the Law Courts at Rouen (Racineti. This building, which was erected by order of Louis XII. and the Cardinal of Amboise, was begun in The ceilintr is of oak. 4. 5 499 and completed in
the the the the
1
Ornament Ornament Ornament Ornament
from from from from
SPELTZ.
Styles of Ornament.
-4

Plate
2
1
6.
l'HE
RENAISSANCE ORNAMEN
I.
Plate 21;
24*

Plate 218.

Plate 219.

Plate
2.20.
*'
~-
ipiiilSp
5
"T
*5^
A^^f^v,4'
375
Plate 220.
Meubles.
(Alter Bajot,
I, 3.
Musics de Louvn
In
my.)
and
2.
Stalls,
16 th century.
the
4. 5.
6.
at Cluny. Reading-desk, 16 th century. In Cabinet Of walnut, from the time of Louis XIII. Private stool, 16 th century. In the Museum at Cluny. Table, i lh century. In the Museum al
(1
I
Museum ol the Museum
the
Plate 221.
Fig.
i.
Mural decoration of Faience,

(Havard, Dictionnaire de l'ameublement
16
et
sntury.
In
thi
lie
Louvre.
de
2. 3.
B Plate of enamelled clay, by tiie celebrated p. Drinking goblet in Oiron faience. In the South Kensingl
1
>n
Museum
(JSnnicke,
Grundriss der Keramik).

4.
5. 6. 7.
Terra-cotta figure.
In
the
Louvre
8.
Stoneware jug, [6<hcentury (Havard). Can by Bernard Palissey, Agen (Jannicke). and 9. Keramie floor-tiles after Viriot-Woeriot [R M Water-can of clay, Bernard Pallis
Plate 222.
Fig.
1,
4.
and
5.
Halbards from the Early Renaissance (1453 '5'5

(Rogei
Mill
I
;,ul| y
marked Gothic reminiscenci

2,
and
6.
7.
8.
Helmet and dagger, probably owned by Francis (R 'art poui dagger, from the st hall of 16* century Wrought-iron candle-stick, 16* century (Hava
3.
Hilt Of
'I
Warming-dish of
silver (Havard).
(Havard),
9.
SciSSOrS, i6"> century (Havard).
10.
Tin beer-measure with cover, 16* century
Plate 223.
Fig.
I,
8, 10,
2.
and 14. Silver knife, fork and Spoon (Havard, Necklace pendent after Viriot-Woeriot (Roger
styles).
histoire de I'orfeveric franca

Miles,
Comment
discerner
les
3.
4.
5.
Enamelled crystal glass (L'art pour tous). Figures from a glass (L'art pour tons).
and
6,
-.
Wine-Can Of rock-crystal, ornamented Fork and spoon Of gilt Silver 9.
with preccious
Et
uies lllavard)
(Roger Miles)
to
II.
Plate With painted enamelling, ascribed Helmet Of Charles the Bold, set with
drawing
in
Meister lean
III.
Penicaud (Havardl.
After a
pearls
and precious stones.
the Arsenal Library (Havardl.
12.
,.
13.
Top of a dagger-sheath (Racinet). Costume as emblem of the Jeweller's
Art,
after
Larmcssin (Havard).

Plate 221.
THE RENAISSANl
ORNAMENl
Plate 222.

Plate 223.

Plate
HHiil
M--i-j:-:-Vii-:-i->:-=-:-'

Plate 225.

(8l
Plate 224.
Fig.
1.
:.
Valenciennes lace. Valenciennes lace.
Mailles doubles.
In
the
Dutuit Collection.
Mailles rondes.
In
the Dutuit Collection.
Silk pattern, 16 th century (Dupont-Aubcrville, Collection of Decorations).

4. 5.
h century (Dolmetsch). Wall tapestry in the Castle of Fontainebleau, Embroidery from the time of Catherine de Medieis. Point coupe, that
'
is,
embroidery sewn on
1.
fine
Cambric (Roger
Presented
Mill
Embroidery from a bed.
to
the
[Yappists neai M
Henry
II.
on his departure from the Monastery (Dupont-Aubervillei,

7. 8.
Velvet pattern, 16 th century Gold embroidered cushion,
(Dupont-Auberville).
ti
(Havard).
Plate 225.
Fig.
1.
Ivory fun,
from the year
17 th century.
In
the
Louvre
Hirth). a
:.
Hand glass after a design by Etienne de Laune. From

1560
(Hirth).
copper engraving
3. 4.
5.
Key, after Mathurin Jousse de la Fleche, from th< Book cover with the arms of Henry II. (Dolmetsch).
6,
iHirth).
and
7.
Dagger
in
hilts.
From designs
1
bj
Ai
ine
.lacquard, copper engraver

(Ilirthi.
and
armourer
Poitiers,
from the
5I
half of the
17 th century
Plate 226.
Fig.
1,
1>
,
q,
and
10.
Painted ornaments from the Castle of Cheverny near

in
2,
BlOiS (Eugene Rouger, L'art architecture! en France 1. and 7. Typographic Ornaments, from the Theatre des bons Engins, published
Paris
in
1539 by Guillaume de
NiellO,
la Perrieire,
and dedicated
the castle of
to
Queen Margaret
of
Navarre.
8,
and
12.
gold
in
WOOd,
from
Ecouen (Eugene Rouger, L'art
architecture! en France).
ti.
Niello
from the Cardinal's Room
in the Castle of
Ancy-Le-Franc.
Typographic ornamentation from the time of Louis
XIII.
(Dolmetsch.)

Plate 226.
383
The Renaissance
in
Germany,
Austria,
and Switzerland.
.efore
the new style of art which was introduced from France into Germany became firmly established in the latter country, a long Although at the period the newperiod of time was necessary. human movement carried on by Johannes Rcucblin, Erasmus of kitten was already in full activity Rotterdam, and Ulrich von
I
,
in
Germany,
in
still
it
was
less
more
in
thi
md
philosophic
the Renaisin
rather than
an
artistic
fai
direction.
sance
of Art
was
The foundation for favourable in Germany than

to
France.
German
architects
were so bound
<>i
the Gothic that they publicly
resisted the introduction
the Renaissance.
The painters, however,
Albrecht Durer being the foremost amongst them were more amen(Dolmctscli.)
able.
Even
entirely
though
to
in
his
works one may notice the tendency

Still,
not
fine
disregard
for
the Gothic
Italian
on the other hand, his

also be clearly dis-
constructive
sense and understanding
the
new
Forms can
cernible.
The
first
who
really
gave
themselves up entirely to the Renaissance were Hans

these artists were circulated throughthe source from which
Burkmair and Hans Holbein.

out the
builders
The engravings produced by
country, and even though they did not understand them,
were
art.
and
artistic
handworkers took the elements of the new
This
fact
explains the
which distinguished the Renaissance in Germany from that of Italy. It was only when an intimate connection was established between the German and Italian artists, when Italian artists came into Germany, and Italian works on architecture became known and
bizarre character
German artists first began to really understand what the RenaisThe Thirty Years War, however, which broke out at this time, put an end to all Besides this, Protestantism, which artistic activity throughout the greater part of Germany. also appeared at this time, was an enemy to all kir.ds of decoration, and prevented the use of the Renaissance for monumental Ecclesiastical Buildings. The people had therefore to be content For this reason, the German Renaissance lacks with the building of Castles and Town Halls.
read
in
that country, that the
sance was.
monumental
force of form, but
shows
instead of that, a picturesque grouping and decorative talent.

of
The most
two
into
celebrated
Masters
the
German Renaissance were, Durer, Burkmair,

Mcnuel Deutsch, Joseph Graf,
in
the
Holbeins,
Peter Fischer
and his son,

did
and Peter Flotner.
The German Renaissance

a
characteristic System,
not
succeed
developing into a homogenious Style or

local
a circumstance
due
to ruling
conditions which rendered
it
impossible to do what
was done in France, namely to unity the prevailing style of Architecture In all the numerous centres of art in peculiar to the Middle Ages with the Antique forms. Germany, the new Stvle developed in a different manner, according as it was influences from
Italy,
France,
or the Netherlands.

Plate 227.

The German Renaissance possesses
grouping
r.o
385
power lying in was only It
the artistic
in
monumentality,
single
its
chief
and
ornamental
correct
treatment
of certain
building-parts.
later
period that a
to a
architectonic
tendency became apparent,
which, however, was brought
sudden termination by the Thirty Years \Y

lasted up
The German Renaissance dates its commencement from the year 152;, and it the oldest German Renaissance Monument, however, the Portal of the 492, as do also some other Portals. Mahrisch-Triibau, dates from the year
to
Ib20,
Castle
o(
In
(iermany as
first
in
Italy,
three periods are distinguished, the Early. High, and Later Re-
naissance, the
dating irom
1525 to
1570, and the
two
latter
from
570
to
1620.
Plate 227.
Fig.
1.
2.
3.
Column from Ensisheim cLamhert & Stahl, Motive der deutschen Architektur). Hermes from the Armoury in Brunswick (Lambert & Stahl). Wooden column from the Town Hall in Munden (Ortwein). The construction
of this building
was begun
in
H>i>3-
4.
5.
Cartouche from the pulpit in Fountain column from Berne

Portal from the Royal
St.
George's Church,
Stahl).
Wismar
(Ortwein.)
(Lambert &
6. 7.
Capital from the fountain in the market-place at Bern (Lambert &
Stahl).
Mews
in Berlin,
[n
the year
1665, the Royal
was burned,
uninjured.
but afterwards rebuilt by Kurfurst Friedrich Wilhelm,

to
in
Mews who purchased the

ade remained
house of Herr von Ribbeck which lay next
the
Mews, and
The portal here given
is
found
this facade (Ortwein).
8. 9.
Wooden pillar from the St. Columba Church, Cologne (Ortwein). Sockle from the arcade of the Church Buildings in the Castle at BadenBaden
(Ortwein).
Plate 228.
Fig.
1.
2.
3.
4.
transept in the Cathedral at Regensburg (Lambert & Stahl). From the Organ Gallery in St. Georg's Church, Wismar (Ortwein). Coat of Arms from the monument to Duke Johann in Oels (Ortwein). 1555 Inner portal in the Castle at Wismar, built in the years 1553
Window from
(Lambert
5.
6.
&
Stahl).
Gable of a house
in
Heilbronn (Lambert &
Stahl).
From an epitaph
in St. George's Church,
Wismar
(Ortwein).
7.
8.
Pulpit column in the Parish Church. Gustrow (Ortwein). Balustrade of the pulpit in the Jakob Church, Goslar (Ortwein).
Plate 229.
Fig.
1,
and
2.
Consoles from the ceiling of the Prince's Hall in the

Augsburg).
Town
Hall
at
3.
,
Augsburg (Leybold, Rathaus von Wall-paper from the Town Hall

the stairs of the
in
Danzig
(Ortwein).
4.
5.
6.
Town Hall in Bremen (Ortwein). Finial from Bremen Town Hall (Ortwein). Wooden ceiling from the Town Hall in Gorlitz (Ortwein).
From
Styles of Ornament.
SPELTZ.

Plate 228.

Plate 229.
^mm^d\M$ ><
i.OS'V
liT
"V
V1 "*
>
"-
-^

Plate 230.
,:m,
Plate 230.
(After Ortwein, deutsclie

Fig.
i,
Renaissance.)
and
2.
Stools in the Historical
Museum, Dresden.
This
I,
J.
Cabinet With inlaid work. Museum, dates from the

j
cabinet,
is
which
is
in
the
Wallraf-Richartz-
and
made
of seven
woods, oak, sycamore,
beech,
4.
etc.,
each stained of
differei
5.
Consol from the Kaiser House in Hildesheim. Ornament from the wall-panelling; in the Civil Service Office in Lune-
6. 7.
8.
<i.
burg. Panel from a stall in the Ludgeri Parish Church in Munster. Door of the tabernacle in the church of St. Gereon, Cologne. Panel from a screen in Hildesheim.
Cake mould
in
Luneburg Museum.
Plate 231.
Fig.
1.
2. 3.
Stove in the Prince's Hall of the Stone jug from Cologne.

and
6.
Town
in
Hall in
is
Augsburg
in
tl.eyt>
'-ntion
done
blue glazing.
(Ortwein).
originally
Terra eottas from the Castle

in
Schwerin
(Ortwein).
Were
intended for the Furstenhol

4.
VVismar.
Stone jug
iHirth).
in
the
Museum
at Munich.
I.ubeck (Hirth).
century
5.
7.
a at Tin jug vessel, I7 lh century. In thi M Fire-place from the Town Hall in MUnden
(Ortwein).
Plate 232.
Fig.
i.
Mural painting
in the Golden Hall of the Town Hall in Augsburg (Lej The Augsburg Rathaus was begun in the year 1615, the architect being the Mm 1; was completed, all except the interior filtings. Architect Ehas Holl (1573 1646). [620. These latter were, however, not carried out in accordance with Holl's in designs, but from designs of different masters, the most renowned of whom were the
painter Peter de Witt,
called
the Candid,
the Jesuit Matthaus Rader,
and the Aims-
burg painter Matthias Kager.

2.
(Ortwein).
originally
Ceiling painting in the Knights Hall of Trausnitz Castle near Landshut These paintings date from the years [578 1580, the building itself being
constructed
in
the
Gothic,
which
was
later
on
changed
to
the
Renais-
sance style.
.v
Glass painting from the cupola of the chapel in the Royal Residence
in Munich. Bindin? Of a book,
I7
lh
4.
century,
gilt
and painted.
In
the
German Museum, Nurn-
berg
;.
(Hirth).
Pilaster panel from
Wertheim
Castle (Ortwein).

Plate 231,

Plate 212.

Plate
z\
AAA^/\^.AÂ^"JWlAA^'A/\.'^J\AA/l/VV\A' JVJ1 .'1
<\
A rjUWUWVXAA
593
Plate 233.
Fig.
i,
and
2.
Bracket candle-sticks
Hall in
from the Hall
in
the
first
story of the
Town
3.
Augsburg
(Leybold).
(Ortwein).
4.
5.
Silver spoon from the Luneburg Museum Key from the Museum in Munich (Hirth).
Figure of a
Tyrol.
fully
woman
gilt.
It
holding a candlestick in the Stertzing

I
'
Town
Hall.
The
figure,
which represents Lucretia

1
6.
Candelabrum
to
7.
m the s half ol thi 16 century Hirth). Marien Church in Zwickau (0 Iron cloth-shearing carder with etched ornamentations (Hirth). Belongs
painted and
in the
the Early Renaissance
in
spite
of
Plate 234.
Fig.
1.
2.
Door mounting in the 1 st story of the Town Hall in Augsburg (Leyb Lock on the door of the Prince's Hall in the Town Hall in Augsburg
(Leybold).
3.
Door mounting from the principal portal of the Town Hall

(Leybold).
in
Augsburg
4.
From the
lock of a chest in the
Museum
at Munich, carved and

(Ortwein).
In
t
iron plate (Hirth).

5.
Chimney-cowl from the Castle at Munden

and
7.
6.
8.
Wrought
iron railing.
6 '> century.
rg
(i
i
(Hirth).
Railing in the tower staircase in Castle Yard, Dresden
9.
Door knocker from Rostock
Plate 235.
(After Hirth,
Formenschatz
the Imperi
It
Fig
I.
Hunting spear,
and
b.
lh
century.
In
in
Vienna.
2.
Ornament Of a halbard,
In
etched
in
iron,
from the middle
tury.
3.
the National
Museum, Munich.
1549.
Ornament by Peter Flotner from the year

Cabinet, Munich.
4.
Black and white drawing by Albreeht Durer.

in
Shows
a princely
horseman
the triumphal procession of

in
Emperor Maximilian.
The
original is in the
An
Collectiein
5.
Vienna.
Bridle-bit from Seutters "Bit Book", Augsburg 1584.
Plate 236.
Alter Hirth, Formenschatz.)
Fig.
I.
2,
6,
Small book-Cover of engraved silver plate with velvet ground. and 9. Sketches for gold Ornaments. Water-colour black and
from Hans Holbein
in
white drawings
the British
Museum.

Plate 234.

Plate 235

Plate 23O.

Plate 237.

Plate 238.

Fig.
4.
5.
Gentlewoman,
[6 th century, after
drawing by Han-; Holbein.
7,
Gold Chain with enamel-work. Augsburg work of the i6>h century. Jewel Of enamelled gold, [7* century. Property of the city of Leipzig. and 8. Samples of work of the goldsmith Jacob von der Heyden, from the year 620. Taken from the book "Suite de dessins d'ornements pour bijoutiers
1
meilleurs et emailleurs sur fond noir", published
in
Sir.issbnrLr
io,
and
ii.
Samples of lace-work from the book "Neues Modellbuch" by

aver,
Johann Sibmacher. C
who
died
in
Nurnberg
in
the year
1611.
12.
Ornament pendent
by Paul Birckenhultz.
Plate 237.
(After Hirth,
Fig.
1.
FormenschatzJ
Benedict
Bronze clock with engraved and chased ornamentations, made by

Furstenfelder at about the middle of the
I
7 th
century.
:.
Hock
the
glass, 17 th century.
In
the National
Museum, Munich.
3.
Wedding
hooped
goblet Of gilt Silver,

farthingale,
to
16*
is
century.
The
large
its
goblet
axis.
is
formed by
the
small
one
moveable round
own
it
The
bride-
groom was obliged

Silver Spoon
Estate, Kurland.
5.
ii.
drink
from the large goblet and empty
without spilling any
out of the small one.
4.
and
The bride drank from the small goblet. fork, lo'h century. In possession of the owner of the Possen
7.
Chalice by Wenzel Janitzer. Silber knives and forks from Nurnberg (L'art pour tous). Silver drinking-jug, strongly gilt, NOrnberg work from the io ;t:
or beginning of
17^
century.
Plate 238.
(After Hirth, Formensehatz.)
Fig.
I.
Carpet pattern, from an From the beginning of the

are a dark and a light
oil
painting by
Georg Pencz
in
the Royal
Museum,
Berlin.
16 th century.
The
a
colours, exclusive of the black outlines,
moss green.
picture
:.
Pattern Of a gold brocade, from

Christkind
three
by Rogier van den
Weyden "Das
appears to the
erscheint
den heiligen
Konigen"
3.
Wise Men in the Royal Museum Gold brocade On black velvet, from
The
Christ Child
at Berlin.
a picture from the Cologne School,
in
the
Royal Picture Gallery, Munich.

4.
Green velvet On a green

Munich.
Silk
ground,
a
16 th century.
In the National
Museum,
Royal
5.
Black Velvet On gold brocade, from

Picture Gallery Munich.
picture
by Dirk Bouts
in
the
6.
Gold embroidery On black velvet, from

helm beim Rheyn on
1568.
In
the mantle
worn by
the Pfalzgraf Wil-
his marriage with
Renata von Lothringen, on the 22 nd February
the Royal National
Museum, Munich.

Plate
239.

Plate 240.
&mo3ft:oTnmi.M.DCxxxv[
nrmmupsM
.\vroruurttMc^sDlni[
1
wSmtxn uimbMif bcinifrii^latte 'm

,
j" auif5brt|inj39nib fe lral
n%wms&m irrf & auflc
SPELTZ,
Styles of Ornament.
26

Plate 24]
403
Plate 239.
(Alter Hirth, Formenschatz.)
Fig.
i,
and
4,
3.
Initials
5.
2,
and
by Lucas Kranach. Letters from Caligraphie

in
Work
the year
of Paulo Franken, writing-master

1
and arithmetician
Mcmmingen.
From
6.
7.
The Hohenzollern Arms by Jost Amman. Ornaments from the work Imperatorum Romanorum Imagines,
in
published
Zurich
11,
in
5 r
bv Gessner, and drawn
in
.ill
probability by Christoph Schweitzei
8,
9,
and
1
12.
Written text from the album of Wolfgang Fugger, Nurnthe

b..ok:
[O.
berg, 5S3Letters for embroidery, from

Initials of
"Ein
new
getruckt
model Buchli auf
aussuchen und bartten wicken", 1529.
13.
Lucas Kilian,
coppi
Plate 240.
(A ter
Fig.
1.
Wilhelm Weimar. Mi nun
:;en.
in
Etched Solnhofer Stone plate,

kasten zum leeren Bcntcl",
from the year 1630, formerly

at
the
'
"Get!
in
Regensburg,
present
in
the
Mui
-enm
the
same
2.
city-.
Etched SOlnhOfer Stone plate,

Historical
from
the
year I59--
'
the
Collection
of the
Society
tl
Oberpfalz
in
Regensburg.
Swiss Renaissance Wooden Buildings.
Plate 241.
(After E. Gladbach, Holzbauten der Schweiz.)
Fig.
1.
2.
3.
Leaf-table from Filisur in Engadine, 1672. Door from the hospital in Frutigen, Canton Bern. Wall pannelling from the drawing-room of the Baron von Reding-Biberegg
Schwyz.
Pillars
in
-.
from the granary
in
Langnau, Canton
Bern.
Plate 242.
1
After E. Gladbach, Holzbauten der Schweiz. 1

of the
Fig.
I.
Ceiling detail from the drawing-room

(See also plate 241, Fig.
3.)
Baron von Reding-Biberegg, Schwyz.
2. 3,
Detail from the same soom.

5,
and
b.
7.
Carving from Glion

in
in
Canton Waadt.
4,
8.
and
Back of a
child's chair
from
Rati, Meiringen.
Inn table
Canton Schwyz.
2b*

Plate 242.

Fig.
9.
405
Console from Langnau, Canton Bern.

and
10.
11.
12.
13.
14.
Balustrade from Langnau. Carvings from same. 15. Back of chair from Canton Bern. Table from Rothenthums in Sehwyz. Tabourette from Sehwyz.
Wood carving from
the facade of Hutte's House in Hoxter

(Orlwein).

Plate 243.

The Renaissance Ornament in Hungary.
407
Plate 243.
(After Dr. Bela Czobor und
Fig.
1.
Emmerich von
Szaley, die historischen
Denfcmaler Ungarns.)
century.
In
Bishop's mitre of red pearl

Treasury of the Cathedral Church,
-worked embroidery, 15*

(..
the
2.
..
3-
Saddle of red velvet with gold embroidery, State armour Of Stefan Bathory (1533 1586).
17
1 '
century.
the Art Historical
In
Museum
in
Vienna.
Cross
In
51 ' 1
worn by the Cardinal Archbishop Peter Pazmany of Esztergom,

century.
century.
Cavalry broadsword, 16*
6.
Richly ornamented partisan, 16th century. Richly ornamented sword of the King, 16 th century.
of Arms, Vienna.
In
the
Royal Collection
8. 9-
Richly ornamented sword from the Siebenburger Museum.
Tiara from Krusedole Cloister,
15 th century.
Agraffe of gold and enamel,

iL'art
17 th century
pour
tous.)
4o8
in the
Netherlands.
n Belgium,
the Renaissance
Ornament
did
not develop to the same height of per-
The earliest work of the Renaissance in Belgium is the palace of Margarete of Parma in Mecheln, built about the year 5 20 by the French Architect Beauregard. The most renowned is, however, the Rathaus
fection as the Gothic
Ornament.
of
Antwerp,
built
in
the years
I5 DI
5^5 by Cornelius de Vriendt or
Floris,
pupil of Giovanni da Bologna.
The
in
cities
of Ghent, Ypern, Furnes, and others,

in
possess also remarkable specimens of Rathouses
this
style.
The Renaissance
in
appeared
land
(
in
Holland later than

the
Belgium, the most important buildings

that
Hol-
being also
Rathouses,
of the
Hague (1564
597
15/5),
while
in
and Leyden
1604).
The most
Holland
in
celebrated architects of this period were Hendrick de
Kayzer(I5b~
succeeded
in
1621),
and his colleague, Cornelius Dankerts (15b!

directing Art
1634),
wri
along Italian
lines,
Belgium the
therefore,
Renaissance degenerated very soon into the Barocco.

in
There developed,
Holland, a specific, Holland, Classistical St3'le which spread also through North
Door Handle Germany and Scandinavia. from Ghent. In consequence of the

(Ewerbeck.)
to
epoch-making introduction of the modern system of

it
Oil-painting
by the brothers Hubert and Jean van Eyck, which rendered

most magnificent manner
the Netherlands.
possible
give true reproductions of Nature, so absolutely necessary for the development of Realism,
painting
in
developed
it
in
in
Having
its
beginnings
Flanders
grew
to
be the ruling style and fashion.
Plate 244.
(After F.
Fig.
Ewerbeck und Neumeister,
die
Renaissance
In the
In
in
Glass painting from the year 1549.

ginally from the
Stone arm-chair from the year 1609.

Church
at
Museum at Middelburg. the Museum at Brugge, came
ori-
Damme
near Brugge.
Console from a fire-place in the Rathaus at Venlo. Column from the pulpit in the Cathedral at Herzogenbuseh. Brace of a facade in Zalt-Bommel. Southern ornamental gable of the abattoir in Harlem. This is valuable monument of Renaissance Profane Architecture in the Netherlands. completed 1603, but the name of the architect is unknown. Capital from a stall in the large church at Drontheim.
the most
It
was
Plate 245.
Fig.
I.
Shaft of column after Vries, 16'k century (Libonis). Cartouche from the atlas of Abraham Ortelius,
Formenschatz).
Antwerp
1503
(Hirth,
Brugge guipure lace in the Gruuthuze Museum. Cartouche from the atlas of Waghenaer, Anfsterdam
15S3 (Hirth)

Plate 244.

Plate 245.

Plate 246.

Plate 247.

Fig.
5.
413
Collection.
6.
/.
Brussels lace. Point de Bruxelles, "Drochel", foundation. From the Dutuit Oak cabinet, 16th century. In the Museum at Cluny (Ba Fable, 17 th century. In the Museum at Cluny (Bi
Plate 246.
(After
Fig.
1.
Ewerbeck and
Neutneister, Renaissance
in
Relgien und Holland.)
2. 3. 4.
Balcony from the Town Hall at Furnes, 17 th century. Wrought-iron door mountings, in the Hallei ["or Museum, Bin Wrought-iron fire-place ornament, in the Haller Tor Museum Stalls in the Stadtor of Dortreeht.
Plate 247.
(After
Fig.
1.
Ewerbeck and Neumeister,
Die
Renaissance
in

(L'art
Wooden
3,
table in the
Town
Hall at
Oudenarde
pour
tous).
2,
4.
6. 7.
8.
Glazed wall plates of Delft. Gold medallion ii.'art pour tous). Gold pendant ornament (L'art pour tousi.
and
5.
Delft plate
(L'art
pour
tous).
Fire-place ornament
(L'art
pour
to
Table from the Salvator Church
in
Brugge
(Ewerbeck)

Plate 248.
4'5
The Ornament
of the
Northern Renaissance.
the
Scandinavian
Lands
tl
ance
[6 tn century,
into
style
of art
<lid
not
properly prevalent
in mi
until Ihe
being introduced into

the
become Denmark
which
It
the
also,
Netherlands,
in
.1
and
Sweden from
to
n
ol
Hansa
Cities
were
n
>t,
like
manner,
in
subject
thi
Netherland influences.
did
however,
lliI
develop
.11I'
anj
countries into a character
style,
extends up
to the
year 16
in
the High Renaissance up to
1630, and the Late Renaissance, which

iven
consequence
oi
thi
by the
17211.
artisl
ched more
the Italian forms of
An,
1
.
iti
1650
to
The Renaissance
did
nol
'''
make
itself
felt
in
Book Ornament
(Dahlerupl.
to
until
cial
the beginning "I the
century.
Considering the lively commertin

b<
ii
intercourse with Holland which obtained at

gia
1
v to
understand that Norwi
Woodwork
knew
Architecture, besides
Swedish, German, and Danish influences, was also especially influenced by Holl
motifs which
tin-
motifs,
skilled
Norv
tin-
well
how
to
handle independently,
ntry.
and
to transform,
by grafting them on
ancient native forms peculiar to
Plate 248.
(After
Fig.
1.
Dr John
BOttiger,
Hedvig Eleonora
1 i
ngholm.
Door.
Ceiling in
and
4.
-
2.
3, 5.
drawing-room.
6.
7.
Frieze of Chamber of state. Fire place in the lower Retainer's Hall. Ceiling in the South Tower.
Pillar
from the upper Retainers
Hall.
Plate 249.
Fig.
1
to 7.
Norwegian wooden ornaments from the
17
ti>
century
(Dietrichson und
Munthe, Die Holzbaukunst Norwegens).
8.
9.
Bronze chandelier with console from the year 1668. Fire-place ornament from Noergaard, Denmark,
(Dahlerup,
from
the
year
Holm und
Stork. Tegninger af
.-eldre
nordisk Architektur).

Plate 249.
417
The Sclave Renaissance Ornament.
111.
Russia,
Italian
and also
into
Poland,
the
Renais
by
artists
who had been

already
of a
invited into both countries.
These
to
artists,
however, were unable to resist subordinating themselves

tal
the Orien-
influences
prevalent especially
in
Russia,
the result being
Hie development
ristics
native, national Style,
whose
principal characte-
were
the Imperial
Roof and
the
Ogee Arch.
The Woodwork
itat<
-^9
Baptismal Font in the Family Chapel of
the Firlej near the Parish Church in Bejsee, 1600
(Odrzywolsky.)
Architecture
perfection,
was
also
brought by the Renaissance to a high
to
which result Scandinavian and Lower Saxon influences
very probably also contributed.

In Polish Art,
where
local influences
were not so powerful,

far
the
evidences of
in
Italian
Renaissance influences are
more apparent than
Russia.
The Renaissance Ornament in Poland.
Plate 250.
(After
Fig.
I.
Slawomir Odrzywolsky, Die Renaissance

l6 tn century,
in
in
Polen.)
Golden reliquary,
the Treasury of
Cracow
in
Cathedral.
2.
Silver candle -stick
from the Sigismund Chapel
Cracow Cathedral,
In
dates from the year 1536.
3.
Marble pews in the King Stefan Bathory Chapel, Cracow Cathedral.

all
4.
probability the work Dutch-tile Stove in the Castle Of Podhoree. wuski Krzwada Family, very probably Danzig work.
of Santi Gucci.
Contains the arms
of
the Rze-
SPELTZ,
Styles of Ornament.
27

Plate 250.

Fig.
5,
4ig
The
all
and
6.
Turret crest over the Sigismund Chapel, Cracow Cathedral.

and the crown are cast
gilt.
in
angels
copper,
the cross and ball of wrought copper,
are richly
Window from
the Royal Castle in
Cracow
lOdrzywolsky).

Plate 251.

Plate 252.
/ s
4iWi
rips
^r )^) ks aflmM
/
mm &c^SIk
~i
(J I
422

The Renaissance Ornament in Russia.
Fig.
i,
and
2.
Plate 251. From a Croatian peasant-house
in
Progar near Semlin, Symrina
(Uhde, Die Konstruktionen und die Kun^tformen der Architektur).

3. 4-
Gable of a peasant's house
Window from
6,
in Fataroff, Russia (Uhde). the south side of the church at Tseherewkowo, Russia
th
(Sonslow, Ancienne Architecture Russe).

5,
and
IO.
Door WOOd-earvingS,
17
century (Sireitschikoff).
(Gagarin, Russische Ornamente).
to 9.
Stable from the NiCOlO
Moeky Church
Plate 252.
(After N. P. Sireitschikoff et D. K.TrenefT,
Fig.
i.
Ornements sur
les
monuments de
l'ancien art Russe.)
2,
4.
i<.
7.
8.
9.
10.
Chased ornament from a chandelier, 17 th century. Enamel ornaments, 17 th century, 3, and 5. Painting from a holy picture, end of 16'h century. Painting from a holy picture, painted by Simon Ouehanofl in 1683. Painting from a holy picture, painted by Ninite Pauloff in lb-7. Painting from a wooden sample, from the year 1492. Silver mounting from a holy picture, end of 16'h century. Wood-carving from a door, century.
1
t.
cl1
Mitre Of a Patriarch, 17 th century, in the Museum of the Kreml Shows marked Byzantine reminiscences (L'art pour tons).
in
Moscow.
i-;
in
Spain and Portugal.
pain,
accustomed
i
!>y
Moorish
Art
to
fan!
and
tions,
worked the new

the
cenl ury,
Motifs,
which
to
came
into
the
country from
i
France and
at
Italj
tit
mm-
'
>3
wards
tiie
the
end
'
'
Plateresqui
01
Goldsmith's Style
ap| eared
in
in
which form
It
the Early Renaissance

not
until
Spain.
after
was
the
time
built
of
Philipp II.
Charles V,
had
palace
by
Mallmea
in
in
the
Alhambra,
that a
Italian
pure Renaissance Style,
harmony with the

to
High Renaissance, came

magnificent structure
be established.
tl
The most
Escurial
(1
oi
563
i5Sif,
which
was
buill
hi
by Juan
Initial
by Juan de Yeiar
Baptista de Toledo and his pupils, and
Juan de Herrera.
Plate 253.
(After
1.
Monumentos de Espana.]
2.
3, 4,
Head of a nail from the door of the University of Corner-piece from the tomb of Cardinal Don Frey de Cisneiros in Aleala de Henares. and 9. Pilasters from the door of the University of Details of the facade of the University in 5, 6, and 8.
(Fig. 8
is
Salamanca. Francisco Ximenez Salamanca.

Aleala de Henares.
the ground plan to Fig.
4.1
Plate 254.
(After
Fig.
1.
Monumentos de
Espaiia.)
2.
Figure from the facade of the University in Aleala de Henares. Pillar finial in the Court of the Arehiepiseopal College, at present
Irish
the
3.
4. 5. 6.
Salamanca. Column-finial from the door of the vestibule of the ancient Hospitales Santa Cruz in Toledo. Gateway of a house in Palma, Majorca (Prentice). Pilaster capital from the gate of the University of Salamanca.
College, in
7.
Console"capital of the gallery in" the Arehiepiseopal Palace in~Aleala de Henares. Coat of arms from a house in Palma, Majorca iPrenticeh

Plate 253.

Plate 254.

Plate 255.
ptem*
DO
Q
sllllifly
DO
00
00
427
Plate 255.
and
5.
Details of the north facade of the Royal Alcazar in Toledo (Monuthe
mentos de EspaDa).
Order from the altar in the cloister of Poblet, said to be the work Spanish Sculptor Berruguette, a pupil ef Michael Angelos (Andrew Prentice, Renai
Architecturein
oi
Spain).
Plate 256.
(After
Fig.
1,
Andrew
and
8.
N. Prentice, Renaissance Architecture
Oi
ament
in
Sp:
4,
7,
Ceilings in carved
in Alcala
wood
in
the vestibule of the Arehiepis-
eopal Palace
:. 3.
de Henares.
Column of a wrought-iron grating

Pillar
5.
in the Cathedral of Cuenea. from the Stairshouse in the Cathedral of Burgos. Coronal of an iron trellis-work in the baptism-chapel of the Cathedral
6. 9.
of Toledo. Panel of a door in the palace of the Duke of Alba in Penaranda. Cornice of the Consistory in Palma, Majorca.
Plate 257.
(After
Andrew
N. Pientice,
Renaissance Architecture and Ornament

in Avila.
in
Spain.)
Pis
Inner gallery of Polentina House
Gateway from
Avila.
Iron railing from Cuenea. Frieze from the stone door of the Cathedral of Siguenza. Iron railing from the Cathedral of Siguenza.
Balcony from Palma, Majorca.
Plate 258.
Fig.
1.
Helmet from the Armeria

Secretaire,
ivory,
l6tli
in
Madrid
(fart pour tous).
2.
cen urv
t
In the
South-Kensington Museum. Transition period (Libonis).
3.
Folding chair from the Cathedral of Toledo.

io
l!l
Of black wood incrusted with

from the Collection
century (Raguenet).
4.
Embroidered Carpet,
of
end of
16*
century.
In Platersque style,
5. 6.
Domingo Guerrero y Polo in Baicel iMira Leroy). Reading-desk Of wrought Chased iron, end of
(fart pour tons).
century (Mira Leroy).
Pendant ornament
Plate 259.
Fig.
I
to
5.
Lettering from designs by Juan de YCiar,

in
Painter and Writing Master,

la
born 1525
Durango, Biscaya:
1
"Arte subtilissima por

(Hirth,
qual se esenna a escrivir
perfectamente, Saragossa,
55"
Formenschatz).

Plate 256.
HE RENAISSANCE ORNAMENT.
Plate 257.

Plate 258.
NIK R.ENAISSANI E ORNAMENT.

Plate 259.
i&lckAZ

Plate 260.

Plate 260.
(After Albert Haupt, Die
Fig.
i.
+33
Baukunst der Renaissance
in
Portugal.)
2,
and
Silver filigree cross from the Treasury in Belem. Balustrades from the Chapel of the new Cathedral in Cimbra. 4.
Window column
in
Tile wains-cottlng' in the
transept of the Cloister dos Jeronymos, Belem. Chapel of St. Roque, Lisbon.
Mosaic in a Chapel in Penha Verde near Cintra. Court-yard in the Benedictine Cloister in Porto. Wall tiles from the Church of St. Maria do monte
Cintra.
in
Penha Verde near
f-SSfe^,,
"
'
'
Application Embroidery,
(Dubont
ct
n.
,h
century
Auberville).
SPELTZ,
Styles of
Ornament
28
434
Ornament over the window
in
Winchester School
(Later Renaissance after Belcher and Macartiney.
in
England.
ts
soon as the Gothic became formly,

blished in England, people,
it
if
somewhat slowly,
esta-
grew
to
be so much beloved by the
become so much
it
part and parcel of their lives that

style
a change from
to
new
must have been associated

especially
with more than ordinary
difficulties,
amongst
people of such a conservative character.

ful
The
the
first
successof the
attempt
to
in
open the
England
way
in
to
the
introduction
Italian
Renaissance
Initial, 17 th century
(Gotsch.) of the Renaissance in England of the
was made by
and
his wife,
Pietro
Torrigonio with the erection
the year 15 19 of the beautiful
monument
of
to
Henry
in
II.
and that
to
Margaret
Richmond, both
Westminster Abbey.
The employment
was however
for a long time confined to the interior decoration

di
Abbey.
The
artists
Ronezzano, Giovanni da Majano, and Giovanni
Padua, also helped
in bringing the
new
style into England.
The real, characteristic English Renaissance did not begin to develop itself until the reign Queen Elisabeth (1558 1603) when it was known under the title of the Elizabethan Style, which was a transition style from the Tudor or Late Gothic to the Renaissance, similar to
of
the
transition in
France of the style of Francis
I.
from the Gothic to the French Renaissance.

in
The English
style
resembled the German and French Early Renaissance,
so
far
as
it
too,
similar to those, confined itself

ecclesiastical, while,
Italian
more
to profane buildings,
latter
castles and country houses, than to
on the other hand, the
were
of the very greatest importance to the
Renaissance.
still
Even although
it
the development of the Elizabethan Style

it
was much
the
influenced
by
to
Italian art,
itself.
cannot be denied that

Elizabeth
possesses a genuine, national character peculiar

artists
As Queen
brought German and Flemish

it
into
country for the
building
of the castles of the period,
is
clear that
German and Flemish
influences
had also

their effect
435
John Shute, contributed
upon the English Style.
Queen
Elizabeth's
own
architect,
much
on a
ture,
to
the development of the Elizabethan Style.
stile
1625), the Renaissance took Under the reign of Elizabeth's successor, James I. (1603 more classic form, owing to the more intimate and deeper study of classic architec-
to
the removal of
all
Gothic reminiscences, and
to
the labours of the architect John Farpe.

free
,
The English Renaissance was rendered completely

two
famous
of
in
of
all
Gothic elements by the

be considered as the
architects
Inigo Jones and Christopher
Wren
who may
founders
studied
the
Anglo -Classical
England
or
the
High Renaissance Style.
Inigo Jones
(1572
1652)
when
in
Italy,
especially in Vincenza,
after
under the personal supervision of Palladios, and

to
Italy
in
be returned to
introducing
a
in
second journey
the
architecture,
Sir
the
year 1612
he succeeded
in
complete change
and became the founder,
England of the
pure classical School after Palladio.
astronomy and mathematics

year 1666, designed a plan
in
Oxford, and,
for its
Wren (1632 1723) was professor of when London was almost destroyed by fire in the reconstruction. Which although it was not carried out bad,
Christopher
In
however, a most decided influence on the general work.

Paris, there is
consequence of his studies
in
more of French than

influence
in
is
Italian
influence in
in
Wren's work.
At
this
period, Vignola
to unite both
exercised
styles.
great
France,
and Palladio
England,
Wren
attempted
His principal work
St. Paul's Cathedral,
London, which,
in its aesthetics
very much
is
approaches the Barocco,

used, Later Renaissance.
or,
If
as
it
is
called in
England where the designation Barocco

in
not
wc
can speak of a Barocco Style
England
at all
then
Wren
must be looked upon as
its
founder.
Plate 261.
Fig.
1.
Glass painting in the Dining Hall of Gilling Castle, from

(Gotsch, Architecture of the Renaissance in England).
the year
1585
2.
Wooden ornament from

Jones).
the staircase in Aston Hall, Warwickshire (Owen

in
3.
Panel from the parlour ceiling

the
16 th century (Gotsch).
Canon Ashby,
Northamptonshire,
end of
4.
5.
6.
Wood relief from the Church in Pavenham, Bedfordshire Window from the Priory Chapel in Burford (Gotsch). Gatway Of Kenil Worth Castle, from the year 1571 (Gotsch).
(Owen
Jones).
Plate 262.
(After Gotsch, Architecture of the Renaissance in England.)
Fig.
i.
2.
Door of the Dining Room in Gay ton Manor House, Northamptonshire. Head of a pew from the Church at Leeds, erected in the years 631 1633. Ceiling decorations from the Manor House, South Wraxhall, Somerto 5.
1
setshire.
6. 7. 8.
Stairs in Clare College Cambridge, erected

and
10.
after the year
1635.
9.
II.
Balustrades from South Wraxhall. Fire-place in Bolsover Castle, Derbyshire, 17 th century. Gable Of Rushton Hall, Northamptonshire, from the year 1630. Garden gate in Stribbington Hall, Huntingdonshire, erected in
1623.
28*

Plate 261.

Plate 262.

Plate 263.
BS^fc^

Plate 263.
(After Gotsch, Architecture of the Renaissance in England.)
Fig.
i.
439
2.
3.
Panel from a carved pew in Leeds. Column of a gallery in St. John's Church, Leeds. Wood-carving from a fire-place in Burton Agnes Hall,
in
1
Yorkshire.
Erected
6 o.
I
4. 5.
Wood-carving from Ipswich,

Pillar
and
8.
1620.
Stairs pillars from Aston Hall, Warwickshire, 1630.
6.
7.
and baptismal font from the Church in Astbury. Balustrades from the Library in Merton College.
Plate 264.
Fig.
1
to 3.
Wooden
reliefs
from houses
in
4.
5.
Arcade of the terrace
in Ipswich (Gotsch). Bramshill House (Gotsch).
6. 7.
8.
Vault pillar in Bolsover Castle, Derbyshire (Gotschi. Wooden panelling over a fire-place in Hull, 1550 (The Door of the Library in Cambridge (Gotsch). Vault rosette in Bolsover Castle, Derbyshire (Gotschi.
Builder).
Plate 265.
(Gotsch, Architecture of the Renaissance in England.)
Fig.
Ceiling of the hall in Wollaton Hall, Nottinghamshire.

relief from South Wraxhall Manor-House, Wiltshire Balustrade from St. Chatarines Court House, Sommersetshire. Wooden relief from Mary's Church in Cambridge. Wood pannelling from the Church at Lanteglos. Wooden relief from the hall of Burton Agnes Hall, Yorkshire.
Wooden
Plate 266.
Fig.
1.
2, 3.
Fire-place in a house in Upper Swell (Gotsch). and 4. Wooden reliefs from the Church at Croseombe (Gotsch). Diaper of a column from Manor-Pew, Holeomb Rogus, Bradfteld, Devonshire (Gotsch).
5.
6.
Staircase baluster in Dorfold (Richardson, Old English Mansions). Gallery in the Chapel of Hatfield House, Herfordshire (Gotsch).
Plate 267.
Fig.
and
Glass paintings in Queen's College, Cambridge (Gotsch). Glass painting from the Library in Trinity Hall, Cambridge (Gotschi. Glass painting from the Dining Room in Gilling Castle, Yorkshire (Gotsch).
2.
Glass painting of the window in Gilling Castle, Yorkshire (Gotsch). Arms Of the Stuarts in St. James Pieadilly, Westminster (London Churches).

Plate 264.

Plate 26s.

Plate 266.

Plate 268.

Plate 268.
(After Bailey Scott
Fig.
i,
44
Murphy, English and Scottish Wrought Ironwork.)

in
and
I
3.
ll1
Balustrade of the King's Staircase

century.
Hampton-Court.
End of the
2.
Balustrade in Caroline Park House, Granton.

in
Erected by Viscount Tarbai
1865.
s.
4,
and
6,
5,
7.
Baluster in South Kensington Museum. 10. Details of the same. Balustrade of stairway in Caroline Park House, Granton.
9,
and
Plate 269.
(After Bailey Scott Murphy, English and Scottish
Fig.
1
Wrought Ironwork.)
3 4
Melksham, Wilis Console in South Kensington Museum. Table Console in South Kensington Museum.
House
bell in
,.
.,
holder in Mieklegate Hill House, York. of a house in Abbey Street, Carlisle. Sign-bourd from the "White Hunt" Sun in Gretton, Nordhants. Lantern holder in the "Withe Hant" Hotel in Salisbury.
Lamp
Doorway
Plate 270.
(After
Fig.
1.
II
Inigo
["riggs
and
Henry
Fanner jun
Some
Architectural
Works
of Inigo Joni
Base, capital, frieze, and cornice of the upper story in the Banquetting House, Whitehall. Built by Inigo .loins in 1619 1622.
2.
and
3.
4.
6.
window-framing in the same story. Base, capital, and cornice of the lower story. Window-frame, same story. Frieze of carved wood from fire-place in the Ambassadors Room,
5.
Details of
Knole Park, Kent.
Plate 271.
(After
H. Inigo Triggs and Henry Tanner
jun.,
Some
Architectural
Works
of Inigo Jones.)
Door-frame
3.
4.
in the hall of Wilton House. Fire-place in the hall of West-Wordhay House. Door pillar with niche in Coleshill. Wood carving from Chesterton Church, Oxfordshire. Door of a house in Aldersgate Street, since pulled down.
Plate 272.
Fig.
1.
Fire-place and mural decoration in the

(Inigo Triggs
Drawing-room of Forde Abbey.
and H. Tanner.)
(Inigo Triggs
3.
Gargoyle, Wilton House.
and H. Tanner.)

Plate 269.

Plate 270.
p^^^^^^^^^2

Plate
2-ji.

Plate 272.
U4V~Xm
^M**ZKl~ffM-S!.V k-TT^BT^.r-Â'.L-Af
V,i^:rCT-r.V-X j.v.^.^.^
^.^^^1^^;" - ^r-^^^
SPELTZ,
Styles of Ornament.
29

Plate 273.
THE RKXAISSAM E oRXAMEXl.

Fig.
3,
451
and
7.
Cap-stone and console

6.
in the
church of
St.
Catherine Cree Leadentli
hallstreet.
4, 5,
(George H. Birch, London Churches of the XVII
and XVIII th Centuries.)

(Inigo
1
and
Cornices of bases and postament in Wilton House,

)
and H. Tanner
Plate 273.
Fig.
1.
Door With balustrade from Coleshill House.

3,
ilnigo Triggs
and H. Tanner)
2,
and
5.
Cornices
to
fig.
4.
4.
6.
;.
The Spencer Monument in the church of St. Catherine Cree, Leadenhall Street, London. (George H. Birch.) Belvidere from Coleshill House. (Inij and H. I*anner.) Door from Raynham Hall. (Inigo Jones and II. Tanner.)
Plate 274.
(Nach Bailey Scott Murphy, English and Scottish
Wrought Ironworks.)
Wrought
iron gate, Traquair House, Scottland. Hook for hanging a chandelier. In the South Kensington Museum. Console in the entrance hall, Malmesbury. Termination of a railing of a house in Abbey Street, Carlisle. Railing from the tomb of Bishop Montague, Bath Abbey.
Plate 275.
Fig.
I.
Pulpit
from the Church
in
Ashby
Castle,
llnigo Triggs (Inigo Triggs
and Henry Tanner.) and Henry Tanner.)
2.
3.
4.
large hall in Kirby Hall. Stairs, Forde Abbey. (Inigo Triggs and Henry
Ceiling Of the
Blomfield,
Tai
Baptismal font in Christ's Church Newgate Street, London.
(Reginald
History of Renaissance Architecture

lis.
1.
in
England,
[500
Steps to pulpit
Plate 276.
Toft plate. From the Bateman Collection. (Jannicke.) Fulham pottery. (Stoneware.) From the Reynolds Collection. Drinking-beaker. From the Mayer Collection. (Jannicke.) Stoneware jug. In the Geological Museum, London.
(Jannicke.
Bed Of Oliver Cromwell, of carved Red Stoneware by Ehlers. South
oak.
(Bajot,
Encyclopedic du meuble.i
(Jannicke.)
Kensington Museum.
Plate 277.
Fig.
1.
2.
Sideboard from Wingfleld Manor. (Sanders, Carved Oak Woodwork.) Chair 17 ' h Century. (A. E. Chancellor, Examples of Old Furniture.)
Cradle, 17 th century.
(Chancellor.)
3.
29"

Plate 274.

Plate 275.

Plate 276.

Plate 278.
afHPl
^1^
* *"** ^1*
*Z^

Fig.
4.
45;
Chair from Hampton Court,

(Chancellor.)
17
th
century.
In
possession of the Queen Victoria.
5.
6.
Looking-glass in Elizabethan style
(Chancellor.)
From a sideboard.
Table and Stool,
17'
1 '
(Sanders.)
7.
century.
(Chancellor.)
Plate 278.
Fig.
1.
From damask covering of a chair

James
I.
in
Knowle, Kent.
From
tl
(Owen
Jones.)
4,
5, 6,
and
From damask serviettes, from the time of James I. (Owen Ji Application embroidery, from the time of James I. (Owen Jones.) Portrait of Jane Seymour, wife of Henry VIII.. by Holbein, in tin Gallerie
and
13. 11.
at
Vienna.
8.
(Hirth.)
tl
1
7,
and
Woollen stuffs from a tomb in Westminster. From

(Owen
Jones).
lueen
Elisabeth.
9,
,.
and
12.
n>.
Cloth
Serviettes from Burton Agnes, Yorkshire. (Owen Jones.) from an old house near Tottenham. From the time of Queen
lones.l
Elisabeth.
(Owen
Renaissance Chair.
iBajot.i
THE BAROCCO ORNAMENT.
raduallv as the Classic Style in consequence of the growing luxury and wealth became de-
generated, so also did the Renaissance. With the increase in wealth and luxury in the period
of the Renaissance
effect,
grew
also
the craze after

- -
after the extraordinary
the Barocco,
far
craze
which
finally
went so
that
the
sub-
German Barocco
Initial
constructive
parts were
absolutely
made
this
(Petzendorfer Schriftenatlas).
ordinate to
the decoration.
From
mania
for decoration in the Renaissance sprung- the Barocco, and from this latter, by still further continued increase in the
decoration
the Rococco. perhaps no style which has been so abused, being often There designated as the downfall of art, as the Barocco and Rococco. But, at the same time, it cannot be denied that the Barocco gave expression It is only since the beginning of the last to the feelings of the time. century that people have begun to pay to this style the attention which
is
it
deserves,
and to develop
it
in
accordance with modern ideas.
The
Secession, or the Jugend

not only
Style, attempted to displace the Barocco, but
was the attempt not successful, but it really appears as if the 18th jugend must give way before the Barocco and the style of the and igth century. There is no reason why the Barocco, when properly could studied, should not form the starting-point from which a new style
originate.
was the only country in which the Renaissance could originate and develop, so was it also the only country in which Michael Angelo and its degenerate offspring the Barocco could appear. Palladio must be regarded as the originators of the Barocco Style, although truly it was their pupils, who not understanding the ideas of their masters, developed the most adventurous forms, and looked upon
As
Classic Italy
the
fixed rules of the
Renaissance as
fetters.
Each followed
his
own

inspiration,
159
all
.
and
ignored
and
looked
.if
down upon
artist
systems,
just
tin-
same
ditions
as the
it
Jugend Style
artists
the present da\
Under such conbe able to create

to
is
evident that, while a talented
will
some
beautiful work, one withoul talent can produce nothing but bizarre
The whole tendency of the period was simply productions. something new and astonishing.
The designation Barocco became gradually
all
create
to be applied also to those forms of expression, which originating from the antique basis, by the free and varied treatment of the Ornament, gradually grew
developed into the most exaggerated lineaments.
At the same period as the Barocco of the School of Michel A.ngelo, appeared also the Classic of the Palladian School, which worked against the super-ornamental element in the Renaissance, and endeavoured to to go back once more to pure classic models. Both systems strove
against each other violently, but the classic earned the victory becoming the prevailing style towards the end oi the (8'l> century.
Fumigating Vessel of
in
gilt silver, in the
Museum
us)
of the Prado
Madrid
(L'art
pour

Plate 279.
''
.,Jll < |A|
l..|
.IU.. < .l l) . i ( |. B
l
''
fr"--'--U fr'
^-^t'l-^'ZW-.
vx;;',-'!'''-
'
t~
rrrrrrVTr-TTrrrrrrrriJ'r
yj<3.wtoyÂv/M ^w^jfc^k>~A
i
ikytotsaE
^ fr^^r*'*^;*':;^ r^-m-^y^
;
'l
ft
4'"
Later Renaissance
Ornament
in
England.
ater Renaissance"
is
the
title
given
all
in
England
in
to the
Baroceo.
The
classic
It
element
predominates above
others
the
English Baroceo.
is
a Palladian Classic equipped with a few Baroceo ornaments, introduced

into
England by Inigo Jones and developed later on by Christopher

1632
in
Wren
Baroceo
I
1723.
The
latter
is
really
the
founder of the Baroceo
Initial
Style
Engla
!l1
century.
(Belcher.)
Plate 279.
(After
John Belcher and Mervyn E. Macartiney, Later Renaissance Architecture

in
England.)
Capital and cornice from Bastards' House, Blandford. Stall from Trinity College Chapel, Cambridge. Capital and cornice from the "Red Lion House", Blandford.
Window crest from the Town Hall in Blandford. Gate pillar from a house in Chichester. Gutter spout from a house in Farnham, Surrey.
Plate 280.
(After John Belcher and
Mervyn
E. Macartiney, Later Renaissance Architecture

in
England.)
Fig.
1,.
3,
5. 6. 7.
8.
Doric Order from the Portal of Somerset House, London. and 4. Capital and cornice from Lincoln College, Oxford. Balustrade from a house in Bath. Cornice from Melton Constable, Norfolk. Doric Order from the North Front of Seaton Delaval, North Cumberland. Pillar capital from a house in Stamford, Lincolnshire. u. I". Pilaster capital and base from the Town Hall, Guildford.
and
2.
Plate 281.
Fig.
I.
Sundial from Bedfordshire.
(Belcher and Macartiney.)
2.
Rotary hexagonal reading-desk Cambridge. (Belcher.)
in the
Chapel at Pembroke College, in

Plate r8o.

Plate 281
i
1
FSw IL
"Z-.

Plate 282.

Fig.
46
35, and
6.
7.
Details
from Church pews

of the
in St. Paul's Cathedral, London. iGeorge

centuries.)
H. Birch,
London Churches
XVII lh and XVIII 'h

St.
Carved open -worked wooden panel from

(George H. Birch.)
Mary's Church,
London.
8. 9,
Organ
and
10.
in St.
Mary's Church, Woolnoth.
(George H. Birch.
View from below, and section of the Gallery of the Senate

in
House
Cambridge.
(Belcher and Macartiney.)
Plate 282.
(After
John Belcher and Mervyn E. Macartiney, Later

in
Rem
Architecture
England.)
1.
2.
3. 4.
5.
Iron-work gate, Fenton House, Hampstead. Staircase banisters from a house in Salisbury. Clock from the Town Hall in Guildford. Stairs banisters from a house in Great Queen Street, London. Fire-place from a house in Epsom, Surrey. Was built by Italians
Pergolesis School.
of the
(..
7.
Wood panelling in the Chapel of Farnham Castle, Surrey. Coat of arms over the entrance doorway to the same Chapel.
Plate 283.
(After Bailey Scott
Murphy, English and Scottish Wrought Ironworks.)
Stone vase from a door-pillar in Clare College, Cambridge. From a doorway in Trinity College, Oxford. Trellis-work from St. John's College, Cambridge. Trellis work from Clare College, Cambridge.
Plate 284.
Fig.
1.
Wall Cupboard
From
the year
1
in
the Hall of the Haberdasher's

(Chancellor.)
Company, Gresham
Street,
London.
668.
2.
3.
Mahagony
table, beginning of 18'h century.
(Chancellor.)
4.
China cabinet, middle of 18'h century. (Chancellor.) Cushioned chair. (Bajot.) Vase Of English porcelain, Chelsea. In the British Museum. Sofa from the middle of the 8 th century. (Chancellor.)
1
(Jannicke.)
Toilet table from the time of Queen Anne.
(Chancellor.)
Speltz,
Styles of Ornament.
30

Plate 283.

Plate 284.
30*

Plate 285.
OL_Z0ii

4 <>9
The Barocco
in Italy.
nder the circumstances which rule

is
in
is
such ca
clear
that
new
style
of art
always most
certain par-
intimately associated with the

ticular artists.
names of
Later
The founders
were
Italian
of the older School
of
the
Barocco
such
.is
Renaissance
artists
Giacomo
Fontuna,
dclla Porta (1541
[604),
'607)
(I
the
Brothers
Domenico
in
(1543
and Giovanni (154
IM P
new
1 1
Rome.
In Florence,
Bernardo Buontalcnti, called

[608)
delle Girandole
53^
to
developed
style
of art;
in
in
Milan
Francesco Maria Richini
00;
[638);
Bologna
deci-
Bartolomeo Provaglia.
The founders
1680;
of the
in
ded Barocco are Lorenzo Bernini, born

I599i
tl'ed
Naples
in
Rome
in
Francesco Borromini,
in
Coat of
Arms
in the
Church Sainte
I6 h century.
[
born
at
Bissone
1599, died
Rome
1667, and
Agnese
of Borromini-Rome,
Pietro daCortona, born inCortona in the year 159'',
died in
Rome
in
1000.
Plate 285.
Fig.
1.
Door
in
the entrance-hall of the Palazzo Corneo della Ca grande in

built
Venice,
by Vicenzo Scamozzi.
(Gurlitt,
Geschichte des Barockstils

in
in
Italien.)
2.
Corner pilaster-capital from the Palazzo Nonfinito

Briontotenti, designed
Florence,
built
by
by Scamozzi.
in
(Gurlitt.)
1
3.
Canopy over an altar
Rome,
8 >h century.
(Raguenet.)

Plate 286.
Effi\

Fig.
4.
47'
in Florence,
by
Balcony support from the portal of the Palazzo Fenzi

Raffacle Curradi, from the year
15S0.
(Hirth.)
5. 6.
Garden gate from Fraseati
near Rome.
(Raguenet.)
in
Window
(Raguenet.)
flnial
of a palace in Genoa
the
Via
Lonceliini,
17*
century.
7.
DOOr
pillar
from the Villa LodOVisi
near Rome, l8'h century.
(Raguenet.)
Plate 286.
(After Raguenet, Materiaux.)
Fig.
1.
2.
3.
Balcony and door-ftnial from the St. Domenieo Square in Nice, i8 th century Cartousche from the Palazzo Riccardi in Florence, built by Buontah the year 1565, but may have, however, been only restored. Stairs in the interior of the St. Martino Cloister in Naples, built by
1
Fansaga.
4.
Balustrade by Perron from

Bernini.
St.
Domenieo and Sixto

pour tous.)
in Brescia,
1
in
Rome,
built
i>\
5.
6.
Door-knocker
Fountain
in
in Florence.
(L'art
front of the
new Cathedral
century.
Plate 287.
Fig.
1.
Coat of arms from the Palazzo Davanzatti

Florence.
and
4.
in the
Via Ponta Rossa in

(Hirth.)
Marigno sculpture from the end of the 17 * century.
2,
3. 5,
Lace work in the Musee des Arts d6coratif, Paris. iL'art pour tous.) Faience Vase by Savona, from the Gasnault Collection, Paris. (I.'art pour tous.) and 6. Furniture from the Mansi Palace in Santo Pellegrino near Lucca.
iL'art
pour tous.)
Plate 288.
Fig.
1
Chair from the Cloister of

1
St.
Martino in Naples,
17
th
in
the
Museum
at Naples,
tli
century.
(Raguenet.
century.
in
2.
Hanging' lamp from Bologna,

form of a
(J.
Made of painted
iron-plate, in the
in
30 sided polygon.
At present
the Arts and Crafts
Museum
Berlin.
Lessing, Vorbilderhefte aus
dem
kgl.
Kunstgewerbemuseum.)
th centur}-.
3.
Hanging lamp,
the Arts and Crafts
beginning of the lS
Made
of gilt
iron.
At present
in
Museum
18 ln
in
Berlin.
(Lessing.)
4.
5.
Finial of a press in the
Museum
at
In
Parma,
possession
17 th century. of
(Raguenet)
Davia
in
State Carriage,
(Hirth.)
Century.
Senator
Bologna
0.
From a bronze mantel-piece

Bologna School.
At present
in
the
From Giovanni da figure, 16th century. Museo Nacionale in Florence. (Hirth

i

Plate 288.

Plate 289.
47
Plate 289.
(After L'art pour tou^
Fig.
i,
i
2,
3.
5.
t>.
and 4. Venetian lace collars, 17* century. Carpet with gold embroidery, 17th century. Embossed Genoese velvet, i?* century. Genoese work, silk on a gold ground, 17th
century.
Wheel of a State Carriage.

After Filippe Passarini, born
in
Rome, [638
(Hirth).

Plate 290.
477

st
\
in
France.
le
of Louis
XIV.
ndcr the influence of Lemercier, Pierre, Lcmuet, Ceveau and others,

a
new
style
began
based
to
develop
at
the beginning of the 17

in
th
cen-
tury
being
on the Palladian Classic as
England.
At
the bead of the
movement stood Francois Mansart, 150*
who was
an energetic
enemy
to
all
Barocco ideas, as can be
seen from his buildings, especially the Castle of Maison-sur-Seine,

the renovation of the Castle of Blois, and others.
sible
The
old sen-
School was however soon displaced by Poussin, Vouet,
and Charles Lebrun,

Initial Louis XIV. (Petzendorfer, Schriftenatlas.)
who were
influenced
by
Italian art
[616
to
1690.
most violent disagreement arose between the represenespecially in connection with the building
tatives of both styles,
of the
Classicists.
facade
of the
Louvre,
which ended
in
favour of
a
the
Francois
Blondel,
161 8
director
of the
Paris Building
Academy, gained
very
high
reputation at this period,
1680.
1
Jules Hardouin-Mansart;
645
1708,
succeeded by a clever combination of Classic and

Style
called
Barocco Forms
in
creating a
new
peculiar French
bv the French themselves the
Louis XIV. Style.
Plate 290.
(After Cesar Daly, Motifs Historiques d'architecture et de sculpture d'ornement.)
Fig.
1,
and and
2.
3,
5.
Balcony from the house No. 27 Rue Small consoles from Versailles.
in Paris.
finial
St.
Andre des
Arts, Paris.
4. 6. 7.
Mask from the Place Venddme
Window
from Versailles.
Console from Paris.
Plate 291.
(After Cesar Daly, Motifs Historiques d'architecture et de sculpture d'ornement.
Fig.
1.
Side door of the Church of
St.
2.
Door of the Hotel Beauvais, Rue de
Nicolas-du-Chardonnet, Paris. St. Antoine No. 62, Paris.

Plate 2oi

Plate 293.
Sf^^w SIP
.<<
a*
:-Y-
sip &*&-
Â^
-A.
'""
":
:
a >\
^% V* TW^^W*r&
Sfi

Fig.
3.
48
St.
Ornament between the door and dormer window Rue

No. 22, Paris.
Attic
Guillaume
4.
window from
the Marble Court^>f the Palace of Versailles.
Tafel 292.
Fig.
r,
2,
and
3.
Consoles
(Daly.)
from a hotel
in
the
Rue
St.
Louis en
l'ile.
No. 51,
Paris.
4.
War
1630
trophy
in
in
the Park at Versailles by Francois Girardon, bom 1127

'
or
Troyes, died 1715
n Paris.
(Hirth.l
5.
(>.
WrOUght-iron ornament, by Hugues Brisville, DOOr Of a Confessional from the Church of

(Raguenet.)
8.
Paris.
(Hirth.)
St. Nicolas -du-Chardonnet,
Paris.
7,
and
Vases from the Park at Versailles.

(Raguenet.)
Cast
in
Bronze by Claude Ballin
(1615 1678).
Plate 293.
Fig.
1.
Handle Of an vase, by Anton Coyzevox,

1640
to
born
iii
Spain, but
worked
in
Paris from
1720.
(Hirth.l
2.
3.
Acanthus in Baroeeo style. (Raguenet.) Mural decoration, after Johann Berain, born
in
at St. Mihil, Lorraine,

his
in
1639,
died
Paris on the 25'hjanuar

after
171
r.
Taken from
ornamental work.
(Hirth.)
4.
Ceiling decoration,
and Designer
in
a
)
copperplate by Daniel Marot,
16501712, Architect
Paris.
(Hirth
Plate 294.
Fig.
!.
Door-knocker from Bordeaux, Cours

(Raguenet
3,
de
l'lntendance
No. 10,
'8
th
century.
2,
and
5.
Ornaments for
rifle
mounting's,
after a copperplate
by Jean Berain.
copperplate by
(Hirth.)
(Hirth.l
4,
6,
and
7.
Locksmith's handiwork by Hugh Brisville,

Brisville
after
Jean Berain.
was
a locksmith in Paris about the year
1663.
Plate 295.
Fig.
.
i.
Mural decoration by Jean Berain.

Ceiling,
1624
after
2.
copperplate
by Nicolas
Loir,
Painter
and
Engraver
in
Paris,
1679.
Gilles Marie
3.
Design for a mural decoration by

of the Regency.
Oppenort.
From
the period
4.
Design for a mural decoration by
Daniel Marot.
Speltz.
Styles of Ornament.
3'

Plate 295.

Plate 296.
,/
WWW
485
Plate 296.
Fig.
1.
2.
Door-knocker. (L'art pour tous.) Reading-desk Of wrought-iron,

(Champeaux.)
from the Le Secq Collection of the Tournelle.
3.
Candelabrum Of
la
gilt
WOOd,
in
17 th
century.
From
the Collection of the
Duke de
Tremouille.
for
(Champeaux.)
a mantel -piece
4.
Console
From
chased,
for
gilt
bronze, from the period of the Regency.
the Collection of the
Museum
Decorative Art, Paris.
Champeaux.
5.
Sedan chair.
(Havard.
Plate 297.
Fig.
1.
Commode
(L'art
2.
after Jean Berain. (Hirth.) Bracket -candlestick from the Palace of Versailles,
pour
of
tous.)
probably after Berain.
3.
Press
(Bajot,
ebony with copper open-work.
Meuble de Boule from the
l8 tn
century.
Encyclopedic du Meuble.)
in
4.
Chair Of carved WOOd
the Collection Mobilier
national,
Paris.
(Champeaux,
Porteleuille des Arts decor. itits.)
Plate 298.
Fig.
1.
Portiere after Daniel Marot, Designer and Architect
in
Paris,
(6501712.
(Hirth.)
(Hirth.)
:. 3.
Canopy bed by the same artist. (Hirth.) Design of a Candelabrum by Gilles Maria Oppenort.
Table after Jean Berain. (Hirth.) and 0. Spinet with double keyboard,
[8 th century.
4.
5.
(Bajot.)
7.
Emblem by
Gilles
Maria Oppenort
from the
period of the Regency.
(Hirth.)
Plate 299.
Fig.
I.
2.
Beaten and Chased Silver tankard after Daniel Marot, from the year Faience jar from the apothecary of the Duke of Orleans,
I
1700. (Hirth
beginning of
S th century.
In the Gasnault Collection.
(Jannicke.)
3.
4.
5.
Faience dish from Moustiers. In the Gasnault Collection. (Jannicke.) Faience jug from Rouen. (Jannicke.) Dish Of beaten and Chased Silver, after a drawing in the Robert Colle Album
in
the Cabinet des Estampes, Paris.
(Havard.)
Plate 300.
Fig.
r.
Embossed
and
3.
velvet.
(Havard.)
after
2,
Stuff patterns
Daniel Marot.
(Hirth.)
(Hirth.
4.
Curtain
after Daniel Marot.

Plate 297.

Plate 298.
it
CSSEEB
cf

Plate 299.

Plate 300.
.fcvS
Û^^
49
Fig.
5.

Curtain with ornament stitched on. (Champeaux.) Carpet pattern, worked by Robert de Cotte for the Manufacture de la Savonnerie th century. The aquarelle is at present in the Cabinet des at the beginning of the
1
6.
Estampes
in
the National Library, Paris.
(Champeaux.)
Urn
in the
Park at
Versailles.
(Daly.)
491
in
Germany, Austria,
and Switzerland.
kne of the greatest enemies
to
the development of Art
is-
War. were
bestir
As soon
to
itsell
in
as the horrors of the Thirty Years
War
Style
a certain extent overcome. Art began again to
Germany.
The
Palladian
itself
Classic
in
which ruled
in
Holland established
North Ger-
many;
in
influenced
South Germany and on the Rhine, the BaroccoFrench Classic; and in Austria the Italian
Holland Classic was introduced into Germany
Barocco.
by Johann Arnold Nering
who
died
in
605,
with
his
Vase before the Bridge in Kuppenberg. (Ohmann.)

in
famous building the Berlin Armoury, whose architectonic

reputation
is
only excelled by the

Schluter, born
style
in in
work
in
of his successor
Andreas
Petersburg 1714,
is
Schliiter.
Hamburg
In
1004, died
the
real
founder of the Barocco
Berlin.
Dresden,
the
foundation of the Barocco
was laid by George Baehr, 1C66 Frauenkirche which was commenced in the year 172b, and
[662
in
738,
the church
known
as the
that of the
Rococco by Matthaus
Daniel Poppelmann,
56,
by
his
building
of the Zwinger.
same
city
was
built
Italian
Barocco Style by Gaetano Chiaveri
The
Italian
Barocco dominated Catholic South Germany,

1620,
Gaspare Luccali,
16S0, by
their pupil
The Court Church in the of Rome, 1689 1770. where it was introduced by
the Architect family
his building of the

in
Church
specially
called the Theatinerkirche in Munich.
The development
of Dientzenhofer,
of the Barocco
Austria
was
influenced by
and
Johann Bernhard Fischer from Erlach,

at
1650
1723.
Still
in
consequence of the powerful position held by France
the
period,
the influence of the French
Barocco became
felt
in
Austria also.
Plate 301.
Fig.
1.
Door-panelling from the Armoury

Gurlitt,
in Berlin, about the year 1700.
(Cornelius,
Das Barock- und Rokokoornament.l
2,
and
5.
Balustrades
)
from Arehiepiseopal Palace Mirabell
in
Salzburg.
(Ohmann, Barock

Plate 301.

Plate 302.

Plate 303.
INK BAKU! CO
Fig.
3.
OKNAMKM
in
495
story of the Imperial
Pilaster
and principal cornice

in
the second
Belvedere
4.
Vienna.
(Ohmann.)
Mask of a warrior from

1062
the
Berlin
Armoury.
By Andreas
Schlater,
1714.
(Hirth.
Plate 302.
(After
Fit:
Ohmann, Barock.)
Window from a dwelling-house
in Stein on the Danube. Gallery in the Court Library in Vienna. Window-flnial from the Wendian Seminary in Prague. Window and gate of a dwelling-house in Prague. Wrought-iron candelabrum from Elsgrab, Austria. Window from a house in Krems on the Danube.
Plate 303.
Fie.
1
Coronal grating
rich
in the
Serviten Church in Vienna.

17.
Dr. A.
llg
and
l>r.
Hein-
Kabdebo, Wiener Schmiedewerke des
und
18. Jahrhunderts.)]
Lock of the principal door in the Church of St. Charles Borromeo in Prague. (Ohmann.) Fan-light from the church of St. Clementine in Prague. (Ohmann.) Portal of the Guild-hall at Meise in Zurich. From the 18"' century. Oberhauslij Aufnahmen alter schweizerischer Kunstschmiedearbeiten Holdfast to No. 2. (Ohmann.
and
7.
LatCh key
to
Fig. 2.
(Ohmann.)
Plate 304.
Fig.
1.
2.
3.
from the Klosterneuburg Monastery on the Danube. (Ohmann.) Chandelier Of painted Wrought iron, 8 '^century. In the Arts and Crafts Museum in Berlin. (Lessing.) Reliquary from the Church in Heiligenkreuz, Lower Austria. (Ohmann.)
Hall clock
1
Plate 305.
(After Fr.
Ohmann, Barock.)
from the Imperial Belvedere
in
Gilt table
With black marble plate
Vienna.
Gilt table from the same place.
Chair from the Emperor's Room in the Klosterneuburg Monastery on the Danube. Tabourette, private property. Lock mounting of brass in the Imperial Court Library in Vienna. Fire screen from the Emperor's Room in the Klosterneuburg Monastery on the Danube.

Plate 304.

Plate 305.
SPELTZ,
Styles of Ornament.
32

Plate 306.
499
Plate 306.
Fig.
I
4,
and
6.
Goldsmith's
Work
after
Friedrich Jacob Morisson,
Drawer and Goldfor goldsmith's
smith in Vienna and Augsburg,
[693
1697.
Taken from his designs
work
5
(Hirth).
Can Of beaten gilt Silver, Mannlich, who died in 1718.

Sammlung
the
In
work
the
of the
Augsburg goldsmith Johann Heinrich

at
Imperial Palace
Laxenburg
il'r.
Albert
Ilg,
kunstindustrieller Gegenstande des Allerhochsten Kaiserhauses).
7.
Arrow
Cutler
in
hilt.
From
the
Nurnberg,
who
died
work "Neu invenrjose Degengefafi" by Geoig Heumann, in Ibgi (J. E. Wessely, Das Ornament und die Kunst".
industrie).
8,
and
10.
Goldsmith's work from "Neues Groteskenwerk
engraved by
I..
Beyer
(Wessely).
9.
Plant ornament by
the end of the
1
.1.
Honervogt, Drawer and Copper Engraver
who
the
lived
towards
7 '^ century (Wesselj

.1-
ii.
Door handle
(Wessely
I.
after
C. Reiff,
Copper Engraver
in
Nurnberg
in
iS'
'
century
12.
Goldsmith's
Hieronymus
v.
work
Bemoiel,
formed of an acanthus ornament,

Goldsmith towards the end of
I
called
<h
Grilli,
by Wolfgang
century (Wessely.)
Plate 307.
Fig.
I
.
Remonstrance,
Lahn
(Hirth).
end of
7 ,h
century.
In
the Cathedral Treasury in Limburg on the
2.
Wood
3.
relief of a door in the Rochus Church, Vienna (Ohmann). Church candlestick. In the Deanary Church in Klattau (Ohmann).
4.
Nautilus goblet, end

(Hirth).
of
I7
1 '1
century.
In
the
Grunen
Gewolbe
in
Dresden
5.
Carved mirror frame
in
the
Church
at
Glankirchen
in
Upper Austria.
Plate 308.
Fig.
I.
Embroidered vestment
(Dolmetsch).
in
the Collection of Vaterlandischer Altertumer, Stuttgart.
2.
Crafts
Pattern of material from end of the 17 th century. Museum in Kaiserslautern (Hirth.)

5.
In
the Pfaiz Arts and
3,
and
WrOUght-iron Candlesticks,
(Hirth).
In
from the years 1660
1680.
In the National
Museum, Nurnberg
4.
Watch.
the
Bavarian National Museum, Munich.
Nurnburg work from the
be-
ginning of the lS'h century (Hirth).

Tlate 307.
iJISlS

Plate 308.

Plate 309.
(uiusnic tumuli
<Xst \modum Revere
& gratiosus
CatficdvuUs
et^cjuestns
t-Jecanw electusJêrbwolen
fapi?u(cwis
miDuumzMvC
t
^c/csw (d/eniatceuihlauois /i&qtd amans auper

Ghm:jsT3
-<
nmiT wuin
aia.oli iîvi u. /-uinu ATATISSll&.LXXI.

1
viv
crnT^r-X/in
a
in
OBLIGATES '.COLLEGI U M ST R AU B > QVOD MAGNA EX PARTE FUN Tu Viator

I
HOCCMQ;
Defuncti nunibus, sterna" lalutLs in patria, precarc^
po
UK BAROCCO ORNAMENT.
503
Plate 309.
Fig.
1.
2. 3.
Baroceo initial after Lucas Kilian (1627) BarOCCO initial (Petzendorfer). From an etched Solnhofer Stone plate,
Beutel", Regensburg, from the year [718
(Petzendorfer).
in
the
"Getreidekasten
zum leeren
t
iWVimar).
[687.
In
4.
Chiselled bronze plate

the Cathedral at
by Franz Christoph von Rosenbach,

t 1691.
Wurzburg (Weimar).
In
5.
Etched Solnhofer Stone plate of Thomas von Pirnitz,

Church
at
the Jesuist
Straubing (Weimar.)
Lantern of beaten iron plate.

(L'art
pour
toils.)

Plate 310.
505
in
the Netherlands.
in
I>
the
~'h century
began
tlie
great Art
Epoch
called into exist.
Peter
Paul Rubens.
This
development favoured the

Netherlands.
introduction
of the Italian Barocco Style into the
Cardinal Granvella,
who
introduced
in
I
Italian
artists
into
Belgium,
was
most
active,
and
succeeded
structions,
erecting a
lie
most important series of architectural conerected also a number of most magnificent

[n
Jesuists
Initial
from the
buildings
in
the
Barocco Style.
Holland,
however,
where
root
rigid
Printing
J.
Works
of
theology
for
ruled,
there
was
a tendency to the clear classical articulation,
Covens and C. Mortier,
which
reason
the
Barocco
exponent
could
of the
never
take
firm
in
that
in
Amsterdam
country.
The
chief
decided
antique
direction
(Ysendyck).
Holland was Philip Vuyboons (1608-
1675).
Plate 310.
(After Ysendyck, Art dans les Pays-Bas.)
Fig.
I.
Border, from
the
year 1639,
engraved
by
Pieter de Jode
for
the
portrait
ol
the
Holland painter G. Flinck.
2.
Wall-paper
from a sample book of the factor)
in
Maliaes.
In the
Royal Antiquarian
1
1
Museum Brussels. to 5. Carriage in which

Amsterdam 1714.
the
Duke
of
Ossuna
sat
Extraordinary Ambassador from Philip V. of Spain.
when From
entering Utrecht
;,
as
an
engraving
by
Picart,
Plate 311.
(After Ysendyck, Art dans les Pays-Bas.)
Fig.
I.
Lace
from
the
in
lb* century.
Is
called
"Point de Buiche", and
is
made with
in
the
spindle alone
-.
one piece without any
relief.
Arm-chair
from
the book by Crispin van den Passe, printed in

title
Amsterdam
Antwerp.
the
year 1642 under the
of
"Boutique Menuserie" by M.
W.
Silvius,
J.
Chimney
drawer,
Crosphius.
piece.
in
From
the
born
Middelburg.
work "Cheminee hollandaises" by G. de Gaendel, From the year 1730, published by Martin Gottfried
4.
Wrought
iron door knocker.

Plate 311.
J S
.
..
'
.-;'..'
yp
Wj"
',..":V
;?
ftp
THE BAROCCO ORNAMKN
Plate 312.
.So8
Plate 312.
(After L'art pour tous.)
Fig.
i
to 3.
Sign of the old eabarette "A l'Etrille" in the Market Place at Brugge. From the 17* century. to s. Wall tiles of Delft from the eabarette "Le Diable au eorp" in Brussels. From the 17 th century.
flssfi
Faience goblet of Delft in the Collection Gasnault (Jaemeke).
THE ROCOCCO ORNAMENT.
Border by Charles Eisen
(Hirth)
ococco
Letter after Laurent
in
is
word used only
in
German Art
History.
(Hirth
The
7 th
hitter struggle
which reigned
strict style of
the
century between the free style
of Michael
Palladio,
Angelo and the
was continued
until
also in the
8th
century with great determination
and bitterness,
itself,
finally
the quarrel ended in the year 17 15 with the
style which began now to develop and which held sway until the year 1760, was called in France Louis XV. Style and in Germany the Rococco. Soon, however, after
victory of the Free Style.
The new
its
introduction a reaction took place.

in the
The
classic style
,
began again
but already
to
in
predominate
periwig pedantic style of Louis XVI.
1780 was gradually forced to give place to the strict, new Classic Style, called later on the Empire Style. Towards the beginning of the 19th century,
Art
limited
itself
to
copying Greek Art.
The
reaction
of the
Barocco against the Classicism of the
Academy
in
developed, under the
Regency, 1715
1672
1723,
a transition style,
took a leading part: Jean Berain
and A. Leblond 1679 not unimportant influence.
1742,
1719-
1638
which the following artists 171 1, Gilles Marie Oppenort

Chinese art exercised also a

Plate 313.
Style developed the real Rococco 1720 1755, remarked, by the French the Louis XV. Style. In called, has been this style the Ornament is separated entirely from the construction, the
this
From
as
Regency
Ornament alone
art.
being-
worked out
into
a style,
used generally only for interior architecture, decorative
The Rococco
under
strict
dissolves the lines in free
which reason it is art, and industrial curves not bound with each
for
is
other,
avoidance of symmetry.
either Baroci
During- this Style Period, outward architecture

Classistic.
The Rococco
held sway
in
France
in interior
decoration for about
It was never employed, except in very few exceptions, in 35 years. either Italy, England, or the Netherlands, and remained longest in use
in
Germany up towards
the end of the

it
iSti>
century.
In
England
le
it
was
used by Chippendale where
was
called the
Ch
Style.
Rococco Forms.
Plate 313.
Fig.
1.
After Thomas Chippendale

hunderts, Bruno Hessling).
(Vorbilder der Kunsttischlerei im Stile des
8. Jalir-
i4. 5.
6.
7.
After After After After After After
Meissonier
(Raguenet).
Moudon iKaguenet). Thomas Johnson tVorbiider). Habermann (Vorbilder).

F. de Cuvillies (Raguenet). Josef Klauber, Augsburg (Raguenetl. a clock in the Art Industrial Museum in Milan
8.
From
(Raguenet).

Plate 314.

Plate
$15-
S3 wfP #* fP ife
4-
SPELTZ.
Styles of Ornament.
33

Plate 316.

(Louis
in
France
XV.
Style).
Plate 314.
Fig.
I.
Console from
and
3.
the house
2,
From
Rue Casette No. \6, 1'aris (Daly). the Fontaine de l'Abbaye, Rue Childebert,
in
Paris.
View and
Nancy
vertical section (Daly).

4.
Coronal
(Ragnenet).
vase
Yic-s.-Seille
(Lorraine).
Originates very
probably from
5.
Gateway
of the Porcelain Factory
in
Sevres (Daly).
Plate 315.
(After
Fig.
1.
Champcaux,
Portefeuille des arts decoratifs.)
Clock With COnSOl, made

Esquire, Paris.
of chased and gilt copper,
belongs to A. M. Seligmann,
2.
Bracket candlestick
Nationale, Paris.
from a drawing by Rend Michel Slootz
in
the Bibliotheque
3.
Regulator in case with chased bronze, done by

hamel.
In
the Art Cabinet
Maker Du-
the Collection of the Conservatoire National des arts et metiers, Paris.
4.
Chimney-piece plate Of east iron.

at
After
an aquarelle
in
Louis Fordrins Style
beginning of the 18 th century.

gilt Silver.
1
5.
Candelabrum Of Chased and

is,
In
the
Winter Palace,
St.
Petersburg,
however, French work from the
th
century.
Plate 316.
Fig.
I.
SciSSOrS,
after Meissonier.
2.
Candelabrum
work from
in the
Grand Ducal Palace

1740.
in
Karlsruhe,
is,
however, French
the beginning ot the year
Drawing by A.
Stuchi.
3.
4.
j.
Vase, Medici shape, with crown-piece (L'Art pour tousl. Head Of a Stick in Chased metal, after Meissonier. Silver table Centre-piece, after Meissonier.
Plate 317.
Fig.
1.
Bellied-Shape Chest Of drawers,

du Meuble).
with rosewood marquetry (Bajot, Encyclopedic
2.
Cane chair
(Bajoti.
33*

Plate 317.
A,.
^^%^f
l*Ss
1S3

Fig.
3.
.Si;
4.
Key, after Francois dc Cuvillies p. re, [658 [768 (Hirth). Project for an ambassador's carriage by Vaneroe,
an aquarelle
in
sculptor
in
Paris.
From
the Bibliotheque Rationale, Paris iChampeaux).
Plate 318.
Fig.
1.
Leaf from an ornament book by Juste Aurele Meissonier, bom

in
in
Turin
1695, died at Paris
1750
(Hirth).
2. 3.
Mural decoration (Hirth). Design for a throne for Louis XV.

in
From an
aquarelle
the Bibliotheque National e, Paris (Champeaux).

illirth).
4. 5.
From a
gold frame by Meissonier Console Of carved, gilt wood, Irom
the
!'
Plate 319.
Fig.
1,
2,
and
7.
Samples of embroidery from aquarelles by

I
Charles Germain
de
St.
Aubin,
b.
72
17.S0.
In
the Bibliotheque de l'lnstitut National IChampeaux).

a
3,
5,
and
Letters by Laurent from

chiffres a l'usage
copybook bySchenau: "[.'alphabet de 1'amour,

Paris
170(1
1
ou recueil de
i
des amants et dcs artistes".
Hirth).
Monogramme with ducal
coronet, ascribed
to
St.
Aubin
ux).
Plate 320.
(After
Fig.
1.
Champeaux,
Portefeuille
atifs.)
2.
3. 4.
Back Of SOfa, after an aquarelle by Francois Peyrotte. In the Lambrequin, after an aquarelle by St. Aubin. Arm-chair Of gilt WOOd with Berlinwool work by Beauvais. Chair covering Of embroidered Silk, from the end of the reign
1'
lection.
of Louis
XV.
Plate 321.
(After Roger-Miles,
Fig.
1,
Comment
discerner les styles.)
4, 3,
5, 7,
and
8,
b.
2,
and
q.
Embroidery for men's garments. Ornaments.

gilt
10.
11,
Sleigh of carved,
and
12.
wood.
in
Spoon and fork by Thomas Germain Goldworker
Paris.
Plate 322.
Fig.
1.
Interior after Meissonier (Vorbilder
fur
Kunsttischlerei).

Plate 318.
Hft
'
./
Wr*
U /& ^K
t,W 4
fcv^r*

Plate %20.

Plate 321.
mggk

Plate 322.
5^3

The Rococco Ornament made very
still
in Italy.
in
little
progress
Italy,
as
at
that
time Classicism
held very powerful sway.
Plate 323.
Fm
i.
Holy-water vessel with silver frame
in bas-relief,
ntury iRagumeti.
2.
3.
4.
Console Of gilt WOOd iL'art pour tous). Bracket Candlestick Of gilt bronze, 18* century. In the Arts and Crafts Museum in Milan (RagueneD. Processional crucifix in the church of Pieve di Budrio, 18* century (Hirth).
'
Ink-stand of
gilt
bronze
(L'art
pour tousi.

Plate 323.
;:
1111
TU4
-mm
.'
*\
*-
*_,-=*-- ,?^-j_u
.*:
*-*<-
'^ jfc_ i^t,\,. ^ffir"W
lt
.i^^'Kyki-
"ii
^lii
m%
l*-
fife
JL
5^5
The Rococco Ornament in Germany and Austria.

From
not,
the
year
1725
onwards the Rococco held sway
in
South
Germany with more

in
strongly marked peculiarities than in France, being more fantastic and more varied
form but
however,
so elegant as the French Rococco.
The
first
architects of this style were:
Johann
Balthazar
Neumann (16871753), and Francois

South Germany.
In
Cuvillier,
formerly Artillery captain,
(l'\
1-251
in
Berlin Geors
Wenzel von Knobel

1 1
6071753),
architect
of Frederick the Great, and Carl von Gontard
',
8< '2
I.
Plate 324.
The Royal (Utile
(After Carl
in
Dresden.
in
Schmidt and Schildbach, dcr Konigliche /.winger
Dresden.)
This structure
completion of the
is
was begun by
front in
Daniel Mathaus
to
Poppelmann
for
in
the year
1711, but upon
south
the
1722, had
be postponed
period, et
want of
funds.
This
buil
without doubt
it
most
original of the
find.
Rococco
evinces a creative
fancy
equal
would be
difficult to
Fig.
1.
Corner cartousche
2. 3. 4.
in the south front of the Wall Pavilion. decoration on the soekle of the Wall Pavilion. Pillar Figure supports from the Arch Gallery. Acanthus spray on the Wall Pavilion.
Plate 325.
After P. Halm,
Fig.
Ornament und Motive des Rokokostiles.)

at
I.
City
and
3.
arms on the RathOUSe

Details
Bamberg
St.
by Meister Bonaventura Mutschell, 1750.
2,
from the pulpit of
Michaels Church in Bamberg, from

from
the year 1754.
Garden figure from the Cardinal's Palace of Seehof near Bamberg,

the year
173".
i6.
Coat of arms from an epitaph in Bamberg, from the year 1770. Cast-iron coronal of a gate in the Castle of Wurzburg.
Plate 326.
Fig.
1.
2.
3.
Arm-chair German work (Champeaux). Carved mirror frame (Champeaux).
Frame
for fire screen (Champeaux).

Plate 324.

Plate 325.

Plate
7.2b.

Fig.
4.
529
,h
Wood-Carving
Collection.
in
Shell-WOrk form,
middle of lS
century.
In
Georg Hirths
the
5.
BOX
year
after Joh.
1
Leonard Wiist, Copper Engraver and Goldsmith
in
Augsburg
in
730 (Wessely).
Plate 327.
Interior after
Habermann
(Hefiling,
Vorlagen
fur
Kunsttischlerei)
Plate 328.
Fig.
1.
Pulpit in the ehureh at

and
in 3.
Naumburg
1
(Raguenetl.
2,
Shoe-buckle
in
after Jeremi.cs
Wachsmuth, Painter and Copper-Engraver, born
Augsburg
b.
1712, died
I77'
(Wessely).
I,
and
5.
Dagger hilts by Handle Of a key after

1750 (Wessely).
the
same (Wessely).
in
Gottfried Forschter, Master Smith
Brunn about the
7
8.
StOVe from the Rosette from a
Castle of Bruchsal after Albert Stucki (Hirth).

ceiling in the Castle of Bruchsal after Albert Stucki (Hirth).
Plate 329.
Fig.
I
to
6. 8.
Meissener porcelain (Dresden China! (Champeaux). 5, and 7. Meissener (Dresden) Vase from J. Double's Collection (Jannicke). Meissener plate from the year 1730 (Havard).
Plate 330.
(After Dr. Albert
Fig.
1
Ilg,
Sammlung
kunstindustrieller Gegenstande des AllerhSchsten Kaiserhauses.)
to
5.
Articles
belonging to the Empress Maria Theresa.

in
These consisted
born
originally
of 53 articles
beaten gold
for
the toilet and breakfast table and were
manufactured by the sculptor and goldworker Anton Mathias Joseph Domanek,

in
Vienna on the 21st April

7.
0,
and
March 1779. Gold boxes, presented by the Empress Maria Theresa to Duke Charles of
I
/1
3,
died in Vienna on the 7
th
Lorraine.
After
having
been
in
the
possession of Prince Kaunitz and later on of
various private people these boxes were bought for the
Crown Treasury by
Francis
II.
They
are the
work
of the Court Jeweller Franz Mack, born in Tyrol 173. died 1805,
the portraits are from the artist Antonio Bencini,

8.
who became
Court Painter
in
1753.
Grotesque figures, appear

Melchior Dinglinger, died 1731.
to
work of the Dresden Goldsmith The bodies and legs are made of large pearls.
have been
the
1
9.
Sugar-tOngS,
after Martin
Engelbrecht, Copper Engraver, died
756 (Wessely).
SPELTZ.
Styles of Ornament.
34

Plate 327.

Plate 328.
V'
mm
ft
75
^
**&?>
_JT
VS
959? W
34

Plate 329.

Plate
330.

Plate 331.

Plate 331.
(Peasant Rococco
Fig.
i.
535
in
Upper Bavaria.)
Auilegor,
Window
in
Durehholzen near Walchsee otto

with
glass
Bauernhauser aus
Oberbayernt.
2.
Top Of a Chest Of drawers

dates from the year
cupboard from the
Aiblinger
District,
1705
(Zell,
Bauernni
in
3.
Side of a chest of
drawers
Rottach near Tegernsee
iFranz Zell, Baucrn-
mobel aus dem Bayrischen Hochlandi.

4.
5.
Press from the Graflnger District, from the year 1770 (Zell). Chest from Rinning near Ebersberg, from the year 1750 (Zcili.
German Lady's Shoe
iHefener-Aitenecki.

Plate 33:
537

(
in
.
England
Italy
hippendale Style
In
the
iS
1 '1
century
Art
in
England stood more under the influence of

in
than of
France and consequently the Rococco Style could not take any hold
dale
the country.
Chippen-
and others endeavoured to introduce
it,
but their efforts

i
were
unavailing,
as Classicism
had taken too firm root and could not be depo
Plate 332.
F.g.
Secretaire
in
South Kensington Museum (Chancellor).

etc.).
Bed
after
Chippendale (Thomas Arthur Strange, English Furniture, Decoration

in
Chair by Chippendale
South Kensington Museum (Chancellor).
Lantern after Chippendale (Strange). Chair after Chippendale in South Kensington Museum
(Chancellor).
Plate 333.
(After
Fig.
i.
Thomas Arthur
Strange, English Furniture, Decoration,
Woodwork, and
Allied arts
Clothes press.
Mouldings for furniture

Secretaire.
4.
5.
after Chippendale.
Furniture mounting-. Lock mounting.

and
7,
1
o,
8,
1:,
and
i.i.
Glass doors.
and
1.
Stands.
9.
Pedestal.
10.
Mantle-piece mirror.
Mirror after Chippendale
(Strange'.

Plate 333.
THE COLONIAL STYLE ORNAMENT IN THE UNITED STATES OF AMERICA.

It
is
evident that the Art

in
must be
minates in
oJ a new country like the United States most intimate connection with the style of Art which predothe original country of the artist. This is the reason winall
Styles of almost
America.
After a time, however,
the European States were originally represented in all these different styles became united
int..
with one another forming themselves
the
so-called Colonial Style.
The
buildings erected
what to example of the symmetrical construction of this epoch being Craigie House, Cambridge, which dates from the year 1775. Churches and Meeting Houses were constructed after the examples of Sir Christopher Wren. The best country houses were those found in Virginia and Maryland, while in Florida and California, on the other hand, the Spanish
Renaissance style predominated.
America from 1725 to 1775 correspond somethe Queen Anne or King George Styles in England, a tvpical
in
From the Declaration of Independence onwards the Style in Ann a became of a more monumental description but, after the fall of Napoleon, all the various historical styles in fashion in Europe were also
t
included.
Notwithstanding the European

the artistic creations of the
reminiscences which they contain,

traits
18 th century in the
undoubtedly certain characteristic national
United States possess of their own.
THE COLONIAL STYLE ORNAMENT.

Plate 334.

Plate 334.
(After Goforth and
Fig.
54
MacAulay, Details of American Colonial Style.
Mantle piece from L'psal Mansion in Germantovvn. Door of a cupboard. Medaillon from principal cornice of a gateway in Philadelphia. Mantle piece from Wisterhouse in Germantown. Baluster from Fisher Mansion in Germantown. Mantle piece ol wrought iron from Hamilton Mansion,
and
8.
Portals from
to
Philadelphia.
s
.
Base
column
in
fit;.
Plate 335.
(After Goforth and
Fig.
i.
Mac Aulay.
Details of
American Colonial Style J
Railing post.
1
2,
and
3.
Mantle pieces from Philadelphia. 5. Door head-piece in Main Corridor of Independence

I
Hall in Philadelphia,
from the
year
.).
729.
Vase
and
8.
from the same Hall,
b.
7, Q.
From a
portal
in
Philadelphia.
in
Details Of a table
the Independence Hall in Philadelphia.
Main Corridor
of Independence Hall in Philadelphia, from the year
17:0.
Plate 336.
Fig.
I
Chest Of drawers (Alvan Croker Nye, Colonial Furniture). Secretaire (A. Croker Nye). Hall Clock from Hudson (A. Croker Nye). Arm-chair from Brewton House in Charleston (A. Crane and Old Chiffonier (W. R. Ware, The Georgian Period). Chair from the rooms of the American Society in Worcester Oak Chest (W. R. Ware, The Georgian Period).
E. E. Soderholtz).
(A.
Croker Nye).
Plate 337.
Fig.
I,
and
2.
Windows
of Entrance Hall
in
Arnold Mansion, Mount Pleasant
(Goforth,.
and Mac Aulay).

3,
4, 5, 8.
9.
10.
11.
HeppelWhite Chair (Croker Nye). 6. Chaiselongue (Croke Nye). and 7. Backs Of Chairs (Croker Nye). Sofa (Croker Nye). Door from Arnold Mansion, Mount Pleasant, 70 (Goforth and MacAulay). Chair from the rooms of the Connecticut Historical Society, Hartford (Croker Chair from Brewton House, Charleston (Crane and Soderholtz).
and
1 1
Nye).

Plate 335.

Plate 336.

Plate 337.

Plate 338.
SPELTZ.
Styles of Ornament.
35

Plate 339.
HALL OR.NKE
f
JHeapired by
Cteu.de Fayette
br&pdon. 9Z
547
Plate 338.
(After
Edward A. Crane and

in
E. E. Soderboltz,
Examples of Colonial Architecture
South Carolina and Georgia.

:
Fig.
i. 2.
Mantle piece in Corn House in Charleston, from the year Iron gate from S. Michael's Churchyard in Charleston.
Ceiling
in
3.
Gordon House, Savannah, Georgia,

in
built
in
180O.
in
4.
Stairs banisters from Brewton House
Charleston, built
Plate 339.
(After William Rotch Ware, The Georgian Period.)
Mantles from
the Pincre House, Salem, Mass.
DOOP
(Goforth and
Mac
Aulay.)
35*
Title
Frame
to:
Ornati presi da
graffiti
e pitture antichi essistenti in Firenze

(Hirth).
789,
by Carlo Lasinio, drawer and copper-engraver from Trevigi
THE SEMICLASSICAl. ORNAMENT.

plete victory over the
S)l)
Rococco.
Even
in
the
"fifties"
of the
8th
century
work of substituting classic Quiet and Simplicity for the flourishes and unsymmetry of the Rococco had already begun. The development of this style influenced not only architecture but also industrial art which blossomed into new beauty under its influeni e.
the
As
the reign of Louis
the principal period of this second Renaissance took place during XVI, the new style was therefore called in France
the Louis
XVI
Style.
This Style was however destroyed during the French Revolution as was everything else which reminded one of the monarchy. he
I
French people, however, with their inborn love of art could not live without it even under the disastrous political conditions of the time.
Their general enthusiasm
them,
in
order to create
antiquity even of a
ing the Louis
XV
Greek and Roman Republics induced new Renaissance, to have recourse to classic still remoter period than that employed m developand Louis XVI Styles. The "Style Messidor" was
for the
a
therefore developed
under the Directory being known
later
on
under
the Emperor's as the "Empire Styli
Both the Louis XVI. and the Empire Style were quickly copied esGermany, influencing in England and Italy the Classic Style which then predominated in these two countries.
pecially in
Empire Style which stirred it into existence were now lacking, and a new, extremely prosaic, and unpretentious style, called in Germany the Biedermaier Style, which also possessed classical reminiscences, was
also the disappearance of the as the impulses
The Restoration marked
formed.
This
new
style stood in the
must marked contrast to the free con-
figuration characteristic of the Rococco, the Biedermaier being as poor

as the Rococco was rich in form, in order, however, to be able to procure forms possessing some kind of vitality recourse was had to the
That is to say. in the 'forties" of the last century be had from Hellenic art. A strong and powerful strain of the Romantic, however, made itself felt and Gothic and Roman forms were again rescuscitated. In the "seventies" a reaction in favour
old historic styles.
aid
was obliged
to
of the Renaissance took place, and, for the sake of completeness, the
Barocco, Rococco,
into existence.
and Empire Styles were

all
Tired, however, of
a
once more these varying changes

also
brought
in styles
and
imitations,
general
desire
to
create
new
characteristic style
became evident towards the

to their
close of the last century.
As happened
at
the downfall of the Renaissance, in this case also artists gave the reins
naturally
fancy and tried to create a new style by force, a method which causes numerous weeds to spring up amongst the wheat,
55Q
THE SEMICLASSICAL ORNAMENT.

its
which endanger
present the
growth and
finally lead to its destruction.

little
Up
to the
Modern
Style has produced very
worthy
of attention
in architectural work, and even in industrial art, imitations of historic styles are again in fashion. This simply means that a new style cannot
be established or produced by the will of a few thousand artists, who, in the hunt for something new, something which has never been there before, produce very often nothing but caricatures and grotesques instead of something really beautiful. A Style is the expression of the character of a people, the political, religious, and social condition of a country,
and must develop
itself
from these.
It is
therefore very likely that, in
order to correspond with the technical building conditions of the present time, the next characteristic style in Architecture will be the Iron Style.
Fan
Made
in the
at
Museum
Carnovalet, Paris.
(L'art
the death of Mirabeau
pour tous)
THE LOUIS XVI ORNAMENT.

Plate 340.

Plate 341.
553
The Louis XVI Ornament

The
principal supporters
in
France.
in
and patrons of
this style,
amongst others, were Constant d'Yvri,

flourished
and Jacques
Germain
Suffiot.
The
furniture-making art
specially
unexpected
manner under
this style, as
did also the Goldsmith's art and porcelain manufacture.
Plate 340.
(After Cesar Daly, Motifs historiques d'architecture et de sculpture
Fig.
i,
1
and
3. 4. 5.
Keystone of a portal in Paris. Console of a window seat in Paris.

2.
Console
and
6.
in
the
Rue Boucher, Pans.
Finial
in
from the Palais Royal,

Rue Vendome.
Paris.
Paris;
on the facade towards the garden.
7.
Console
the
Plate 341.
(After Cesar
Fig.
1.
Daly, Motifs historiqu.

the
2. 3.
From the door From the door From the door

Side door
in
of an hotel
ol
in
Rue des Francs-Bourgeois No

Paris.
10,
Pans.
an hotel, Rue de Varenne No. 89, Paris.
of a house, Route de Chatillon No. 17,

Paris.
4. 5.
the Hotel des Monnaies,
DOOr Crest
from Paris.
Plate 342.
lAfter Cesar
Fig.
1
Daly, Moins historiques.)

in
Mantle piece
from a country house

of an
Blanquefort, Gironde.
2.
Drawing-rOOm decoration
hotel in the
Rue
St. Charles,
Bordeaux.
Plate 343.
Fig.
Balcony Balcony Grating

Goblet
from the Rue Royale, Versailles (Daly 1. from Paris (Daly). from Palais de Justice, Paris (Daly).
after a
copper engraving by Lalonde, drawer and decorateur

the
in
Paris iHirth).
Handle Of Stick by
(Hirth).
same
(Hirthi.
Candlestick by Jean Francois
Forty, brass-founder and chaser
in Paris,
1775
1790
Plate 344.
Fig.
I
Sofa of painted wood covered with embroidered silk (Bajotl. Small table from Acajou, with chased, gilt, copper mountings
Secretaire (Havard). Tripod of gilt bronze (Havardi. Plan Of a drawing-room decoration, made
an aquarelle by Rousseau de
la Rottiere.
(Bajot).
for
in
the Marquis de Sillery
after
At present
the South Kensington
Museum
(Champeaux).
Design for a Chased door lock, by Lalonde,

(Hirthi.
Paris
painter
and
decorator

Plate 342.

Plate 34-

Plate 344.
557
Plate 345.
Fig.
I.
Fire Screen Of
embroidered
Silk
in
a frame
made of carved and

carved wood.
gilt
wood
(Bajotl.
2.
3.
Console of gilt wood (Bajot). Salon decoration of the Hotel

Ledoux iChampeaux).
d'Halhvill,
in
Drawn by
Architect
4. 5.
Hanging lamp
Chair, showing
(L'art
pour tous).
transition to the
Empire Style
(L'art
pour
tous).
6. 7.
Chased door bolt after Lalonde (Hirthi. Mantle piece, top of bronze (Champeaux).
Plate 346.
1
After Schoy, Art Louis XVI.)
I,
and
4,
3,
5,
0,
8.
Stand and table after Jean Francois de NeufTorge. 1(3. Doors after Antoine Joseph Rouvo. and 12. Arm-chair and sofa after Bouche Le Jeune. and 7. Furniture feet after NeuuWge. Mirror frame after P. Ranson.
2.
9,
and
II.
Candelabrum
after Neuflbrge.
Plate 347.
Fig.
1.
2. 3,
5, 7,
silk in the Museum des Arts decoratifs (Champeaux). Driving saddle Of leather with gilt bronze ornaments (Hirth). and 4. Knife handle and lid of box after Lalonde (Hirth). and Dress of embroidered silk (Champeaux).
t).
Lambrequin of embroidered
and
8.
Ornaments
fils,
from the work "Nouveau recueil de parures et joaillerie". Paris
1704, by Poujet
drawer, copper engraver and goldsmith
in
Paris.
M
Monogramme
in preeiOUS Stones,
&*
WM
a
J
after Pierre
Ranson (Schoy).

Plate 345.
THE LOUIS XVI OKNAMENT.

Plate 346.

Plate 347.
'
C%S -3
l?k..
ridk
if ml A
SSgiglî
561

The Rococco
style never took firm root in
Italy,
in Italy.
the tendency in that country being to

art.
develop the Barocco
moderately and simply with

Italian
help of Classic
Amongst those
artists
who worked
to
direct
art
in
the
direction
of the Classical, Piranensi, Simonetti,
and
Piermarini were specially distinguished.
Plate 348.
Mural decoration
in
from
the
work
"Diverse
maniere d'adornare
cammini" by Giovanni
in
Battista I'iranesi,
architect,
drawer, and copper engraver,
born
Rome 17T.
died
Rome
i~^<).
Plate 349.
Fig.
I.
Table
in
after
Guiseppe Soli, architect and painter, born 1745
in
Vignola,
Stile
died 1822
Modena.
From
the
work "Ornamentale EntwQrfe
(Or
Mobel im
Louis' XVI."
iHirth).
2.
3. 4. 5.
Panel from a Ceiling after Giocondo Albertolli (Schoy, L'art de Bracket Candlestick after Giocondo Albertolli (Schoy). Mural decoration With Console after Piranesi (Hirth).
Chest Of drawers
after Soli (Hirth).
l'epoque Louis XVI.J
Plate 350.
(Designs by Giocondo Albertolli after Schoy, L'art de l'epoque Louis XVI.)
Fig.
I.
Celling
in
the palace of Prince Belgioso d'Este in Milan.
Corner ornament from

Candlestick. Interior decoration.
the
same
ceiling.
Decoration of a ceiling.
SPELTZ.
Styles of Ornament.
36

Plate 348.
,w,.-B
mMMMfSmi

Plate .no.
3b*

Plate 350.
56;
in the
Netherlands.
Plate 351.
(Precious-stone designs by L. van drr Cruycen, after Schoy, L'art Louis XVI.
Fig.
1.
2, 3, 4,
5,
and
for corsage. Brooches. Necklace. and 6. Ear-rings.

7.
8.
Ornament
and
Diadems.
The
About
the year
Zopfstil
Ornament
/
in
Germany.
to
ouis
in
7.
1771
this
the
Rococco
style
Germany had
due
to
give
way
before
tin-
awakened Classicism,
result
being very
architect
probably
ol
Italian
in
and French influences.

is
To
Carl von Gothard,
17381802,
the
New
Palace
Potsdam,
due
special
credit for the spread of Classicism in
Gem
Plate 352.
(After Moritz Heider,
Fig.
Louis
XVI und
Corner of a dwelling-house
in
Freising,
Vienna.
Arcade
Vase Door
in the Gloriette
the same.
in
Sehonbrunn.
Panel from
from Schonbrunn Park.

of a house in the Freundgassc, Vienna.
Plate 353.
(After Moritz Heider, Louis
XVI und Empire.

Vienna, Rossau.
In
Fig
I,
2,
and
3.
Pulpit
in
in
the
Lichtenthal Church
painted,
partly
gilted

wood.
Palace Schwarzenberg, Vienna.
4.
56. 7-
Lantern Lantern Lantern

Stove
in
from the Wieden Freihaus, Schleifmuhlengasse, Vienna.

in
the upper Augarten Strasse, Vienna.
the Primatal Palace, Pressburg, of clay, partly gilded.

Plate 351.
THE ZOPFSTIL ORNAMENT.

TT-r
Plate 352.

Plate 353.

Plate 354.
Fig.
I.
5t>9
Mantle piece
und Empirestil).
in
the Castle at
Mannheim (Luthmer, Innenraume

wood,
etc.
itn
Louis XVI.
2.
Bracket Candlestick
Steiermark (Heider).
of carved
painted green from the Rein Monastery in
36.
Balcony and window grating
in
Vienna (Heider).
Clock
(Heider).

Plate 354.
THE CLASSISTIC ORNAMENT.

Plate 355.
lYinnnnrrrinrrrrrj'rTrrrrnrrcrrjrrrrrprrrprrrrrrrrrrrrrrrrrrrrrrrrrrrr. -"
)>,V
*&&W&&tt^'V*i^'1^&fr#^^
BJJJJJJjjjjjjjjjjjjjjjn
an:
r
'!'.
>/.--'.
:..:..
.',
;',
rxfijtx.t^mw.
'h
K
m m
Fl
11
n
-U_UA_\
,
'ÂAA^J
0.^'A'AM,'XA,'A)f
^ÂICXMIA^W
i^ÔOjO
"r'rf:.'K' r.""-frfrf'ff'ffrtrfrr'r r ffrrjfrrrrfffrffrrfLiffrf
1
'
r'
lf
LJULJLnJlJlJLflJlAAJIXnJlJUlXOJ
^^ finrrr fit* ^ @
;
*^:^^^*'a+a*mUjiu^
&m*WAWAVMmWA&

Plate 356.
V
"t
unnunnnnnununnnnnrii
in.
n
1
ilU. 1
L;
jj^WJ>)HWVA.^j VuVWn^H^>A^^^^M
ll
IflHrsi

Plate 357.
'
r fffiJnfr''-Ta&Lljm^nE
y Wit v v > v v u* v
MTJJJ
WMMJT
./.>
>
yyyyw t
t*
'AV7 W>-A^-
LTL^JULfl/JlA/LfLfLrLfLJ

Plate 35 8.
EmmafflCTro
jM^^MMM
5 y^
The
In
Classistic
Ornament
in
England.
was
accordance with the conservative character of the English people, the Palladio Style,
artists,
which was worked out and developed by several renowned

into
strongly adheied to up
the
io,' 1 '
century.
Just as the Rococco Style
from France was unable to make headway,
so also the Louis
founders
of the
XVI and Empire Styles could new Classistic Style were the
the
not take firm root in England.

architect
The
1
principal
Robert Adams, 1728
792, and his

itself.
brother James.
In
lo'h century, however, the
New
Gothic began already to develop
After designs from nark done by R.
and
J.
Adams.
Plate 355.
(Doric Older after Robert Adams.)
Fig.
I,
and
3.
2. Entrance hall to Door panelling in same.
Shelburne House
in
Berkley Square.
4-
Soekle cornice from same.
Plate 356.
(Jonic
Order
alter
Robert Adams.)
Fig.
I,
and
2.
Facade
of Shelburne House, Berkley Square.

Villa in
3.
Pillar from the facade of Lord Mansfield's
Kentwood.
Plate 357.
(Jonic Order
Fig.
1.
after
Robert Adams.)
hall
-.
SOCkle Of the attica over the columns of the entrance residence of the Duke of Northumberland, Co. Middlesex. Column and entablature of the same. j and 6.
and
5.
of Sion House, country
4,
Door border
of the same.
Plate 358.
Fig.
1
3,
5,
and
6.
Details from the large portel of Sion House.

seat of the Earl of Bute.
4.
Frieze from Luton House, country
Plate 359.
Fig.
1.
Capital from
st
story of the staircase
in
Luton House.
2.
Corinthian Order by Robert Adams.

Plate 360.
ESS
ilfi
SPELTZ.
Styles of Ornament.
37

Plate 361.
M~
mstmmimwmmm'MmymmmmKfi
e?v>a
^3
'J
^s\cv^_\!.\t.\> si

Plate 362
Il^^^^^S
sew K
1
>:i*i'xwiwivju;a
ra y'
A-iB. A-iUa.-W-W..
37*

Plate 363.

Plate 364.

Plate
3(35.

Plate 360.
(After
Fig.
I.
583
The Decoratu
Works
of Robert and
James Adams.)
2,
4,
Border Of the bas-reliefs in the hall ot Sion House. DeCOPatiOn Of the attie Window in the Entrance Hall, Sion House. 3, 8, and 9. and 7. Composite Order in the dining-room of the house of Sir Williams Wynn,
Baronet, St. James Square.
5.
(>.
Vase on
the porter's lodge, Sion House. of the large niche in the hall of Sion House.
Decoration Of the SOCkle
Plate 361.
(Aftei
The Decorative
Works
of Robert and James Adams.
Fig.
I,
and
3.
4,
Designs of a British Order for Carleton House. Relief vase from the Cast), ol Shi nwood. and ;. Mantle piece from the Sion 11. use.
2.
Plate 362.
(After
Fig.
The Decorative Works
of Robert and
Janus Adams.
1,
and
3,
4.
Trophies
5.
from the entrance-hall, Sion House.
2,
and
Border
on the window of the entrance-hall, Sion House.
Plate 363.
(After
Fig.

in
of Robert and
St.
James Adams
I.
2,
Drawing Of a mantle piece and 3. Organ in the house of Sir
James Palace.
~s
Watkins Williams Wynn, Baronet, St James'
Plate 364.
(After
of Robert and
James Adams.)
Fig
I.
Ceiling
Ceiling
St.
of the entrance-hall in Sion of the
House.
Baronet,
2.
dining-room of the house of Sir Watkins Williams Wynn,
James Square.
Sir
3. 4.
Ceiling
St.
in Sion House. Ceiling of the music-room of the house of
Watkins Williams Wynn, Baronet,
James Square.
Plate 365.
(After
Fig.
of Robert
and James Adams.)
I.
2.
3.
Design Design Design
for a key. for a table centre-piece.
for an English coat of arms.

Plate 360.

Plate 307.

Plate 368.

Plate 366.
(After
Fig.
1
587
of Robert and
James Adams
in
1.
Ceiling Of a room, called the "Japanned Room" by Adams.
Queen's House, from a design
2.
Bridge Over an
arm
Of the
Built
Thames
in
the Park of Sion House,
seat of the
Duke of Northumberland.
by Robert Adams.
Plate 367.
(After
Fig.
i .
of Robert and
James Adams.)
King.
Sedan Chair,
from a design by Adams, prepared
for the
2.
Console with mirror.
3. 4.
Lambrequin. Mantle piece
of
yellow copper and of
steel,
in
the Library of Luton.
1764.
Plate 368.
Fig.
1.
2.
3.
Tripod with vase and candlestick (Adams). Mirror for dining-room (Adams.) Door knocker from the house of Sir Watkin Williams Wynn
Square (Adams).
and
5.
Baronet, St. James
4.
Sugar bowl and Coffee-pot
from the year 1770 (Champeaux).
Plate 369.
Fig.
I
,
and
2.
Piano
in
wood
of various colours,
made
in
London
for the
Empress of Russia
lAdams).
Drawing
Decoration).
for a panel by Adams
IT.
A. Strange,
English Furniture
Woodwork
45.
Portiere (Adams). Plate Of a Chest
of
drawers
in
the palace of the Countess of
Derby (Adamsi.
Furniture made after designs by Thomas Sheraton.
Plate 370.
Fig.
i. 2.
Writing table
Fire-screen
(Hessling).
Toilette table iHessling).

(Hessling).
3-

Plate 3O9.

Plate 370.

Plate 371.

Fig.
45. 6.
7.
S)
Inlaid table plate
[Hessling).
Acanthus
(Strange).
Arm Chair (Hessling). Chaise longue (Hessling).
Plate 371.
(After
Fig.
1.
Bruno Hessling,
Englisclie Kunslmobel.
Panel.
Details of furniture.
9.
25.
6. 7. 8.
and
Portiere holders. Principal cornice in wood. Frieze in bas relief.
Furniture made alter designs by
I.
HeppU
Plate 372.
(After
Fig.
1.
Bruno Hessling, Englische KunstmObel.)
Canopy bed.
Secretaire with book press. Chair back. Coronal vase. 459, 1117. Cornices for furniture. 10. Glazing.
2. 3.
Work prepared from various Plate 373.

Fig.
I.
designs.
2. 3.
4. 5. 7-
painting after Pergolesi (Strange). Mantle piece after G. Richardson (Strange). and b. Panels after Pergolesi (Strange). Mantle piece with mirror, after William Thomas
Ceiling'
(Hessling).
Emblem
after Pergolesi (Strange).
Ceiling painting
after G.
Richardson (Strange).

Plate 372.

Plate 373.
SPELTZ,
Styles of Ornament.
38

Plate 374.
595
Plate 374.
(After Bailey Scott
Fig.
I.
Murphy, English and Scottish Wrought Ironwork.

in
Wrought-iron gate
style
WOOden frame,
Queen's College, Oxford, on
which
in
the year I7S0 the Renaissance architectural
was
carried out under the control of
work with wood work covering in Italian Sir James Burrough. The gate, however,
the
appears to be somewhat older.

2.
Fan-light Of a gate Hawksmoor.
in
All
Soul's College, Oxford,
work
of Architect
English
IS'*
entury Keramic.
Plate 375.
(After
Fig.
Examples of Early English Pottery by John
Eliot
Hodgkin and Edith Hodgkin.)
I.
Dish.
Dish,
Cock
ol
Pit Hill from the year
.1
Black enamel with bronze-coloured flow
2.
the
same
origin.
Brown
glazing with yellow decorations, from the year
3.
4.
5.
6,
8. 0.
Pot With handles, Sgraffito from the year 1764 Can, Sgraffito from the year 1770. Pot With handles from Jackfield, 1760, with gold ornamentations. and 7. Dishes. Delft porcelain, made in England, from the years
DiSh, Staffordshire
Dish, Lambeth
delft,
174(1 ad
71
from the year
[718.
delft,
from the year 174:.
Design for a bracket candlestick after
Adams
iStrange).
?8*

Plate 375.
THE EMPIRE ORNAMENT
597
Frieze in mural painting-
(Percier et Fontaine).
The Empire Ornament

In
in
France.
political
the
"eighties"
ol
the
iS lh century,
in
consequence of the
revolutions of the
time,
the style of Louis
XVI was
which
forced to give
in
its
way
hefore the prosaic, heavy,
new
classicism,
called the Messidor Style,
Style.
The
realistic
ornament of the
even
in
was followed later on by the more elegant Empire Rococco Style was obliged to give place for pure classic
turn
architectural forms,
the very smallest utensils,

In furniture,
and acanthus,
festoons,
una:
bunds came again
into fashion.
in
the ornamentation prevalent, besides intarsia-work,
consisted of mountings
metal.
Work made
after designs by C. Percier
and
P. F. L. Fon/i,
Plate 376.
(After Percier et Fontaine, Recueil de
Decorations interieures avec des supplements
par Joseph Borsato.)

Fig
i.
Capital and principal cornice.
2.
Under-surfaee of cornice.
Base.
4.
Wall
detail.
Details from the cabinet of King Joseph of Spain,
designs by Percier and Fontaine,
and mounted
in
Arranjuez.
made in Paris after The Wall panelling, is
trom Acajou, and has plant ornamentions.
THE EMPIRE ORNAMENT.

Plate 376.
sammigBg garogga a a a am b a a jgg

Plate 377.

Plate 378.
fcoi
Plate 377.
Fig.
I.
Ceiling painting
in
the studio of the painter C.
J.,
Paris.
Plate 378.
Fig.
I.
2.
Pillar from the Museum Of VenUS in the Museum Napoleon in Tribune from the hall of the Mareehaux in the Tuilericn,
the Louvre, Paris.

Paris.
Plate 379.
lig.
i.
2,
Mantle piece in the Flower and 3. Mural painting.
hall
of the
Museum Napoleon
in
the Louvre, Paris.
4.
Book press, made
in
Paris for
Amsterdam.
Plate 380.
Fig.
1.
2.
3.
4.
Branched candlestick, Paris. SOUP dish, made in Paris. Candelabrum, made in Paris. Bed of Madame de R, Paris.
Plate 381.
Fig.
1 .
Throne
for
Napoleon
I.
in
the Tuileries.
Plate 382.
Fig.
r.
Secretaire, made
and
3.
in
Paris.
in
2,
Table, made
in in
Paris for Petersburg.

in
45.
Table, made
Chair, made
Paris for Count S.
Petersburg
Paris for Petersburg.
Plate 383.
Fig.
I o, S 13.
de
7. la
Furniture mountings (Reeueil des Dessins d'ornements d'architecture Manufacture de Joseph Bennot a Sarrebourg et Paris).
(L'art
14-
Furniture mounting (L'art pour tous). Upper part of a chest of drawers
pour
tous).

Plate 379.
^^^Wr^
'I
HE EMPIRE ORNAMENT.
Plate 380.

Plate 381.

Plate
i82.
a I tj '\llHhK 4<^^^HP!]
"*^wm
A-i{.\agij-j -J3>ap> J j ^V>"g?C'j>y^-;.-.y----.-.>
-.;-.
5!î3K
f,
rT"
Qm
fa
_iil
iia

Plate 383.
THE EMPIRE ORNAMI
607
Plate 384
Fig.
1,
2.
3. 4.
Furniture mountings (Bennot). 8, 11 13. Mirror after a drawing by P. P. Prudhon, in the Industrial Art Museum. Stand (Beauvaletl. Sevres Vase in Grand Trianon, alter a photograph. u. 7. Cradle of the Duke of Bordeaux. Of silver (L'art pour tousi. u. IO. Chairs from the period of the Directory (L'art pour tous).
5,
Berlin.
Bureau made
in Paris (Percier et Fontaine).

Plate 384.
THE EMPIRE ORNAM1.N
609
The Empire Ornament

As
downfall
Italy
ol
in Italy.
reigned
FranCi
after the
"i
al
involved
,
in
the
political
disorder which
Italy
in
Louis
to
it
XVI
it
is
not suprising to find that art in

Italy
followed also the direction

into
pointed
out
from
Paris.
retained
this
classicism
up even
the
"thirties"
for
its
principal representative being
Giuseppe Borsato,
whose
creations,
however, remain
behind
those of Percier and Fontaine.
Plate 385.
Fig.
I,
and
5.
Sofa and arm-chair

for
in
in
Directory Style by Giuseppe Soli (Hirtlu.
2. 3.
4.
TabOUret Tabouret
the Milan Cathedral,
by Giocondo AlbertoIIi (Schoy).
Directory Style, by AlbertoIIi (Hirth),

in
Perfuming- pan
Directory Style, by AlbertoIIi.
Milan
1790
(Hirth).
Work done
after designs by Giuseppe Borsato.
(After Peicier et Fontaine, Reeueii de Decorations interieures avec des supplements
par Joseph Borsato
Plate 386.
Fig.
1.
Mural decoration
1
in
the Imperial Palace

in
in
Venice.
2.
Ceiling' painting , done
the year
1817
for
Count Aibriggi
in
Venice.
3.
Mantle piece
in
the Royal Imperial Palace in Venice.
SPELTZ,
Styles of Ornament.
39

Plate 385.
WPllilJi
1'HSr *^
^js^fif|S'B?=S^-

Plate 38b.
3q*

Plate 387.
11
ii
11
11
11
11
11
11
11
11
111
11
11
11
11
mi nun
11
11
11
111:
11
1;
11
11
11
11
11
11
11
11
11
11
1:
1:
nii
11
i;n
1;
inrrm
&13
Plate 387.
Fig.
I.
Mural decoration
year [834.
in
reception
room
of the
Royal Palace
in
Venice, from
the
Silver chandelier in the church of
S.
Giorgio de Greci, Venice
(Percier et Fontaine).

Plate 388.
615
The Empire Ornament

In
in
when
Germany.
the imitation of everything French
the "eighlies" of the
Mh
century,
time
grew were
Style.
to be a passion
amongst the Germans, the German Rococco and Louis XVI styles which
French had
to
imitations
of the
give
way
to
the imitations of
political
tiie
new French Empire

at
This
change was furthermore favoured by the
conditions which ruled
the
period.
Plate 388.
(After Moritz Heider,
Fig.
1.
Louis XVI. und Empire.)
Parquet
in
Schwarzenberg Palace, Vienna.
3. 4.
Stove niche in the same palace. StOVe from the Monastery of Rein in Steiermark. Ceiling decoration im Modena Palace, 1.-rrengasse,
1
Vienna.
Plate 389.
Fig.
I.
Sofa
4,
in
the collection of
Duke Karl Theodor
of
Bavaria
in
Munich (Luthmer, Burger-
liche Mobel).
2,
and 0. Chaise longue, tabouret and small table from the chambers of Grand Duchess Adelgunde, Duchess of Modena, Munich (Luthmer).
/.
the
'
3, 5.
and
Bed and press
in
possession of the art dealer
Hugo Helbing, Munich (Luthmer).

17
Piano, mahogany with gold bronze, made by M.
Seiffert in Vienna,
Plate 390.
Fig.
1.
Mirror Console
Mobel
I.
in
the
Bavarian National Museum,
Munich (Luthmer, Biirgerliche
2.
Side Of a SOfa
Toilette
in
the Royal Residence in Stuttgart (Luthmer).

-
3-
looking
in
glass
from
the
collection
of
Duke Karl Theodor
of Bavaria
(Luthmer, Biirgerliche Mobel).
4.
Mantle piece
the Bavarian National
museum, Munich (Luthmer,
Biirgerliche Mobel.)
Plate 389.
1'HK
EMPIRE ORNAMENT.

Plate 391.
THE EMPIRE ORNAMENT
6l 9
Plate 391.
Fig.
[.
Branched bracket candlestick of

Bronze vase
(Luthmer).
gilt
bronze
in
(Heider).
2.
3.
Toilette lOOking-glass with bronze frame (Heideri.

with
the
Dance of the Hours,
the
Royal Residence
in
Stuttgart
4j,
and
Branched candlestick of gilt bronze iHeider) 6. Balcony railings in Wn-kenburger Gassc,
Vienna (Heider).
Window
(Zell,
of the Husar Inn in Garmiseh,
Upper Bavaria
Bauernhauser im baverischen Hochland).
THE ORNAMENT OF THE RESTORATION.

Plate 392.
02
The Ornament
At the Restoration everything
course suppressed.
of the Restoration in France.

inclined to call
up any recollections of the Empire v

therefore
The Egyptian, Etruscan and Roman-Doric elements were

Attic
given
of
up
for imitati'ins of the
architecture
of
the
j'
'
Century before Christ.
revival
Classicism took place, until finally recourse
was had
to
the Gothic and other historical styles.
Plate 392.
(After Thiollet et H.
Fig.
i
Roux, Nouveau Recueil do Menuiserie.)

Savoie,
I'.iris.
Door
of the house No. 5,
Rue de
3 4
Interior Of a Shop, Boulevard Montmartre Advertisement stand in Pans
11,
Paris.
Facade Of the Shop, Rue
St.
Honore No. 34b,
Paris.
Pillar flnial Of the Shop, Rue Neuve des
IVtits
Champs No. in;
Paris.
Plate 393.
Fig.
1
Night table, from the year l820 (P.ajotl. Screen from Acajou, with gilt mountings (Bajol
Arm-chair
from the year [820
Console with mirror. 1820 (Bajot). Chair. [830 (Bajot). Key-hole ornament (L'art pour tous).
Pillar from the Cale Gaulois,
Rue Poissoniere No.
46, Paris (Thiollet et H. Roux).
Keyhole plate
(L'art
pour
tousi.

Plate 393.
THE BIEDERMEIER STYLE ORNAMENT.
623
The Biedermeier Style Ornament

Plate 394.
Fig.
1.
in
Germany.
Bed
rat
of Hungarian oak, from the year
[83O (Joseph Folnesics, Innenraume und Haus-
der Empire- und Biedermeierzeit). from Vienna,
2. 3.
Arm-chair
1830
Folnesics).
4.
56.
7-
Chair from Vienna, [820 (Folnesics). Table from the Castle of Obernzenn in Unterfranken iLuthmer, aus dem ersten Drittel des 9. Jahrhunderts). Sofa in possession of Baron von Poll] erg (Luthmer). Sewing-table from Vienna, 1820 (Folnesics). Sewing-table, globe shaped, after a Vienna school drawing from
1
Bilrgerliche
Mobel
the year
1S20.
Silk Stuff.
After the original
in
the Industrial
Museum,
Berlin.

Plate 394.
THE HELLENIC ORNAMENT.
625
Plate 395.
Fig.
2. Samples Of Cotton. After the originals in the Industrial Art Museum in Cupboard from '/nterammergau, 1820 (Zelll. 47- Sample of material for furniture covering. After the original
I,
and
Berlin.
3.
in
the
Industrial Art
Museum,
Berlin.
The Hellenic Ornament

n the period following the
in
in
Germany.
Wars
of
Germany, and made new use of Grecian

at
German Independence, Art made fresh progress art. With the Hellenic, developed
this
latter
also
the
same time the Romantic,

In
being a onesided, pedantic
interpretation of Gothic examples.

larly
Berlin the following artists
were
particu-
active for
the
Hellenic Style: K. Eriedrich Schinkel,
1781
1841,
and
K. P. Langhans,
1781
1869;
and
in
Munich Leo von Klenze, 1794 1864.
Plate 396.
(After Karl Friedrich Schinkel.
Sammlung architektonischer Entwurfe.)
From
Fig.
1.
the Ancient
Museum
in Berlin.
Wooden
ceiling in the Sculpture Hall.
Principal cornice of one of the upper corners.

Capital of column from the Sculpture Hall.
Base Of Column On the portico (Jonic after the Erechtheion). Fig. 5. Pillar capital from Sculpture Hall. 6. Cast-iron balustrade of the gallery in the Rotunda. Candlestick after Schinkel
(Vorbilder).
Plate 397.
(After Karl Friedrich Schinkel,
Fig.
1.
Sammlung architektonischer Entwurfe.)
Window
of the General Building School in Berlin.
1.
Door of the same.
Plate 398.
Fig.
I,
2,
6,
and
7.
New Grecian
Chairs and SOfa
(L.
Lohde,
Sammlung von Mubel-
entwurfen,
3.
erfunden von Karl Friedrich Schinkel).
4.
Marble vase after Schinkel (Vorbilder fur New Grecian Vase after Moses (Vorbilder
fehl
Fabrikanten und Handwerker).

fur
Fabrikanten und Handwerker, auf Be-
des Ministers fur Handel, Gewerbe und Bauwesen, 1821).
SPELTZ,
Styles ofQrnament.
40

Plate 395.

Plate 396.
^MSiMMMMMHSMS^MSMsMssmi^
Vi-*> \-\'.^'-''< '-'AW 'S-yr \lSr'jf\

,
<iuiiLUiuJjijaiJJxiiLuiiîiua^
m%Y
,mTHT=-TT^
air,
.-
rr 7
fHP%
m
ic in ,i
1
a
jgjuoaocuq
nr
in -hi
it.
r -r-i: v
;,inr
.:.-ûL^^jjjjjjjsj^-jj^\.^^jii^ûJi^Tixîii^'
40"

Plate 397.
LBMIIMMIWMlllJIMfirMIMWlltmillMHmWWW.H^WIfWWWII<WWWMlllKWWIIIfMI
ijwxuiuium
..<:
<v
va m w.nw k
iu
v rîc rxi t k JaJ-:
job
81
11w
'i
i n h t< m:
>.;
v u w u ui.j ju rowi
'
_1.
'
L-l
I .

Plate 398.

Plate 399.

Plate 400.
632
Plate 399.
Fig.
Drawing-POOra table after Schinkel (L. Mural painting after drawings by Stier Writing table after Schinkel (L. Lohde).
Goblet-glaSS Metal vessel
after
Lohde).
(Vorbilder).
Schinkel (Vorbilder).
after
Ruhl (Vorbilder).
Sample Of
Stuff
after Botticher (Vorbilder).
Plate 400.
(From Examples
for
Manufacturers and Artisans, by order of the Minister tor Trade,

Industry and Building,
1
82
I.)
Fig.
1.
Chalice
after Schinkel. after
2.
3.
4.
Sample Of Stuff Sample Of Stuff Vase after Mauch.
Mauch.
after Schinkel.
g^TTriTTrn-r^nTr^yv^vwv^-'.-i^r^nrirtriri >n-,,-v-i->n,-i-),-in.-i
^^^^-y-rinprrrrfp-rrTr
Marble vase after Schinkel

(Vorbilder fur Fabrikanten und Handwerker).
REFERENCE BOOKS.
Adam,
Robert
c.f.
and
James.
The
decorative
Work
Album de
la Cathedrale de Rheims. Antiquites d. Bosph. Coquem. L Ail pour lous. Aufleger. Otto, Bauernhauser aus Oberbavern.
Babelon, Archeologie.
Bajot, Collection de meubles anciens. Bajot, Encyclopedic du meuble.
Musees du Louvre et de Cluny. Baumeister, Das klassische Altertum. Baltzer, Das japanische Haus. Barriere-Flany, Les arts industriels des peuples barbares de la Gaule. Belcher, John and Mervyn E Macartney. Later Renaissance Architecture in England Beunat. Josephe, Kecueil des dessins d'ornements d'architecture de la Manufacture de J. Beunat. Bilderatlas zur Geschichte der Baukunst. Bing, Japanischer Formenschatz.
Bajot,
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\vcq;cii^.
Dieulafoy. L'art antique.
DSrpfeld u Reisch, Theater. Dolmetsch, Ornamentenschatz.

Drexler,
Karl.
Dor Verduner
Altar.
Birch.
George
H..
London Churches
of the
XVIIIth Centuries. Blomlield, Reginald. A History of Renaissance Architecture in England. Botticher, Olympia. Bbttiger, Or. John, Hedvig Eleonoras Drottingholm.
Boito. Camillo. Architettura del medio evo
Italia.
in
XVUth and
Dupont-Auberville, Sammlung von Dekorationen. Ebe. Die Schmucklormen der Monumentalbauten. D'Espouy. Fragments d'architecture de la Renaissance.
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Borchardt, Die agyptische Pflanzensaule.
Brinckmann, Justus. Kunst und Handwerk

Japan.
in
Brockhaus. Konversationslexikon. Brown. Baldwin, The arts in Early English. Bilhlmann, Die Bauformenlehre. Bury. Talbot T. Remains of Ecclesiastical
,
Woodwork.
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Glazier, R. A..
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Details.
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Das Barock- und Rokoko-
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Prof. Karl.
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Heidelotf,
Ornamentik des
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Heider, Moritz, Louis XVI und Empire. Hessling, Englische Kunstmobel.
Hessling,
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Vorbilder der Jahrhunderts.
Kunsttischlerei
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Hirth,
Formenschatz.
J. J. et L. Lauth, Architecture moderne de la Sicile. Hodgkin, Eliot and Edith Hodgkin, Examples of Early English Pottery.
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Opderbecke, Bauformen des Mittelalters. Ortwein, Die deutsche Renaissance. Owen. Jones, Grammar of Ornament. Pannewitz, von, Formenlehre der romanischen Baukunst. Paukert. F.. Tiroler Zimmergotik. Percier et La Fontaine, Recueil de decorations
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Histoire de
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Sammlung
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Schmiedewerke des
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Jahrhunderts.
Ornament.
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Breuer, Geschichte des Mobels. Sales Mayer, Steinhauerbuch.

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Types d'architecture Gothique. Pugin and Walker, Gothic Architecture. Racinet, Le costume historique. Racifiet, L'ornement polychrome. Raguenet. Maieriaux et documents.
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H.
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Some
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recueil de menui-
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Devices.
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Mediaevcl Alphabets and
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Dictionnaire raisonne de ['archi-
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Pays-Bas. bayrischen
i.
Hochland.
Tatham. Ant. Orn. Archit.
in
Rome.
St
Peter zu
Wimpfen
Th.
ALPHABETIC INDEX
AFTER
of the
DESIGNS
MATERIAL AND OBJECT.

Abacus. Rom. P. 72. F. AcanthUS. Bar. P. 293.
1
,
2.
P. 79. F.
6, 7.
Archivolte.
F. 2,
io.
F. 2.
F. 5.
Rom.
Roc.
P.
324.
F. 4.
Acroterium. Grec. P. 18. F. 5. AlbaPdlo. Ren. P. 211. F. 7. Alphabet. Kelt. P. 70. F. 4. Rom.
P. 73.
F.
I.
F. -.
P. 97.
Ren. P. 205.
Class. P.
370.
Arch panelling.
Arm
P. 82.
2. 5, 8,
chair.
Goth. P. 146. F.
F. 23,
i, 4.
Egyp. P. 6.
4, 19.
24.
I,
Grec. P. 28. F.
io, II.
F. 5.
P. 101. F. 13.
6.
2.
Byz. P.
I,
Rom. P. 39. F. 65. F. 1821.
Ren. P. 214. F.
Scand. P. 105. F.
F.
I, 2.
5.
Roc. P. 319. F.
Altar.
16.
Etrusc. P. 31. F.
3, 6,
9 11.
2.
1,
Goth. P. 171.
P. P.
Ren. P. 220. F.
2.
R om
Bar. P. 311. F.
Roc.
P.
244. 320.
F.
1.
F. 2.
F. 3.
P. 33. F.
18.
P. 36. F.
12.
P. 38. F.3.
P. 85.
2.
- Germ. P. 54. F.
F.
1
P. 326. F.i.
Rest. P.
-F.
3.
Emp.
385.
Rom.
F.
Goth.
/
P. 179.
393.
Armour.
Arms.
F. 5. F. 7.
Bieder. P.
F. 4.
394.
F. 2.
Goth.
3.
P. 141.
R en
Textfigure P.
ig.
Altar press.
P. 243. F.
8.
jap. P. 196. F.
F. 3.
5.
Egyg. P. 7. F. Assyr. P. 10. F. 1315- Grec. P. 26. F. 15. Amulet. Rom. P. 42. F. Anta. Grec. P. 18. F. P. 20. F.
5,
AmbO. Amphora.
Goth. P. 167.
P. 228. F. P. 267. F.
3.
F.
5.
R en
6. 7.
.
P. 202. P.
Germ. P. 59.
P. 239. F. P. 282. F.
254.
Bar.
6.
P.
11,
P. 287. F.i.
F.
1,
Roc. P. 319.
9.
5.
10, 11.
11.
F. 6.
F. 4
Class. P.
365. F
3.
325.
P.
370.
Text
ind.
P. 21. F. 14.
P. 22. F. 12.
Ante-fix.
F. 9,
II,
12.
Arrow.
F. 4, 8.
figure P. 275.
P. 16. F. 33.
P. 29. F. 20, 21.
Grec. P. 18.
P. 21.
Arabian. P. 112115. Arabian-Indian. P. 131134. Arabian Moorish Arch. P. igg. Arabian-Persian. P. 127130. Arcade. Rom. P. 89. F. 14, 6, 7.
F.
1 .
Arrow head. Grec. Arrow hilt. Bar. P.

Arum.
306.
F. 7.
10.
Goth. P. 137. F.
Asper gillum. Rom. P. 41. F. 22. Aspergum. Rom. P. 75. F. 19. Attic window. Bar. P. 291. F.4.
2, 4,
P. 94.
7,
Class. P.
360.
F.
Goth. P. 138. F.
1.
8.
P. 165. F.
8.
Ren. P. 251. F.
P.
P. 264. F.4.
LouisXVI.
Byz. P. 60.
Attribute.
2, 3, 8, 9. 3, 4, 9.
Grec. P. 29. F.
352.
F. 2, 3.
Arch.
F.
I
,
b.
Rom.
P. 33. F. 15.
I
.
P. 61. F.
P.87. F.b.
P. 93. F.
F.
1.
Rom. P. 71. F. 2, 3. P.89. F.i, 5, 8. P.92. F.i, 5,8.

P. 107. F. 8.
12,
Axe. Preh. P. 1. F. 25. Rom. P. 41. F. 2, 12. Babylonian-Assyrian. Balcony. Byz. P. 62. F.3.
P. 2.
F. 3, 4.
1.
P.
810.
Goth. P. 186.
6.
2.
F. 4.
Ren. P. 246.
F.
1.
F.
P. 257. F.
Russ. P. 108.
Bar.
P. 286.
P. 110. F.
14.
5.
'islam. P. 117.
F. 9, 10, 12.
P. 132. F.
1, 2.
LouisXVI. P.
290. F. I, 2. 343. F.i, 2. P. 354. F. 4 6.

P.
F. 5, 6.
Goth. P. 177.
F. 1,5. P. 188. F.
Emp. P. 391.
Textfigure P. igg,
Balk ending.
BalUSter.
F. 2.
Japan. P. 199. F.
3
3.
2 '5. 2?7. 238
Architrave.
Assyr. P. 8. F.
P. 242.
5, 7, 9.
1
15.
islam. P. 112. F. 8.
Ren. P. 228.
F. 3, 5, 7,
1,
ALPHABETIC INDEX.
P. 260.
F.
5.
637
F. 2, 4.
P.
262.
4-
F. 10.
P.
266.
Bellflower.
Goth. P. 137. F.
3.
Bar. P. 282. F.
4.
Col. P.
334.
Bellied-shape.
Roc. P. 317.
2.
2.
F.
1.
F. 5.
P. 338. F.
Bellows.
5.
4.
Ken. P. 215. F.
F.
i,
Balustrade.
P. 55. F. 4.
Assyr. P. 8. F.
Rom.
2.
P. 95. F.
4, 8.
Germ. Goth.
2.
Belt.
Goth. P. 140.
Belt-buckle.
P. 53. F. Ib.
Celt
P.
50.
F. 5,
810,
13.
P. 144. F.
4.
P. 161. F.
P. 182. F.
8.
Ren. P. 203. F.
F. io. P.
P. 228. F.
F. 7.
F.
P.
242.
Belvidere.
Biga.
Ren. P. 273. F.
b.
--
P. 262.
P. 263.
F. 7, 8.
1.
Biedermeier Ornament.
3, 8.
P.
394 395.
265.
F. 3.
P. 268.
F. 4.
i 7.
P. 273. F.
2, 5.
Etrus. P. 31. F.
Bar. P.
286.
P. 301. F.
Goth. P. 179. Band-pattern. Baptismal font. Byz. P. 62. F. 2. Rom. P. 83. F 4. P. 90. F. 2. P. 97. F. 4,
F. 3.
b, q.
Bishops chair. Rom. P. 75. F. ib. Rom. P. 74. F Bishops erozier.

P. 75. F.
4.
7.
P. 83. F.
5, 8. 4.
P. 106.
F.
1,
2,
4.
b.
Goth. P. 161.
P.
Bookcase. Bookcover.
F.4.
-P. 236. F.
1.
Germ
Byz.
P. 59. F.
P. 63.
F. 4.
P.
64.
F.
1.
F. IO.
Ren. P. 263. F.
106,
275.
F. 4.
Ren. P. 225. F.4.
P.
232.
Textfigure
20o\
P. 279-312. Baroeeo ornament. Baroeeo in Italy. - P. 285289. Baroeeo in France. P. 290300. Baroeeo in Germany, Austria and
Book press.
Emp. P. 379.
P. 115.
F.
1
F. 4.
1,
Islam. Border. F. 35, 911.

F. F.
12.
14.
P. 120.
P. 127.
P. 184.
P. 123. F.
P.
24.
F. 4.
F.
1.
Goth.
179.
Baroeeo
to
Switzerland. P. 301 - 309. in the Netherlands.

312.
P.
310
Base.
Assyr. P. 8.
F. 14.
Pers. P. 11.
Class. P. 360. Textfigure P. Border-tile. Jap. P. 199. Bottle. Celt. P. 50. F.

13.
F. 2, 3,
5-
P. 362.
S"'y.
F. 7, 8,
8.
Islam. P. 120.
F. 7, 11, 12.
F. F.
Ind. P. 15.
4
F n.
Grec.
F. b, 8.
P. 20. F.
q.
P. 21. F.
2,
P- 22. F.
2, b.
Rom. P. 34.
F. 8. P.
F. 4, 7.
F.
3.
P. 35. F.
1.
P. 36. P. 71. P. 76.
Bottom Of bUSket. BOW. Ind. P. 16.

F. 23.
Germ. P. 54.
F. 3.
F. 32.

F.
Rom.
P. 43.
37.
14,
5.
b 9.
Rom.
b, 13.
P. 72. F.
P. 73. F.
s, 7, 9-
13, 14
I.
P- 78. F.
P- 79. F. 10.
Bowl. BOX.
Assyr. P. 8. F. IO.
Ind.
-
P. 16.
F. 13.
Grec. P. 26.
5-
P. 98. F.
F. Q,
1",
P. 99. F. 15.
P. 183.
Goth. P. 136.
-
F. 17.
Roc.
P. 326.
P.
4.
330.
12.
F. I, 4, 5.
Chin.
I.
F. b, 7.
Louis XVI. P. 347. F.

F. 5. F. 17.
P. 189. F.
Col. P.
Hell.
b, 7.
F. 4.
Ren. P. 270.
F.
3.
3.
Brace.
Ren. P. 244.
334.
396.
F.q.
P.
Emp. P. 376. F. Textfigure P. 24g.

Textfigure P. 72.
Bracelet.
Egyp. P. 7.
Assyr.
P. 10. F. 8.
Ind.
P. 16. F. 26. P. 53. F. b.
Celt.
Bathing-vase.
Battle-axe.
P. 50. F. 22, 25
27.
3.
Preh. P.l. F.25. P.2. F.3,4.
Bracket candlestick.
F. 1,2.
P.
Islam. P. 133. F. 7.
Bar.
2.
Ren.
P. 233.
P. 297. F.
Roc. P.315.
Textfigure
Bead-moulding.
36.
F.
5.
Rom.
P. 33.
F.
12.
F. 2. F. 3.
-
P. 323. F.
Louis XVI. P. 349.

F.
1.
Emp. P. 391.
Beaker.
F. 2b.
Assyr. P. 10. F.7. Rom. P. 43. Russ. P. 110. F.q. Ren. P. 276.
F- 3-
p 595Braited work. Germ. P. 54. F. 1,2, Bread-knife. Goth. P. 143. F. q.

Breast-plate.
5,7, q.
Beam head.
Bed.
F.
1
Islam. P. 117. F.
F. 22. F. 5. F. 4
.
n.
2,
1
Egyp. P. 6.
3, 2
.
P.
Rom. P. 75.
Roc. P. 332.
Brickwork.
28S.
Egyp. P. 7. Rom. P. 76.

I 6.
366.
F. 2.
F.
18.
P. 276.
F. 2.
Emp. P. 380.
1.
389. F.3.
Goth. P. 166. F.
Textfigure
F. 2.
P. 275%
Biederm. P. 394. F.
Bridge.
10.
Class. P.
Bed curtain.
Bell.
Chin. P. 189. F. 13.
British Classistie Order.

F.
I,
1.
Class. P. 361.
Beer-measure.
Ren. P. 222. F.
F.
I.
2.
Ren. P. 269.
Bronze arm.
Preh. P.
F. 15, 16, 20,
638
26, 30, 39.
ALPHABETIC INDEX.
-Grec. P. 29.
F.
1,
2, 6,
II,
12, 13, 20, 21. 12, 14.
8.
Brooch.
F. 2, 7.
Celt.
P. 50. F.
8.
6,
16, 18, 21, 23.
Etrus.
P. 32.
F. 2, 5, 7,
Goth. P. 160. F. Louis XVI.

Bucket.
P. 351.
Bronze figure.
Grec. P. 29. F.
P. 48. F. 14.
Assyr. P. 9.
F.
2.
Assyr. P. 10. F. 12, 21.

7, 8.
Celt.
Pomp. P. 47.
figure P. Q~.
F. 11.
P. 53. F.
Text
Assyr. P. 10. F. 2. Bronzefurniture. Pomp. P. 47. Rom. P. 39. F. 5, 79.
Bucket handle.
BUCkle.
P. 51.
Etrus. P. 32. F. 3.
4, 5,
Celt.
13.
P. 50. F.
10,
13, 24.
F. 6, 7, 15.
Goth. P. 140.
F. ;.
F. 5.
Celt.
P. 52. F. 14.
P. 160. F.
P.
1.
Bronze ornament.
P. 2. F. 3739P. 10. F.4,
F. 5, 10.
F. 2,
F. 2,
17.
3.
Preh.
17.
F. 23, 31. F. 7.
Assyr.
P. 9.
Bucranla. Budge.
Buffet.
Rom. P. 41.
F.
5.
i.
Goth. P. 173. F.
Grec. P. 17. F.3. P. 23.
P. 28. F. 5, 7.
Celt.
F.
5.
P. 50.
P. 61. P. 124.
Bureau.
Bust.
F. I.
Ren. P. 220.
F. 3, 4.
Text
tile.
figure.
P. 607.
- -
Germ.
Islam.
6.
P. 60. P. 123.
Burned clay
Goth. P. 153. F. 810.

F. 3.
1
F. 5.
Egypt.
6,
P. 7.
8.
Assyr. P. 10.
F.
1, 2.
P. 125. F.
P. 130. F.
2.
5, 9, IO, II,
Grec. P. 29. F.
12.
Goth. P. 170. F.
3.
P. 175. F.
15.
P. 178. F. P. 196.
F.
P. 193. F.
6, 7, 9, 10.
2, 5, 7.
P. 199.
F. 9.
Jap. Ren.
F.5 7.
P.
Button.
Assyr. P. 10.
F. 24.
Grec.
P. 17. F.
8-12.
Chin. P. 193. F.
Butterfly.
13,8.
P. 245. F.
F. 9.
6.
P. 210. F.4. P. 233. F.

F. 8.
P. 215. F.i.
P. 225.
Byzantine.
Cabinet.
P.
60-67.
P.
1, 2, 6.
P. 237. F.i.
6.
249.
2.
Ren.
F. 4.
230.
F. 3.
Bar. P. 288. F.
F. 3.
2.
P.
298.
P. 297. F.
F.
Roc.
P. 315.
3.
13.
Cake mould. Cameo. Rom.

P.
Ren. P. 230.
P. 42. F.
11,
12.
Goth.
P. 316. F.
P. 323. F.
P.
F.
Louis XVI.
P. 349.
F. 2.
i, 3.
143.
P. 344. F.
F. 4, 5.
4, 6.
345.
F. 6, 7.
Can.
F.
5, b.
Islam.
P. 133. F.
b, 8.
I.
Ren. P. 212.
5.
P. 353.
40.
P. 368. F. 13.
P.
383.
F.
Emp. P. 380. 1-14. P. 384. F. 1, 3,
P. 354.
F.
P. 221. F.
P.
P. 223. F.
Class. P.
P.
276.
F. 4.
F. 2, b.
306.
F. 5.
375.
4.
12, 13.
P. 391. F.
14.
5, 8,
11,
Candelabrum.
F.
1, 3, 5.
Rom.
8.
P. 40. F.
P. 42.
F. b.
Hell.
P. 399.
P. 43. F.
F. 5.
Textfigure P. 2g8, 529, $6g, 5Q5,
P. 48.
F. 6, 7, 8, 10, 11, 18, 19.

4, ;, 6.
621.
P. 74. F.
Pomp. P. 47. Rom. Goth. P. 187.

F. 3.
Bronze jewel.
Preh. P.
l.
F.
8 10,
14,
Ren. P. 215. F.i.

P. 298. F.
F. ;.
3.
18, 27, 29, 32, 33, 37, 38, 41.
P. 2.
28,29,3134,36. 1921,23. P. 51.

6,
F. 24,
P. 302. F.
Celt.
P. 56.
F.4 13,
Louis XVI.
3.
Roc. P. 315. Emp. P. 346.

5.
Bar.
P. 296. F.
3.
F.
1.
F. 6, 7, 15.
P. 53. F.4,
P. 380. F.
P. 391. F.
4.
11, 12, 16.
Bronzerelief.
Grec. P. 29. F.
Preh. P.
19.
1.
3, 4, 9.
Bronze
tool.
F.
35, 36.
9.
Candlestick. Rom. P. 74. F.4, 5,6. P.75. Goth. F. 3. Rom. P. 106. F. 13, 15.
P. 143. F.
F. 10.
6.
7.
P. 145. F. 4.
Chin. P. 193.
P. 233. F.
3.
Egypt. P. 6.
F. 3, 12, 19,
F. 14,
Assyr.
P. 10.
Ren. P. 222.
2.
F. 7.
5,
2123.
8,
Grec. P. 28. F.
5.
P. 250. F.
Bar. P. 307. F.
F. 2.
3.
P.
308.
2.
P. 29. F. 14, 15.
Etrus. P. 31. F.
H9,
P. 32.
F. 3,
F. 3, 8, 13, 15. 18,

14, 18, 20.
Rom. P. 42.
19,
F. 3, 3.
Roc. P. 316.
b.
Louis XVI.
P. 343. F.
P. 350. F.
P. 354. F.
P. 43. F.
4, 8.
20, 24,
25.
P. 44. F.
15, 17.
Pomp. P. 47.
7, 8,
F. 6, 12,
P. 48. F. b,
10,
11,
18, 19.
39.
Rom. P. 74.
P. 197. F.
F. 6, 9. P. 75. F. 10.
Jap.
b 11.
Bronze weapon.
P. 2.
P. 6. F. 14. P. 16. F.
Preh. P.
19, 21
1. F. 15, 26,
F. 3, 4, 2b, 27, 41, 42, 44.
Goth. P. 149. F. P. 157. F.3. Bar. P. 285. F. P. 186. F. Canopy bed. Bar. P. 298. F. class.
Canopy.
9.
2.
Text figure P. 625. Emp. P. 380. F. I. Rom. P. 78. F. 6. Canesso. Rom. P. 100. F. I. CanOUS Staff.
3.
2.
Egypt.
P. 372. F.
1.
Assyr. P. 10. F.
10,
1 1,
5.
Ind.
Capital.
F.
8.
Egypt. P. 4. F. 16,
9.
P. 5.
3, 6,
24,
27.
1 b,
Assyr. P. 8. F.
3, 4, 7, 9-
ALPHABETIC INDEX.
P. 9. F.2.
P. 13. F.
39
-
Pers.
2
P. 11. F.3
Phoen.
5. 4, b, 8,
1 1
Ceiling ornamentation.
1
Egypt.
P. 7.
18,
7.
Ind.
4.
P. 14. F.
-
13,1416.
F. 15.
P. 15.
F.8.
Grec.
P. 17.
1
P. 18. F.
1, 3, 6,
9 II.
F.
1
P. 20. F.
2. 5,
to 8, 10,
1315.
1
P. 21.
1 1 ,
i,
8,
13.
P. 22. F.
4,
F.
7, 8,
r,
2.
P. 23. F.
F. F.
1,
1.
8, 9. 3 to
;.
Grec. P. 17. F. P. 27. F. 30 52, 39, 40- Rom. P. 89. F. 1,4,6, Islam. P. 113. F. P. 121. P. 91. F. F. P. 125. F.8. Goth. P. 151. F.6, Chin. 4 P. 168. F. P. 187. F
F. 7, 8.
19.
2.
6.
1.
10.
1,
II.
6.
Rom. P. 33.
14.
6, 7.
2, 4, 5.
P. 34. P. 36.
P. 194. F.
1.
Jap.
P. 197. F.
8.
1,4-
P. 35. F.
2, 6,
810.
1.
4.
Ren.
F. 0.
P.
209.
F. 8.
2.
P. 37. F.
5.
I.
Pomp. P. 45.
2,
F.
49.
P. 232. F.
Germ. P. 55.
F.
5, 0.
P. 57.
F. 2
5.
Byz. P. 60. F.
2,
b 8.
1 5,
F. 2.
I
.
P. 61. F.
410.
P.71.
P. 73.
P. 79.
P. 66. F.
8,1
I,
12,
14 lb.
9,
Rom.
10,
F. 5, 0, 9, 10, 11.
P. 72.
F.
F. 3, 5, 6.
18.
F. 4.
F.5,
8.
1,
P. 76.
12.
F.2,6. P. 256. F. P.265. F.i. P.275. F.2. P. 281. F. 9, 10. - Bar. P. 293. F. 4. P. 295. F. 2 ol. P. 338. F.3. -- Louis XVI. P. 349. 1.2. P. 350. F. 1, 2, 5. Class. P. 364. F.i 4.
(
P. 229. 242. F.i. P. 248. 5. 1,4,7,8. P. 262. F.3
P. 219. F.
P.
F. 8,9,1
P.80.
P. 87.
P.81.
5,
P.82.
4.
P.
366. 396.
F.
P.
373.
2.
F. 1,7.
Emp. P. 377.
Hell.
F.i 4, 6-9.
P. 93.
F.
1
6, 8.
P. 92. F.
F.i.
P.
P. 386. F.
F.
1.
P. 388. F. 4
F.
7.
P.94. 1.5. P. 95. F.5. P.96. P. 98. F 1,4. P. 99. F. 14, [6. i-
Skand. P. 102.
P. 106.
F.
3.
F.
-
1.
6.
P. 103. F. P. 108.
4,
10.
4. 2.
Celtic-Germanic. Censer. Goth.

P. 190.
F.
1.
P.
5053.
F. 6.
P. 173.
F. 4.
5.
Chin.
Russ.
F. 2,
I.
P. 193.
Islam.
P. 112. F. 15.
F.
5.
P. 116. F.
F.
1.
Centre-piece.
Chaffagiolio.
Roc. P. 316. F.
7, 9-
P-
H7.
5
6.
P. 122.
P. 136.
3,
s.
11.
5.
Ren. P. 211. F.
8.
Got.
P. 135.
F. 11.
7-
F.i 8,
l,
Chafing-dish.
P. 146. F.
P. 162. F.
P.
Rom. P. 84.
P.
F. 2.
9.
P- 147. F. b.
F.
I,
P. 161. F.
5.
Chain.
P.
Goth.
F. 4
173.
F.
19. P. 182.
P. 217.
6.
Ren
F.i.
3.
Ren.
236.
s.
201.
F. 4.
F. 3.
P. 218.
Chair,
Seat.
P. 254. F.5,
P. 255. F.2. P. 270. F.i,

P.
2.
Chair
F. 17.
P. 279.
F.
1,
3.
280.
F.
1,
Bar. P. 285.
F.
1.
4,
79.
1
1.
foot.
Assyr.
P. 9.
5.
F.
7.
P. 10.
Grec. P. 28. F.
Col.
Class.
P. 359.
1-
Chaiselongue.
Class. P.
P.
Em P
Carpet.
F.
1,
337.
P.
F. 4, 6.
2.
P. 376. F.
-Hell. P. 396.
2.
(,5.
Goth. P. 181. F. Jap.
P.
200.
4.
Chalice.
F.
1
Emp. 370. F. 7. Germ. P. 59. F. 5.
389.
F.
Byz.
P. 65.
5.
4.
Ren. P. 238.
F.3. P.
F.
1.
P. 258. F.
7.
Rom. P. 74.
F. 8.
F. 8.
P. 75. F.
Bar. P. 289.
300.
F. 6.
3, 7. 4.
1.
Cap-stone. Carriage.
P. 27. F. P. 167. F.
F.
3, 5.
8. b.
Russ. P. 110.
Ren. P. 237. F.5.
Ren. P. 272. F.
Assyr. P. 10. F.
Grec.
Hell.
P.
400.
F.
I.
Etrus.
Bar.
8.
P. 31. F. P. 288. F.
4.
Chandelier.
F.
2.
Goth. P. 154. F.
8.
2.
P. 170.
Goth.
Ren. P. 249. F.
P.
252. F.I.
P.
5.
P. 310.
Bor. P.
Roc. P. 317. F.
Chape.
4.
Text 304. F. 2. Rom. P. 44. F.
figure
Celt.
613.
P. 53.
Carriage-pole.
Grec. P. 29. F.
Assyr. P. 10. F.
F.
Carriage-wheel. Cartouche. Ren.

F. 2, 4.
Chaplet.
Text
P.
figure,
Grec. P. 19. F. 15.
p.
475.
Chased Ornament.
Chasuble.
Chest.
P.
Ren.
P. 252. F.i.
227.
F. 2.
F, 4. P.
P.
245.
1.
5.
Rom. P.96.
F. 11.
;.
Bar. P. 286. - Roc. P. 324. F. 1.
310. F.
Roc. P. 331. F. 2I, 7.
336. F. 369. F.
Col. Louis XVI. F. Class.

5.
Carytid. Grec. P. 21.

F.
7.
F. IO.
3.
.Ren.
P. 209.
P.
Roc. P. 324. F.
Chiffonier.
Casette.
Casque. Cast Iron.
Goth. P. 143. F. 12.
Ren. P. 215. F.
3.
5.
Roc. P. 315. F.
4.
6.
Rest.
P. 392. F.
Chimera. P. 153. F. b. Chimney. Goth. P. 144. F. 3. P. 150. F. Chimney-cowl. Rem. P. 234. F.5.
Col. Goth.
P. 336. F.
5.
10.
Hell.
P. 396. F.
Chimney
piece.
4.
Bar. P. 311. F.
3.
Cavetto.-Got.
P. 135. F.8.
P. 137. F. 1,6,7.
Roc. P. 315. F.

640
China cabinet. Ren. P. 284. Chinese. P. 189193.
ALPHABETIC INDEX.
F.
3.
F. 1,7.
Rom. P. 78.
7, 2, 6.
F.2, 4. P. 80. F.i, 6.
P. 81.
4,
F. 4, ,
9, 11.
P. 92. F.
3.
5, 6, 8,
Chinese Furniture.
5,
9,
Chin. P. 189. F.
9,
1.
1
.
P. 94. F.
P. 106. F.
P. 95. F.
P. 97.
4.
10.
F.
b 8.
1,
Russ. P. 108. F.
P. 127. F.
F. 5.
9,
Chinese Keramik.
P. 191. F.
F.
Chin.
P. 190.
F.
8.
Islam. P. 112. F.
4.
5.
n.
1 5.
P. 192. F.
17.
P. 193.
P. 132. F.
F. 4.
13, 5, 79Chiselled bronee plate.

F. 4-
Chin. P. 195. F.
1,
Goth. P. 162.
3.
2.
P. 185.
Ren. P. 201.
1,
Roc. P. 309.
F. 3.
P. 205. F.
7.
P. 227. F.
4.
3,
i,
5.
2.
P. 228. F.
P. 244. F.
P. 251. F.
Class. P.
Church cabinet.
Christ.
Germ. P. 54. F.
F. 10.
11.
P. 256. F.2. P. 263. F.2.

F.
1,
355.
2,
Germ.
P. 58. F. 8.
2.
P. 356. F.
F. 3,
6.
1,
2.
P. 357. F.
F. 3,
4.
b.
Church Camp.
Ciborium. Cimbal. Cimbia.
Cist.
Rom. P. 75.
F.
9.
3.
P. 358.
P.
359.
F. 14.
Text
Rom. P. 84.
P.
figure P. 9.
Grec. P. 30. F.
Coin.
16.
Grec.
P. 17.
P. 21.
F. 15,
Rom.
92.
F. 10.
Etrus. P. 32. F. 24.
Clasp.
F. 10.
Preh. P.
1. F. 29, 32.
Gall.
P.30.
Classistie
Ornament. -
Class. P.
F. 3.
355-375.
Claustra.
F.
1,
Ren. P. 216.
Clay ornament.
Phoen. P. 13.
P. 23.
12.
Egypt.
P. 5. F.
F. 14.
7.
8.
2.
Grec. P. 18. F.
F.
1,
Rom. P. 42. F. 15. Colonial Style in the United States of P. 334339. America. Goth. P. 189. F. 2. Colonnade. Column capital. Egyp. P. 4. F. 14, 9. Assyr. P. 8. F. 3, 4, P. 5. F. 14, 6, 8. Phon. P. 13. Pers. P. 11. F. 35. 7, 9. F.4. - Ind. P. 14. F. 4, 68, 11, 13, 1416.
P. 29.
F. 17.
Clay figure.
Clayvessel
ClOCk.
Fig.
I.
P. 397. Preh. P.l. F.4, 24. Phoen.

Hell.
Grec. P. 17. F.
3,
15.
P. 18. F. P. 21. F.
1,
1,
3, 6, 9.
P. 20. F.
6-8,
10.
5, 8,
10.
P. 13. F. 10.
s.
Etrus. P. 31. F.
7,
10.
P. 22. F.
14,
7, 11.
P. 23. F.8,
9.
Earthenware vessel.
P. 282. F.
3.
Ren.
Bar. P. 304.
1.
Roc. P. 315. F.
Text figure
Rom. P. 33. F. 1, 2, 4, 5. P. 34. F. 1, 47, 810, 13, 14. P. 36. F. 1, 3,4,6, 7. P. 37. F. 5. - Pomp. P. 45. F. l, 4, b, 8, 9.
Germ. P. 55.
F. 9.
P. 5(19.
P. 57. F. 2
5.
Byz.
Cloth fabric. - Rom.

P. 143. F.
2.
P. 83. F.
7.
Goth.
P. 60. F.
i,
Ren. P. 278.
F. IO.
F.2,
F. 5,
F. 5,
8,
11,
9,
6-8. P. 61. F.4- 10. P. 66. 12, 1416. Rom. P. 71.
3,
Cloth-shearing carder.
F. 7.
Ren. P. 233.
6,
8.
11.
P. 72. F.
5,
b.
P. 73. P. 79.
P. 76. F.
11,
1,
ls,
9,
10,
18.
Roc. P. 333. F. 1. Clothes press. Preh. P. 3. F. 9Ind. P. Club.
F. 8, 9,
12.
2, 4,
P. 80.
F. 2.
11.
P. 81. F. 4.
3, 6,
6,
16.
P. 82. F.
8.
69,
11.
P. 87. F.
4. 4.
F. 3,
22.
Russ. P. 110. F.
18.
b.
P. 92. F. 4,
5, 8,
P. 93. F.
F.
1, I,
P.
94.
Clusp.
F. i.
Rom. P. 75. F. Coffer. Byz. P. 64. F.3.

P. 84. F.
5.
i.
F. 2. P.
96.
F.
17. P. 98.
P. 99. P. 103.
Islam.
Rom. P. 75.
F. 14, lb.
Scand. P. 102. F.
Russ. P. 108.' F.
P. 116. F.
1,
b.
P. 96. F. 12.
i.
Goth.
6.
F. 4. 10.
F.
2, 4.
P. 142. F.
P. 156. F. P. 13.
P. 170. F.
2 2.
P. 112.
F.i 5.
--
2, 9.
P. 122.
Coffin.
Phoen.
22.
F.
Celt.
F. 1, 3, 8.
Goth. P. 136. F. 18, 11.
P. 53. F. 20,
P. 146.
5-7.
P. 147.
F. 6.
P. 161.
5.
Coiffure.
Grec. P. 30. F. 16, 17, 21, 22.
F. 5. P. 162. F.
1 9.
P.
3.
F.
Rom. P. 41. F. 810. 1215. Goth. P. 160.
P. 182. F. 1,4,
3.
Byz. P. 65.
F. 3.
Ren.
F.i.
F.
P. 201. F. 4.
P. 227. F. 6. P.
P. 217. F.
P. 218.
Column.
P. 4.
Pers.
F.
1.
Preh. P. 5.
P. 2.
F.
4,
1,
F. 35.
5. 7,
1
Egyp.
1.
6.
P. 7. F.
>.
1,
9.
270. F.
359.
F.
1,
1.
244. F. 4,7. P. 254. P. 280. F. 1, 4, 7.
3.
Class. P.
Hell.
P.
396.
3.
F.
P. 11.
P. 13. F.20.
15, 16.
F. 3,
5,
5, 7,
Phoen.
11, 13,
Ind. P. 14. F.
Column flnial. Comb. Rom.

F. 12.
Ren. P. 254. F.
P. 43. F. 24.
P. 74. F. 3.
1.
Celt.
P. 51.
Grec. P. 17. F. 15. P. 20. F.8,

F. 7.
Rom.
Rom. P. 34.
Pomp. P. 45.
Commode.
Bar. P. 297. F.
ALPHABETIC INDEX.
Composite Classistic Order.
P. 360. F.
4, 7.
-
64
4.
Class.
P. 235. F.
-
P. 236.
'-',
F. 3.
P. 278. F. b.
,';.
Text
figure P.
--,34.
4;. \'-V
F. 20.
Confessional.
Console.
Goth.
Bar. P. 292. F. P. 116.

1
6.
Islam.
F.
1,
F.
4-6,
F. 4.
2, 3.
8.
P. 149.
3.
P.
P.
P. 161.
F. 9.
Ren. P. 229. F.
F. 9.
2.
230.
P. 242.
CoUCh. - Egyp. P. 6. F. 22. - Grec. P.28. Counterfort. Goth. P. 166. F. 4. Court mantle. Ren. P. 213. F. 1. Court-yard. Ren. P. 260. F. 7.
P.
244.
F. 3-
269. F.
P. 274.
3, 5, 7.
Cradle.
- -
Goth.
3.
P. 170.
f.
4.
Ren.
F.3.
P.
Bar. P. 285. F. 4.
P. 290. F.
F. 4.
P. 277. F.
Emp. P. 384.
F. 6, 7.
292. F. 13.
F.
1.
P. 296.
5. 3,
Roc.
F. 2.
Credence table.
P. 180. F. 5.
Goth.
P.
142.
F.
P.314.
F. P.
2.
P. 318. F. P.
P.323.
4, 7.
2.
Louis XVI.
-
340.
P.
F.
P.
Class.
F.
1.
367.
F.
F. 4.
345. Emp.
Crest.
4.
Goth. P. 178. F.
:.
P. 184. F.
b.
Crocket.
F.
1.
Goth. P. 135.
3.
F. 3, 6.
P. 147.
390.
Rest. P. 393.
P. 161. F.
By*. P. 65. F. 21. Consular chair. Rom. P. 44. F. 1. Consul's costume. Cooling tankard. Goth. P. 143. F. 6. Copper ornament. cias^. P. 367. F. 4. Rom. P. 41. F. 2. Copper tool. Goth. P. 140. F. 3. Copper utensil.
Crotchet work.
5, 6.
Ren
P. 213. F.
2.
Crown.
Ind.
P. 16. F. 25.
Germ. P. 56.
F.
I
2.
P. 58. F.
2, 5.
Byz. P. 65.
I.
- Goth.
CrOSS.
P. 160. F.
Celt.
P. 173. F.:.
hi.
P. 52. F. 7.
Germ. P. 56.
Kelt. P. 68. F. 5,
F. 4.
12 14.
Rom.
F. 10.
F. 12. F.
4.
Ren. P. 250.
P. 130. F.
F. 5.
P.
253.
F.
1.
P. 72.
Islam.
2.
P. 79.
F. 5.
P. 82.
P. 135. P.
Copper Vessel. - Rom.

1.
P. 75. F.8.
1.
P. 100. P.
F. 11.
Goth.
P. 133. F.
P. 145. F.
170.
F.
3.
1
Ren
243.
Jap. P. 198. F. 4.
Corinthian. Corinthian Classic Order. F. 2. P. 360. F. 4
Text figure P. tfS P. 22 23.

Class. P.
P. 260.
F.
Crozier.
Crucifix.
359.

4.
Goth. P. 170. F.
2.
Germ. P. 54.
F. 8.
P. 56. F.
//;,>.
5.
P. 58. F.
2.
Text figure P.
Corner door.
Cornice.
F.
2,
3,
Ken. P. 217. F.
I.
12,
Phoen. P. 13. F.
1:, 18.
Ind. P. 14.
Rom. P. 75. F. Crystal vessel. Goth. Rom. P. 75. F. 15. Cup.
b.
P. 143.
P. 15.
F. 12.
--
Grec.
F. 10.
Chin. P. 192. F.
2.
2.
I.
P. 18. F. 1,2. P. 20.
P. 22. F.3. P. 34.

i,
1.
Cupboard.
P. 334. F.
Ren. P. 284. F.
Cot.
Rom. P. 33.
P. 35.
F.
i,
F.
2.
I,
2,
17, 19.
F.I,
Biederm. P. 395.
F. 3.
4, 5.
F. 3.
12.
P. 36. F.
3.
F.
3,
Byz.
Cupola.
Russ. P. 108.
Bar. P.
P. 66. F. 4.
F.I
1,
80.
Rom
7.
P. 71. F. 12.
P. 78.
Curtain.
figure P.
,','
300. F
Text
12. P.
F. 2, 3, 5, 10. P.
99.
1-12.
Islam.
P. 112. F. P. 188.
2.
i.
P. 122. F.
5 7.
Cybele priests.
Rom
1.
P. 41. F. 23.
F. 12.
F. 3 F.
Goth.
F. 3.
Ren. P. 201.
Cymatium.
Dagger.
Grec. P. 18.
F.2.
.
P. 202. F.
P.
3.
256.
F..
203. F. 3,4. P. 207. P. 270. F.i. 3. P. 279.

P.
i, 3, 6, 7, 9.
5,
Preh. P.
F. lb, 17.
Egyp.
Celt.
P. 6. F. 12.
10.
Etrus. P. 32. F. 21.
i,
P. 280. F.
F.
3.
Bar.
F.
7.
P. 53. F.
P. 301.
11
Class.
P. 371.
Goth. P. 160.
F.
P. 372. F.
F.
I,
5 9,
Hell.
17.
Emp.
F. 2.
P. 376.
Dagger
hilt.
Rom. P. 100. F. 12. Ren P. 222. F. 3, 0. 4. Ren. P. 225. F. 57. -
2.
4.
P. 396.
Text
Roc. P. 328. F.
4, 6.
figure P. 2ii, 239.
Dagger sheath.
Ren. P. 223. F.
P.
12.
Rom.
P. 44.
F. 3.
10.
Corona
s.
Platband.
Coronal.
Ren.
256.
F.
5.
Roc.
Damascened work.
P. 134. F.
1,
P. 314. F.
b, 8, 9.
Islam. P. 133. F. Text figure P. 234.

13.
2.
Coronation chair. Corsage ornament.

F.
1.
Goth. P. 154. F. Louis XVI. P. 351.

F.
1.
5.
Damask.
Ren. P. 278. F. 14,
Dansers costume.
Delft plate.
islam. P. 133. F.
Costume.
P. 100.
Rom. P. 44.
Rom.
F.
13.
Diadem.
Ren. P. 247. F. 7 Louis XVI. Russ. P.lll. F. 3.
F. 10.
Ren.
P.
223.
P. 351. F.
5, 8.
SPELTZ,
Styles of Ornament.
41
64^
Diptych.
DiSh.
ALPHABETIC INDEX.
Germ. P. 59.
9.
F.
I.
Doorway.
Doric.
Rom.
P. 76. F.
68.
Class. P.
Egyp. P. 5. F.
F. 20.
Assyr. P. 10.
P. 18.
Pers. P. 12. F. 16.
F. 4.
Phoen.
P. 26.
4.
P. 13. F. 21.
F. 14.
-- Grec. P. 25.
P. 28. F. 9-
Rom.
P. 42. F.
Celt. P. 51. F. 10.
Jap. P. 198. F.
4.
Chin. Ren.
1,
P. 192. F.I.
Doric elassistic Order. F. 14. Doric Renaissance Order.

F. 4. P. 280. F.
1,
355.
Ren. P. 217.
F.
7.
P. 212. F. 8, 9.
P. 222. F.
Class.
P.
8.
Drawing room decoration.

P.
LouisXVl.
Bar. P. 299. F.
F.
2,
P. 375.
F. 2.
69.
3, 5.
342.
F. 2.
Emp.
Dress.
344. F. s. LouisXVl. P. 347.

P.
5,
b.
380.
Door.
F.
3, 6,
Grec. P. 21. Egyp. P. 7. F. 16. Rom. Byz. P. 60. F. 5. 7. --
Drinking-horn. Grec. P. 28. F. Eagle. Rom. P. 84. F. 10. Russ.

F.
11.
14.
P. 87.
F. 7.
P. 95.
4.
F. 2.
P. 97. F.
1.
1.
P. 110.
Got. P. 135. F.
5.
P. 167. F. 7.
Ear pendent.
Ear-ring.
F. 15, 16.
Celt. P.
Rom.
5,
P. 90. F. 6.
Seand. P. 103. F.
P. 121.
F.
Islam. P. 120. F.
Assyr. P. 10.
13,
F\9 11, 26.
24.
3.
Goth. P. 138.
F.
4. 4.
F. 10.
Phoen. P. 13. F.
18.
Ind. P. 16.
10, 11.
P. 145. F.
P. 149.
P. 151. F. 4.
1, 2, 4.
Rom.
P. 43. F.
46,
P. 157. F. 4- P. 158. F. P. 165. F.

2.
P. 163. F.
P. 169. F.
I.
6. P.
171. F.
3.
3.
Chin. P. 195. F.
Jap. P. 196. F.
53. F.
9, 14.
1,
LouisXVl.
P. 351.
F.
4,
6.
Earthenware
vessel. -Preh. P.l. F.

5, 9,
Ren. P. 202.
F.
1.
F. 3, 4.
1, 4.
P.
206. F.
2.
2.
P. 208. P. 218. P. 248.
u 13,
1921,
5 7,
34-
P-2. F.
10, 12,
1417,
F. 4, 5.
P. 216. F.
P. 217. F. P. 241. F. P.
F. 4.
F.
1.
P.
P.
230.
262.
F. 7.
F.
1. 1,
2.
43, 45-
Egypt. P. 7.
7,
Assyr. P. 8. F. 10. P. 10. F.
1316,
Phoen.
264.
P.
F. 7.
P. 269.
F.
1,
18, 20.
Pers. P. 12. F.
15
4 6.
F. 5.
P.
P. 271.
F.
2.
F.
283.
P.
3, 5.
273.
1.
7.
P. 13.
17,
Bar. P. 285. F.
2. 4.
P. 286. P. 294.
F.i.
F. 6.
P. 291. F.i, P.
P. 292. F. 6. P.
303. F.i,
F. 5.
307.
F. 6.
F. 2.
P.
Roc.
6,
P. 314.
325.
P. 333. F.
F. 3.
1
Ind. P. 16. F. 28, 30, 31. Grec. P. 17. F. Etrus. P. 26. F. P. 25. F. P. 41. P. 32. F. 23. Rom. P. 40. F. F. P. 43. F. P. 42. F.
F. 6, 7, 9,
178,
13.
4.
9.
3.
16.
13.
12.
Celt.
7,12,13.
F. 9.
--
Col.
P. 335.
P. 341. F.
5.
337. 346.
355.
1
P. 51. F. 9,
11,
13.
P. 53. F.
15.
18, 19,
21.
Louis XVI.
P. 357. F.
5.
P.
F.
P.
Rom. i5,
247.
P. 75. F.
P. 100. F.
- -
10.
8.
F.3,4,9,10.
F. 3.
P. 352. F.
4, 5.
Class. P.
Islam.
P. 133.
7, 8.
F.
6,
9.
Ren.
2,
3,
P. 211.
5,
Emp.
P. 392. F.
figures
P. 221. P.
F.
6,
F.
Hell. P.
397.
F. 2.
Text
P.
F. 7.
3.
1
276. F. 14,
6.
Bar.
'Si,
547-
P. 287. F.
P. 299. F.
9.
24.
Class.
Door border.
2.
Ren.
1.
P.
202.
F.
3.
P. 206.
P.
375. F.
P. 208. F.
Door crest. Door handle.

9,
Ren. P. 216. F.
P. 169.
P.
1.
East gothie. Egyptian.

F.
i,
Text P. 57.
figure.
P. 508.
11,
13,
16.
Goth. Bar.
8.
4,
7,
Emblem.
P.
P. 47. Bar. P. 298.

5.
F.
7.
6.
Class.
306.
F.
F.
n.
2,
373. F.
Door-knocker.
Rom.
P. 72.
9,
3,
Byz. P. 61.
P. 95.
6.
F.
3.
Embroidery.
F.
Assyr. P. 9.
P. 50.
Islam.
F.
3.
P.
10.
F.
10.
5.
Islam.
5, b.
27.
Celt.
I.
F.
1,
F.
F. P.
Russ.
P. 112. F. P. 151.
P.
1.
Goth. P. 138. F.
F. 3.
P. 111. F.
F.
P. 133. F. 4.
7.
F.
4.
P. 178.
9.
Ren.
Goth.
P. 140. F. 6, 7.
P. 213.
3,
P. 144.
P. 214.
6. 4. 3.
1,
1.
210. F.
5.
P.
234. F.
3.
Bar. P. 286.
1.
Ren.
P.
4.
2,
F.
P. 294. F.
P. 296. F.
F.
F. 4.
P. 311.
figure
224. F.
II.
5, 6, 8.
1.
P. 238. F. P. 258. F. F.
239.
Roc.
Class. P.
368.
Text
F. 10. P.
F.
5,
243. F.
P. 278.
P. 108.
Bar.
P. 289.
P. 321.
1,
Door mounting.
Scand. P. 105.
F. F.
3, 5, 6,
14,
Rom.
15.
P. 83.
F. 2.
P. 319. F.
17.
F.
46.
F. 5, 6.
12,
Goth. P. 169.

P. 368, 433.
5, 6.
Text figure.
P. 30. F. 15.
Ren. P. 234.
figure P. 253.
I, 3.
P.
246. F.
2.
Text
Embroidery-frame.
Grec.
ALPHABETIC INDKX.
Embroider vestment. Bar. P. 308. F. i. Empire ornament. P. 376391. Enamelled work. Byz. P. 67. F. 4. Rom.
P.
F.
1.
"4^
F. 2.
P. 271.
F. 5.
P. 272.
F.
i.
Bar.
P.
282.
77.
F.
12.
9.
5.
P. 85.
F.
3.
12.
Fire-screen. P. 326. 1.3.
Bar P. 305. Louis XVI.

F.
3,
F. 6. P.
Roc.
F.
1.
345.
Goth. P. 141. F.
P. 212. F. s,
6,
2, 8.
8,
P. 143. F. P. 221. P.
P.
2,
Ren.
Flag.
Class. P.
370.
P. 16.
F. 2.
223.
3,
Ind.
9.
F. 7.
P.
236.
F. 4.
252. F.
5.
FlOW plate.
Pers.
Rom
P. 96. F. 14.
Text
figure. P.
4"7-
Floor-ornament.
P. 11. F
8.
Assyr.
P. 12.
P. 9. F.
1.
English Gothic. P. 146-160. 101. English Roman. P. 95 Phoen. P. 13. F. Entablature.
F. 15.
3,
Grec.
8.
P. 23. F. 3.
t.
Pomp. P. 46.
F.
6,
P.
Ind.
Germ. P. 59. F
Foil.
P. 14. F. 2,
3,
12,
I,
17,
2.
18.
P. 15.
F. 12.
3.
1
Grec.
10,
P. 19. F. 6
1,
14. P.
Rom.
P. 33.
Grec.
F.
F.
3.
1,
P. 18. F.
P.
1
20. F.
,
P. 22.
F. 7. 8.
13,
14.
Rom.
4.
P. 33. F.
F.
1,
2,
7,
9.
34.
3.
P. 35. P.
I,
2, 3,
12.
5,
P.
36. F.
-
1,
Folding chair. Km. Foot-gear. Egypt.

Grec.
[8,
258.
F. 3.
13.
P. 6.
F. 8,
7.
- Rom.
P. 131. F.
1
80.
2.
F. 2,
IO.
[slam. P.
P.
30.
F. b, 7.
Rom.
b.
P. 41. F.
Ren.
F. 3.
F.
1.
P. P.
201. F.
2.
203. 279.
F. 3.
27, 28.
s,
4.
P. P.
207.
255. F.2. P. 256.
Footstool.
Assyr. P. 10. F.
F. 22.
F. o.
F.
1.
270. 280.
F. F.
F. 1,3.
Bar.
P.
F.
P.
Fork.
F. 10,
Assyr. P. 10.
19,
Rom.
F. 4.
P. 42.
3.
P.
3, 6,
301.
1
.
21.
Islam. P. 130.
F. [O.
6.
F.
Class. P.
2. 4.
355. F.
1, 1.
P.
P.
356.
359.
P. P.
357.
Ren. P. 223.
F. 9, 14.
1.
P.
237.
P.
358.
3.
F. 3.
360.
Roc. P. 321. F.
F.
P. 361.
Fountain.
Class. P.
Germ.
P. 55.
K. 3.
Islam.
Entrance Hall. Equestran Statue.
355.
F.
i,
2. 3.
P. 126.
K.1,2,4.
Goth. P. 145.
P.
F.L.5.
Ren. P. 206. F.
Ren. P. 208.
Bar. P. 286.
F. 2, 3, 5. 6.
227. F.
314. F.
Etruscan. P. 31, 32. Facade. Class. P. 356.

P.
F. 6.
Roc.
P.
2, 3
F.
1,
2.
Rest.
392.
F. 4.
2.
Intl.
Frankonian. P. 58. Frankonian Warrior.

French-Gothic. P. P.
Text
figure P.
q</.
Fan. Preh. P. 3. F. Grec. P. 28. F. Rom. P. 225. F. F.

8. 4, 5.
P. 16. F. 14.
Islam.
2.
P. 134.
figure
French-Roman.
135143. 7885.
P. 27. F.
2,
- Text
P. 550.
Grec. Fret work fillet. 1316, 2125, 34, 38.
4,
Fan-light.
P.
2.
Bar. P.
303.
F. 3.
Class.
Frieze.
F.I,
Grec.
2, 4,
Egypt. P. 5. F.IO.
5,
F.
1.
Pers. P. 11.
F.
I.
374. F.
9.
F. 18.
Phoen.
P. 13.
Rom. Femal apparel.

Fasces.
Grec. P. 28. F.
P. 38. F.
2, 4.
P.
17.
P. 23. P. 35.
F. 2, 6. 7.
2.
ind. P.
16. F.
2.
Rom.
P. 33.
K. lb.
35.
2.
P. 38.
F. b, 7.
1.
Germ
P. 57.
F.
P. 62. F. b.
Fibula.
P. F. 4
Preh. P.
S.
F. 33,
41.
-'A'.
Etrus.
F.
Rom.
1
P. 72. F.i 3.
P. 73. F.i, P. 79. F. P. 94.
P. 76.
P. 86.
32. F.
,
Celt. P.
50.
F. 11,12.
P. 53.
1.
P. 78. F. 10. P. 87.

F.
2, 3.
12.
F. 3.
1,2.
F.
3, 4.
1.
Fighting can.
Fig-leaf.
Finial.
F.
2,
Text figure
P.
3.
Islam. P. 112. F. 14.
P. 115.
2.
F. 7.
P. 134.
5.
Goth. P. 137. F.
i,
F. 6.
P.
Goth. P. 139. F.
P. 195. F. 2.
F. 3.
4.
P. 161. F.
3,
Goth. P. 135. F.
P. 148. F.
5.
7,0.
P. 147.
5, 6,
P. 184. F. 5.
Ren. P. 204.
P.
P. 149. F.
1.
8.
F.i.
F.
207.
P.
P. 216. F.i.
248.
P. 151. F. 2. P. 153. F.
P. 161. F.
2, 6, 7.
-
3, 4.
257. F.
P. 270. F.
1,
3,6.
- Ren. P. 229.
Bar.
F. 5.
4.
P. 253.
F. 6.
Class. P.
358. F.
4.
P. 371. F. 8.
-- Text
P. 288. F.
Louis XVI. P. 340.
F. 5, 6.
Ren. P. 217. Fire-place. F. 7. P. 246. F. 3. P. 247.

F. 5.
F. 6.
F. 8.
8.
P. 231.
P.
248.
Goth. P. 144. F. Frontal. islam. P. 123. F. Fumigating altar. Rom.

Frock.
figures P. 45, 13'' '59'
l69, 3'6, 405, 597.

1.
2.
P. 41.
F. 20.
P.
249.
F. 9.
P. 262. F.
P. 266.
Fumigating
vessel.
Text
figure P.
459.
41*
644
Furniture.
P. 6. F.
ALPHABETIC INDEX.
Preh. P. 3. F. 10.
Egypt.
German-Gothic.
P.
P.
161176.
20- 24.
Assyr. P. 9. F.7. P. 10.
German-Roman.
Girdle.
F.
2.
1.
7177.
1
F.2,
6, 17.
16,
Ind. P. 16. F.I, 4, 7,8, 12, 13.
Preh. P.
F.
8.
Ind.
P. 16.
Grec. P. 28.
F. 3, 4, 6, 10,
15-20. -
Germ. P. 58. F.3.

P. 65. F.
21.
1
P. 59. F. 4, 6.
1 1
Byz.
820.
35.
Ren.
F.
P.
Rom.
1,
P. 75. F.
8,
P. 84.
6,
11.
1, 2,
6.
3.
3,
Goth.
P. 180.
Goth. P. 153. F. 2. Girth support. Gladiator helmet. Grec. P. 29. F. 2, 6 Glass-painting. - Rom P. 74. F. n. P. 83
P. 142. F. F.
5.
P. 171. F.
F. 3.
Goth. P. 141. F.5,b. P. 154. F.9, 10
210. F.
F.
1
2,
P.
220.
F.
1.
P. 155. F. P.
P.
18.
P.
P. 165. F.
1,
35. - Ren
P.
F.
P. P. P.
36.
P. 230.
4, 6, 8,
3.
P. 241. P.
3.
209.
F. 2.
F.
1.
223.
F. 41.
232.
F. 3
242. F.
1214.
P.
245. F.
P.
6, 7.
244.
P. 261. F.
P. 267. F.
15
247. F.i.
P.
258. F.2,
276. F.
6, 7.
277. F. 17.
284. F. 14,
P. 288. F.i,
4.
5.
Text
figure P. 367.
Bar. P. 287. F.
F.
fa.
5, o.
P. 305.
P. 318.
Glass vessel. Pomp. P. 47.

P. 53. F. 17.
Phoen. P. 13. F.
8, 19.

5-
F. 13.
Celt.
P. 51. F. 8, 10.
Roc. P. 317. F. 1,2.

F.
Islam. P. 120. F.
8, 9.
6 8.
3
F. 5.
P. P.
P.
320.
1 4.
P.
326. F.
1 4.
Col.
Ren. P. 212. F. 24,

P. 237. F.
2.
P.
223. F.
F. 4.
F.2 5. P. 332. F.i 3, 5. 334. F.i 10. P. 336. F. 1-7.

331.
P. P.
337.
F.I.
Hell. P.
399.
P.
400.
Text
figure P. 205.
F.
F.
38, 14.
10,
11.
Louis XVI.
I,
344.
Class.
GlaSS-WOrk.
Glazed-ball.
Rom.
P. 83. F. 6.
Islam.
fa.
P.
346. F.
P.
2, 5
8.
P. 124. F. 4.
P. 367.
F.2 4.
F.2 9.
F. 4
.
P. 372. F.i
370. F.i -7.

17.
P. 371.
P.
islam. P. 130. F.
Emp.
379.
Glazed bas-relief.
I.
Pers. P. 12. F. 11, 12.
F.
5. P.383. P.380. F.4. P. 382. F.i 1-14. P. 384. F. 2, 9, 10. P. 385.
F.
F.
Ren. P. 221.
F.
Glazed brick.
F. 3, 8, 10.
I,
Assyr. P. 8. F.
P. 11. F.
I.
i
Ifa.
P. 9.
P. 12.
5,
fa.
F.i
F.
3,5.
2,
fa,
P. 389. F.
1 4,
393.
6, 7.
1-
P.
390.
Pers.
15.
r 2, 9.
1-3.
1,
Rest.
P.
2,
15.
P. 125. F.
P. 128. F.
Bieder. P.
F.
394. F.
7.
<
I 7.
Hell.
P. 398.
figure
P. 129.
F.
P.
399.
F. 1,3.
Text
Glazed clay ornament.

F.
I
457 607. Furniture feet.

P. 413,
7.
islam.
I.
P. 126.
F.
3,
I.
19.
F.
Louis xvi.
P.
346.
383.
Ren.
F.
3.
Glazed
Ren. plate.
1.
P. 221. F.
P.
231.
2,
Ren.
P.
247.
F.
5.
F.
fa,
7.
5, 8,

tile.
Furniture mounting.
F.i
Emp.
11
I,
P.
13.
Glazed
F.
islam. P. 114. F.
14.
P.
384.
P.
1,
2.
3, 4.
P. 119.
17.
130. F
Gable.
P.
P.
P. 127. F. 5, 7, 12.
P. 128. F. P. 151. F.
14.
Grec.
5.
P. 18.
F.
F. 6.
P.
2 4,7,8.
250.
F.
Goth.
2.
7 9.
8.
228. F.
244.
Text
P. 251.
P. 167. K.
F.
7, 9.
P. 168. F.
F.
4.
Ren. P. 221.
F.
5,
262. F.
9.
P.
figure P. 282.
2.
P.
P.
260.
Gallery.
F. 2.
2.
Goth. P. 135. F.
Ren.
Bar.
P. 312.
48.
P. 328.
F. 7.
P. 257. F.
266. F.
6.
Bar. P. 302.
Text
figure P. 228.
Gallic warrior.
Garden gate.
Gargoyle.
P. 272. F.
Text figure P. 101. Ren. P. 262. F. u.

5.
Glazing. Glove. Goblet.

F.
3.
Class. P.
372.
F. 10.
Goth. P. 160. F. 20.

Assyr. P. 10. F. 16, 18.
11.
3.
Goth.
Bar. P. 285. F.
2.
Goth. P. 135. F.
4.
P. 143. F. 3,
P. 145. F. 20. P. 173. F.

3. 3.
P. 154.
Ren.
P. 167. F.
7.
Ren.
3.
P. 213. F.
P. 6. F.8, 13.
P. 221. F.
4.
P. 237. F.
Garments.
P. 10.
Egypt.
i.
i.
Assyr.
P. 261.
Bar. P.
307. F.
Louis XVI. P. 343.

4.
2, 3.
F. 27.
F. 4.
F. 2.
Hell. P.
399. F.
Gate.
F. 4 F. 6.
P.
Goth. P. 158.
Ren. P. 254.
F. 2.
F.
I.
P. P.
255. F.
P.
257.
282.
Gold brocade. Ren. P. 238. F. Rom. P. 83. Gold embroidery.

Islam. P. 134.
F. 3
274.
F. 2.
F.
P.
i.
Col.
F. 9.
5. 4.
338.
Class. P.
374. F.
German-early christian.
P.
5459.
Gold frame. Gold jewel.
Roc. P. 318. F.
Preh. P. 1. F. 19.
Egypt.
ALPHABETIC INDEX.
P. 7. F.2, 9,
I
64;
I.
2,
15, 17.
Assyr. P. 10.
Hall clock.
5.
Col. P.
336.
F. 3.
2.
;.
F.
8 n,
24, 26, 28.

Ind.
Phoen. P. 13. F.
13, 18.
8,
P. 16.
2,
F. 15, 16, 2;, 26.
8.
5,
Hand
glass.
Ken. P. 225. F.
Grec. P. 17. F.
F.
4 12,
4,
16,17.
F.
1
P. 29.
Handkerchief. Bar. Handle.
P.
Rom. 293.
P. 41. F.
F.
I.
Louis XVI.
15,
10,
20, 23.
P. 30.
5,
P.
343.
F.
Etrus. P. 32. F.
16,
17, 19, 20, 22, 25.
- Rom. 1318,
10, 10.
P. 41.
21, 22.
Celt.
13.
P. 43. F.
P.
18,
1,
3-7,
8,
Handmirror. Grec. P. 28. F. 1. Hanging lamp. Bar. P. 288. F. 2.

Louis XVI. P. 345.
F. 4.
14.
3.
14.
Pomp.
47.
22,
9,
2.
P. 50. F.
2427.
15.
Harness.
F
P.
19.
Egypt. P. 7. F.
9.
Assyr.
P. 51.
F.
P. 52.
13,
1-5. 713,
--
16.
P. 9. F. II.
4.
P. 10. F. 25.
Grec.
P.30.
Ren.
P. 53. F. 9, F.
P.
1
23.
Germ. P. 56.
1.
Goth. P. 140.
F. 7,
5.
P. 58. F.
F. 11,
i.\
17.
47--
F.
Byz. P. 63. F.
P. 74.
235. F.
65.
Rom.
F. 7.
Harp.
P.
Ren. P. 215. F.
4.
P. 75. 1.4,
19.
P. 83.
F. 5, 8.
P. 84.
Head dress.
50.
P.
10,
Pcrs. P. 12. F. 10.

15.
II,
Celt.
F. 9.
F.
Russ.
F. 11.
2.
P. 111.
2 5.
5,
-P.
F.
Goth.
F. 14,
Goth. P. 140.
-
F. 4.
P. 143.
P.
P. 173.
F.
9.
Ren.
160. F.
19.
Ken.
1
P. 214.
223.
P.
P.
236. F.2,4 9,
4, 6.
12.
F. 4, 9.
P. 247. F.
P.
8,
258.
9,
243. 6. -
F. 4.
Text
figure
P. -~
Heating stove.
G
ith.
F.
1.
Etrus. P. 32.
F. 23.
Bar.
306.
F.
14,
2,
6.
IO,
12.
5.
P. 167.
Roc. P. 321. F.
3,
7-9-
P.
326. F.
8.
Hellenic Ornament.
P.
396-400.
F.
Louis XVI.
P.
347.
F. 7,
P. 351.
Helmet.
F.
1
,
Preh. P.2. F.41.

I
Grec. P.29.
18.
Text
figure P.
4"7, 422, 557.

F.
i,
2, 6, 7, IO,
3.
Etrus. P. 32. F. 2, 5.
Gold utensil.
Rom.
P. 100.
7, 8.
Rom. P. 44.
.lap
F. 2, 6, 14.
Russ. P. 110. F.9, 10, 11.
F. 6.
Chin. P. 193. F.
P.
4.
Goth. P. 173. Ken. P. 223.

307.
F.
1.
F.7.
F. 2.
Islam. P. 115. F. 12.
Russ. P. 110.
Goth. P. 176.
F. I, 2. -
P. 199. F.
5.
8.
Ren. P. 222.
1.
F. 13.
250.
F. F.
1.
Bar. P.
P. 223. F. 11.
P. IO.
P. 258. F.
Text
Roc. P. 330.
19.
5.
figure
Gold vessel.
P.
8.
Germ. P. 59. F,
P. 75. F.
5,
Rom.
3, 5.
-
Hermes.
Holdfast.
Ren. P. 217. F.
P. 227. F.
2.
74.
F. 2,
F. 9,
P. 96.
JO.
1,
5.
P.
84. F.
3,
Hilt. Preh. P. 2. F. 27, 44.
P. 100. F.
8.
Bar
P.
303.
F. j.
Russ. P. 110. F.
8.
5,
Goth. P. 143. F.
b.
3.
Ren. P. 212.
F.
Holy-water fout. -- Goth. Holy-water vessel. Roc.

Horn. House.
P. 153.
P.
F.
F.
4.
1.
323.
Gospel. Gothic.
f. -J,.
Germ. P. 58.
P.
Fig.
1.
135188.
-
Goth. P. 176. Preh. P. 3.
F. 4.
F. b.
Gothic Arch.
P.
237.
P.
Text figure
Hunting horn. Germ. Ren. Hunting spear.
P. 58. F. 9P.
235.
F.
i.
Gothic Flora. Rom. Grating.
P.
Goth.
137.
F.
n.
Idol.
Preh. P. 2. F. 4-.
P. 99. F.13.
12,
Louis XVI.
P.
343.
F. 3-
354.
1.
F.
3.
Greaves.
F. 11.
Preh. P.
F. 15.
:,
Grec. P.29.
14.
Rom. P. 41. F. Incense box. Indian. - P. 1416. P. 194, 195. Indo-Chinese.
4,
2b.
Etrus. P. 32. F.
Initial.
12.
3
.
Celt.
P. 68. F.
2,
2,
6.
P.
70.
F. 9.
Grecian.
Grilli.
P.
1730.
306.
F. 12.
8.
Rom.
F.
. 1
P. 75. F.
7.
P. 84.
F. 4.
10.
P. 101.
Bar. P.
Grotesk figure.
Guitar.
F. 20.
Roc. P. 330. F.
F ,_,
F.
1,
Goth. P. 159. F.
P. 174. P. 239.
I,
Ren. P. 214.
F. 3, 5-
Egypt. P. 7. F. 10.
Ind. P. 16.
3,
13.
235,
Bar. P.
309.
F.
2.
183,
Text figures P. 1,5,

lace.
12, 22, 2Q,
34, 37' 43,

137,
Guipure
Ren. P. 279. Gutter spout. Rom. P. 43. F. 1, Hair pin.
Ren. P. 245. F.
3,
5.
67, 193,
71,
gi, 99,
109, 2 39l
120,
132,
F. 6.
7,
198,
2S3
255,
275,
299,
15.
Halbard.
F. 2, b.
Ren. P. 222.
F. 1,4,5-
P. 235.
311, 317, 328, 339, 34', 346, 368, 383, 408, 4:5. 4'7, 423, 434, 45 s 46i, 469,
,
477, 49i, 5"5, 59-
646
Text Ink-Stand. Inner decoration.
ALPHABETIC INDEX
5.
figure P.
523.
F. 3.
Jonic Classistie Order.

P. 357.
Class. P.
356.
Ind. P. 15.
1.
Inscription.
P. 106. F.
Byz. P. 66. F.
Rom.
Jug.
Grec.
P. 26.
F. 13,
16.
5.
Rom.
P. 43. P. 231.
P. 41.
F. 6.
F. 16, 24.
P. 42.
F. 20.
Islam. P. 128. Intarsia work. P. 230. F. 3.

Interior.
F. 27, 28.
i,
P.
P.
Ren. P. 221. F.
P.
Ren. P. 210. F.
6.
F. 2, 4,5.
237.
F. 7.
F. 7.
P. 276.
F. 4.
Bar. P.
299.
Roc
322.
2.
1.
F.
1.
P.
327.
Keltic.
6870.
F. 14.
Rest. P. 392. F.
Key.
17, 44.
2, 4.
Rom. P. 41.
Goth.
3.
P. 180.
F. 4.
Iron arm.
F. 6,
Etrus. P. 31.
P.
Preh. P. F. 23, 30. Grec. P. 29. F.

F.
6,
1,
P. 2.
F.
Ren.
F.
P.
3.
225. F.
P.
233.
- -
5, 7, 10, 16.
Roc. P. 317.
P. 328. F.
5.
6, 14, 21, 26.
Rom.
6.
Key-hole.
F.
1
Rest. P. 393. F.
6.
Text
44. F.
2,
5,
14.
Celt. P.
52. F.
figure P. 621.
P. 53. F.I, 2, 5, 10.
Germ. P. 58. F. 2.
Keystone.
P.
Rom.
Preh. P.
P. 71. F.I.
Louis XVI.
Rom.
F.
2.
P. 100. F.
4, 6, 12,
18.
Russ. P. 110.
P. 120.
F. 6, 7.
Islam.
P. 133.
340.
P. 115. F. 4, 9, 12.
F. 3,
2.
7.
P. 134.
F.
2.
Knife.
1.
F. 42. P. 2. F. 6, 23, 30.
- Egypt.
P. 6. F. 14.
10.
Celt. P. 51. F. 14.

F. 1.
6.
Goth. P. 140. F.i,

F.
4,
P.141. F.4.
I,
P. 160.
- Islam.
P.
130. F.9.
1,
Goth. P. 140.
P. 237. F.
P.
12,
1416.
F.
P. 176. F.
2.
2,
P. 196. F. 2, 5, 7.
P.
S.
Jap.
3, 5.
4,
Ren. P. 223. F.
Ren. P. 215. F.
Knife handle.
Louis XVI.
347. F.
3.
P. P.
222.
16.
3, 5
235.
F.
1,
6.
243. F.
P.
258. F.
I.
Text
figure P.
v^-
Knocker s. Door-knocker. Krubok. Russ. P. 110. F. 9. Lace-work. Ren. P. 236. F.

Bar. P. 287.
F. 2,
4.
10, 11.
1,
4.
Iron grating. Rom. P. 83. F. i. Iron lattice work. Kom. P. 83. F. Islam. P. 125. F. Iron mounting. Preh. P. 1. F, 45. Iron tool. Rom. P. 100. F. 13, P. 53. F 7, 8.
P.
289. F.
2,
10,
1.
P. 311. F.
1.
2, 4, 5.
-
Celt.
15, 17.
Rom. Ladle. Lance-head.

P. 2. F. 26. F.
2.
P. 41. F. 15.
Preh.
P.
1.
s.
3.
F. 20, 40, 44.

P. 134.
Islam. P. 133. F. 3.
F.
Ren. P. 222. F.
1.
7, 9.
-- Roc.
P.
316,
Lantern.
Iron arm.
Ind.
F.
Rom.
-
P. 100.
F. 17.
4.
Jap.
Iron weapon Iron work.

P. 173.
P. 197.
Roc. P. 332. F.
P.
P. 14. F. 11. P. 198.
Goth.

P. SO3.
46.
Text
figure
F. 4.
Jap
F. 1.
Islamitic.
112-124. Italian-Gothic. P. 117183. Italian-Roman. P. 8688. Ivory carving. Preh. P. 1. F. 13. Assyr. P. 8. F. 3 9. Rom. P. 41. F.I 7.
P. 44. F. 10.
F. 2
4.
Lambrequin.
F.
1
.
Islam.
2.
P. 117.
F. 12.
Roc. P. 320. F.
367.
Louis XVI. P. 347.

F. 3. F. 13.
Class. P.
Lamp.
Rom.
P. 42.
P. 43.
12, 19, 20.
Pomp.
P. 47. F. 12.
7.
Islam.
F.
4, 7.
F. 9,
Byz. P. 63. F. Ren. P. 225. F. Japanese. P. 196200. Japanese Keramik. P. 196.
4, 6.
I.
P. 64.
P. 115. F. 5, 6. P. 20=;.
P. 120. F.
Text figure
269.
Lamp
F. 4, 0.
holder.
F.
2.
Ren.
P.
lap.
P. 274.
P. 198.
F. 2.
Laquer Painting.
Text
figure P.
323.
P.
Japanese lacquer painting.

F.
Jap.
P.
P. 198.
5-12.
Latch Key. Bar. P. 303. F. 6, 7. Later Renaissance in England.

to
279
Jar.
Egyp. P.
ind.
7. F. 4.
Bar
299. F.
2.
284.
Javalin.
P. 16.
ind.
F. 10.
Lattice work.
F. 12,
[3.
I
I .
Germ. P. 54.
F. 10.
Jewel-case.
Grec. P. 29. Joist.
P. 16.
F. 24.
Leaf moulding. Leather work.

Assyr. P. 9. F.
P. 75. F. 17.
Goth. P. 146.
Egypt.
P. 6.
F. 8, 9.
F. 13.
Islam. P. 115.
F. 15.
P. 10. F. 25.
Rom.
Jonie.
Grec. P. 20, 21.
Goth. P. 140. F.9.
P. 167.
ALPHABETIC INDEX.
F. 2.
647
2, 7.
Ren.
2.
P.
225.
F.
4.
P.
232.
F. 4.
2.
Rom.
F.
I,
P. 75. F.
13.
P. 84. F.
1
4.
5.
P. 101.
Islam. F.
1.
P.
243. F.
Russ.
F.
4,
P. 110. F.
-
Text
figure P. 5j}5-
P.
130.
14.
Goth.
170.
P. 142.
F. 5, 7.
Lecanium.
Lectern. Lettering.
P.
Grec. P. 28. F. 9.
5.
P. 154. F.
P.
P. 174.
Goth. P. 145. F.
Byz.
P. 63.
P. 171. F. 4.
- -
F.g 13.
P. 135,
P. 183.
F.I
8.
lext figure
F. 10.
Celt.
tg7, 2/,.
Islam.
4.
70. F.
4.
F.
Goth. P. 159.
Rom. 18.
2.
P. 101.
13.
1
P. 175. F.
P.
15. -
Marble inlaidwork.

F. 7.
P.
134.
Bar. P. 301. F.
Ren. P. 214. F.
to 13.
2, 3, 5.
P.
240. F.i,
F.
I,
P.
259. F.
239. F. 15, 8 5. -
Bar. P.
309.
2, 4, 5.
Roc. P. 319.
Marble statue. Marquetry. Mask. Rom.

P. 103. F. 8.
P.
Rom. P. 44.
41.
F. 23.
F. 15.
3,
Goth. P. 168. F
F- 3, 5, 6.
Ind.
F. 4.
Scand.
Ba.. P.
290.
Lily
ornament.
Egypt. P. 4.
F. 7.
P. 5.
F. 7.
Goth. P. 137.
Egypt.
11..
Ft.
-
Meadow-rue. Goth. P. 137. F. 11. Measuring cruet. Rom. P. 84. 1.3.

Medaillon.
-
Lion.
P. 6.
F. 15, 18.
Assyi
P. 23.
3.
J.
P. 15. F. 4.
2.
P. 16.
F. 5.
I .
P. 8. F. F.
4.
P. 9.
F. 12.
Grec
- R,.m. P. 43. F.
Ren. P. 247.
Byz. P. 66.
Col. P.
P. 88.
F. 4, 5.
Goth. P. 177. F.
P. 180.
F. 4.
334.
P.
F. 3.
Lock. Goth. P. 140. F. 8. - Ren. P. 234. F. 2, 4.

F.
2.
1,
Bar. P.
F. 6.
303.
to.
Medusa head. Rom. Meissener Porcelain.

F.
i
P. 43. F. 25.
Roc.
329.
Louis XVI. P. 344.
8.
Lock mounting.
Bar. P.
Goth. P. 169. 1.2. R

P.
8,
305. F
333.
F.
Memorial wreath. Rom. P. Mercury head. Rom P. 42.

Metall vessel.
41. F. 13.
F. 9.
1
Lombardie.
P. 54, 55.
Islam
P. 134.
Looking-glass. Ren. P. 277. F. 5. Louis XVI-Ornament in France. - P. 340

to
347.
Louis
P.
XVI-Ornament XVI-Ornament
-
in
Germany.
P.
Metope. Rom. P. 93. F 5 Assyr. Military badge. Rom. P. 44. F. 9, II, 2. Minaret. -- Islam. P. 127.
P. 9.
F. 9.
F.
10.
P. 131.
352-354.
in Italy.
F. 2,
3.
Louis
to
348
Miniature painting.
P. 65. F.
I
Byz. P. 64. F.
3.
350.
b, 8 10.
Etrus.
P. 32.
P. 391.
Text
figure P. 55').
Louis XVI
lands.
-
Ornament
P. 351.
in
the
4.
F.
Nether-
Mirror. -P.
F. 13.
Emp.
Text
figure
384.
F. 2.
F. 2.
Lotus capital. Egypt. P. Lotus ornament. Egypt. - Ind. P. 15. F. 9.
e>.
P- 537-
P. 5.
F. 9, 10.
Mirror frame.
Roc. P. 326.
F. 8.
Bar.
P.
307.
F. 3.
F. 2.
Louis XVI.
P.
346.
Lyre.
Grec. P. 28. F.
11
13.
Madonna.
Majolica.
Germ. P. 58. F. Ren. P. 211. F. 25,

10.
7,
8.
Grec. Mirror handle. Rom. P. 100. F. Mitre.
P. 29.
7.
F. 15.
Ren. P. 243.
Main Corridor. Col. P. 335. F. 9. Mantle of Bousa. Jap. p. 200. F. 6. Mantle piece. Ren. P. 206. F. 4. -
F.
I.
Text
figure P.
4--4.
Monogramme.
figure P. 557-
Roc. P. 319. F.
Text
b.
Bar. P.
Col.
P.
288. F
7.
Roc. P. 333. F. IO.

o.
Monogramme
Monument.
F. 4.
of Christ.
7.
P. 57.
3.
F.
7.
P.
334.
F.
1
.
F.
1,4,
P.
335.
F. 2, 5.
P.
Goth. P. 148. F.
P. 167.
338.
361.
P.
339.
P.
P.
Louis XVI. P. 342.
F.i.
P.
P. 345. F.
F. 4, 5.
354. F.i.
1.
P. 180. F.
Class.
F. 4. F. 1.
Moorish.
Mosaic.
F. 3.
116120.
363. F.
-
P.
367.
Moorish Arch.
Text
figure P. IQQ.
P.
373. 386.
F. 2, 4. F. 3.
Emp. P. 379.
F. 4.
P.
P.
390.
7,
Pers. P. 12. F. IS.
Pomp. P. 46. F.
10.
Grec. P. 23.
1,
3,
6,
8.
Manuscript painting.
10.
Celt.
Byz. P. 63. F.
P. 68. F.
2,
Germ. P. 59. F.g,

to 93,
Byz. P. 63. F.
P. 91. F.
I
P. 65.
F. 7.
14,
5
I,
Rom.
9.
P. 90. F.
712.
F.
6 11.
P. 69.
F.i 21.
P. 70.
F.i 4.
6,
Islam. P. 115.
3, 7, 8,
648
1
ALPHABETIC INDEX.
P. 120. F.
3, 10,
1
1
.
3.
P. 134. P.
4.
7.
P. 178.
b.
F. 5.
Ren. P. 209. F.
F. 6.
P. 211. F.
P.
260.
17,
Ind.
Text
figure P. 165.
II
Mosque.
16,
19.
Islam. P. 126. F. 5, 6,
13,
Rom.
Islam.
Night table. Rest. P. 393. F. 1. Northern Renaissance. P. 248, 249. Orders of Vignola. Text figure P. 347. Organ. Ren. P. 281. F. 8.
Ornament
P. 15. F.
P. 92. F.
2, 5.
painting.
F. 5.
Preh. P. 13. F.
Moulding.
P. 79. F.
P. 125. P.
4.
1. 2,
2,
3.
F.
3, 5.
Jap. P. 197.
P. 199. F.
1, 4, 6.
Ren. P. 252. F.
F.
F.
-3, 5.
Ren. P. 272.
4 6.
F. 2.
Ottoman.
Outlet.
F. 2.
P.
48. 122126.
273.
12,
Roc. P. 333.
Ottoman Arch.
P. 215.
io.
Mural fresco or painting.

F. 10.
Egypt. P. 4.
P. 6. F.
1
Goth. P. 173. F.
Jap. P. 198.
13.
P. 5. F. io,
1.
14.
7.
P. 7. F.
10,
13.
1
Assyr. P. 8. F.
P. 19. F.
1
12.
F. F.
1
Gree. P. 17. F.
Etrus. P. 31. F.4. P. 32. F. 9, 10.
Pomp.
1
4.
Preh. P. Paddle. Painted Ornament
3. F. 12,
s.
Ornament
painting.
Pallet knife.
Preh. P. 3. F. 17.
P. 45. F.
2, 3.
P. 46. F.
2, 4,
5, 7.
P. 48.
P. 49.
P. 91.
8. b.
Palmette frieze.
Panel.
F.
I.
3.
Rom.
F. 6.
P. 90. F.
8.
s, 9,
12,
13, 15, 16, 17, 20, 21.
Germ. P. 57.
Byz. P. 62.
F. 6.
10.
Rom.
P. 95.
P. 72. F.
F.
1.
9 12.
P. 63. F.
Islam.
P. 124.
F.
F. 4,
5,
8.
P. 97.
F. 7,
Goth.
P. 150.
F.i.
P. 156.
2 4.
P. 107. F.
-5,
7-
2,
Russ. P. 111. F.
P. 177. F.
b. 5. 5.
P. 157. F. 6. P. 187. F. 4. F. 5. P.
Ren. P. 210.
4.
1.
Goth. P. 139. F.
7.
1 13.
4,
2, b.
230.
F. b.
3.
P. 241. F.
P.
P. 256.
P. 178. F. 6,
P. 180. P.
P. 181. F. P. 226. F.
4.
I,
F.
6.
P. 261. F. P. 265. F.
263.
F.
P. 264.
P.
Ren. P. 204. F.
9,
F. 6.
F. 6.
5.
P. 281. F. 6.
1.
282.
3_b,
F. 3. F. 2.
10.
P. 232. F.I,
1,
Bar. P. 293.
P.
Bar. P. 301. F.
P.
Louis XVI.
3.
F.2,
F. 2.
3.
Roc. P. 318. P. 295. F. Class. P.371. F. Emp. P.379. Rest. P. 393. F.7. Hell. P. 399.
3,
4.
P.
F.
352.
1.
F. 3.
F.
Class. P.
3, b.
369. F.
P. 371.
F. 5.
1
1.
373.
Emp.
388.
Panelling.
to 6.
8.
Islam. P. 117. F.7.

2, 3.
P. 118. F.
Text figures P. 2;, 41, 6j, 6g, 110,
P. 121. F.
Goth. P. 164. F
b, 7.
148, 313, 336, 597.
Papyrus capital.
Egypt.
P. 4. F. q. P. 5.
Musical instrument.
Egypt. P. 7. F.
6.
F.
1,
5,
b,
Assyr. P. 8. F.
Grec. P. 28. F.
13.
11
Ind. 13.
F. 5,
P. 16. F. 20.
Ren. P. 215.
6.
Papyrus column. Papyrus ornament.

10.
Egypt. P. 5. F.
1,
5. 7,
Egypt. P. 4. F.
F. 4.
Bar. P.
298.
F.
1,
Class.
2.
P. 5.
F. 11,
12.
P. 363.
F.2,
3.
P.
369.
Palm column.
Parapet.
Parsley.
Egypt. P. 5. F.
3.
2,
4,1
14.
Emp. P. 389.
F. 5.
Mysterious tree. Nail-head. Jap.
Assyr. P. 8. F.
2.
Byz. P. 66. F. Goth. P. 137. F.
8. 6.
P. 197. F.
Ren.
Partisan.
Paten.
7,
Ren. P. 243. F.
P. 84. F. 12.
Islam. P. 125.
P. 253. F.
1.
Rom.
Nautilus goblet. Necklace. Preh.

P. 7. F.
9.
Bar. P.
307.
F.
F. 4.
Paving-tile.
P. 1.
F. 37.
Assyr. P. 10.
Egyp. 28. Grec

3.
Pea-tendril.
F. 9.
Text
figure F. 222.
Pedestal.
P. 11. F.
4.
Assyr. P. 8. F. 14.
II, 12.
P.
Pers.
P. 30. F. 20, 23.

Celt. P.
Rom.
P. 43. F.
Islam. P. 122. F.2,
50.
F. 7.
1.
P. 51. F.
3-5.
Goth
Roc. P. 333. F.9.
P. 143. F. F.
2.
P. 160. F. 9.
3.
Ren. P.
3.
223
Pendant.
F. b. P.
258.
Ren. P. 236. F.
F. 6.
12.
247.
Celt Necklet. Needle. Preh.
P. 51. F.
P. 53. F. 13
Perfuming pan.
Persian.
Emp.
P. 285. F. 4.
P. 1. F. 10, 27, 38, 45.
P. 11,
12.
Egypt. P. 6. F. 19.
Celt. P.
53.
F. 3
Pew.
Russ. P. 110. F. 13.
Ren. P. 250.
Needlework.
F. 27.
Assyr. P. 9. F.
b.
P. 10
F. 3. P.
262.
F. 2.
P. 281. F.
35,
7.
Phoenician-Hebraic.
P. 13.
F.
I, 2.
P. 144, 145. Netherlandish Gothic. Ren. P. 226. F. 8, n, 12 Niello-work
Piano.
P.
Class. P.
369.
Emp.
389.
F. 5.
ALPHABETIC INDEX.
Pillar.
649
Egypt.
8, 9.
P4.
14,
F. 5, 6, 8, 11.
Ind.
Polish Renaissance.
P.
250.
P. 14. F.
F.
I,
P. 15.
F. 8.
--
Grec. P. 20.
2,
Pompeian.
P.
45 49.
2, 4, 5,
13,
15.
P. 21. F.
13, 14.
Porcelain vessel.
Roc. P. 316. F.
P.
3.
P.
Ren. P. 284.
F. 5.
-Rom.
F. P. F. F. P. P.
i,
P. 38. 6
-
F. 1,2.
Byz.
P. 67.
329.
F.
1 8.
Emp.
P. 14.
3, 5.
80.
3. 1.
F. 4,
Rom. 7-9, M,I2.

F. 2,
P. 76.
F. 15, 16.
384. F.
4.
4.
5. 5.
Islam.
P. 132.
Portal.
F. to.
P.
Assyr. P. 9. F.
10.
Ind.
3.
Goth. P. 177. F.
P. 218.
F. 5.
Ren. P. 207.
Germ. P. 55.
ii, 14.
F.
6 8.
Rom.
P. 81.
P. 93.
P. P.
F.
227.
F. 8.
73. F.
3, b.
P. 78.
F.
1, 3, 6.
232. 253.
P. 241. F.
248.
3.
F.
7.
F.
P. 87.
F. 5.
F.
P. 88. F.
1 5.
F. 3, 4, 9-
P. 256.
P. 263.
3.
F.i.
F.
1, 3,
P. 98.
7.
5 7.
--
Skand.
P. 103.
F. 5, 6.
P.
264.
7.
F. 5.
P. 271. F.
3.
P.
Bar.
P. 104. F.
16.
F.
P. 107. F. 6.
P. 285. F.
F.
F.
2.
1.
P. 301. F. P.
Class.
-
356.
F.
- Roc. 3-Emp.
5.
324.
F. 7
Islam. P. 117. P. 138.

F. 3. P.
F.8.
P.
P. 131. F. 4.
P.
Goth.
P. 378.
158.
3,
1,3.
P. 163.
Restor. P. 392. F.
P.
393.
F.
3.
166.
F.
1.
b.
P. 188. F. 5.
Text figure. F. 4, /,',''<. Pillar capital. -- Egypt.

P. 5.
Ren. P. 209. F.
P. 4. F.
5, 6, 8.
3.
P.
227.
F.
1 .
F. 7
228.
F .4.
Bar. P.
P.
5i
280.
F. 6.
F.
Col. P.
P.
334.
358.
F.
5.
F. 8.
2.
Phoen.
P. 13.
F. 2,
F. 7, 8.
F.
335.
Class.
Ind. P. 15.
Grec. P. 18. F. 10, II.
1-3.
369.
"
Bar.
P.
P. 20. F.
1,
2, 4, 5,
I
1315-
P- 21. F.
I
2, 13.
1
,
Portiere.
P.
F. 4.
.lap.
298.
i.
--
class.
P. 22. F.
8,
P. 38. F. 1,5.
Rom. Pomp.
I, 1,
P. 34. F. P. 45. F.
12.
P. 371. F. b, 9.
P. 197.
F. 2.
5, 7.
7.
POSt.
Germ.
F. 10. F.
5.
P. 55. F.
2, 5.
2.
--
Rom.
3.
P. 71.
P. 94.
POt-hanger.
POt.
P.
Skand. P. 105.
P. 81. F.
P. 82. F.
Islam.
Class.
375.
P. 95. F.
5.
P.
P. 116. F.
- Goth.
F. 5. P.
F.
8,
P. 135. F. II.
2.
--
Ren. P. 254.
P.
-
Powder-horn. Prayer-book.
F. 3, 5. P. 133. P. 75.
F. 5.
Islam.
Rom.
8.
F. 20.
255. F.
279.
F. 1,3.
2.
280.
Hell.
Goth. P. 143. F\
9.
F. 5.
Bar.
P. 285. F.
Prayer-book bag.
Prehistoric
Press.
F.
4.
--
Goth
P. 140. F. 6.
P. 396.
and primitive.
3.
P.
13.
Pillar crest.
Pillar flnial.
Pill.
F".
Chin
P. 189. F.
i,
3.
Bar. P. 297. F.
Roc. P. 331.
P.
Ren. P. 254. F.
1.
2.
Emp.
P.
389. F.
7.
Preh. 10
I
F. 45.
1.
Rom
F. 3, 4
.
P. 43.
8, 2 1, 22.
Ren. P. 214. F. i. Printing mark. Processional crucifix. - - Goth. P. 143.

F.
5.
Plastic figure.
F.
I,
Preh. P.
P. 2.
Roc. P. 323. F.
4.
40.
I.
Egypt.
P. 4. F. 11. P. 6. F. 9,
3.
Pulpit.
F.
i.
F.
Byz
P. 66. F.
m.
5-
Rom.
1.
P. 86.
10, 15, 18.
P. 7. F.
Assyr. P. 9. F.
3.
12.
Goth.
2,
P. 153. F.
F. 7.
P- 165. F. b.
F.
P. 10.
F.
Pers
P. 12. F.
Ind.
Phoen.
(..
Ren. P. 228.
P.
P.
275.
F.
1.
Roc.
P. 13.
F. 10, 14.
5.
P. 15.
F.
325.
3.
P.
328.
Louis XVI.
Grec. P. 18. F.
P. 21.
F. 10.
P. 23. F. 4, P. 41.
P. 353. F.
1-3.
F. 7.
8,9,10.
F. 15.
P. 29. F. 8, 18.
1.
Rom.
Purse.
Goth. P. 140.
F. 17, 19, 23.
P. 42.
F. 8, 9, 18.
P. 44.
Pygmi.
Pyxe.
5,
Phoen. P. 13.
P. 96. F.
F. 10.
9,
Goth. P. 145. F.
F.
:.
F.4.
P.
P.253. 325. F. 4. - Text

7.
Ren. P. 221. P.254. F. 1. -- Roc.

figure P.
7.
I>6,
Rom.
IO.
P. 100. F. 3,
00,
<)I, [)~
1
Platband.
P. 21. F.
Grec. P. 18. F. Rom. P. 33. F.

F. b.
1.
P. 20. F.
17, 19.
2.
Quarrel. Quiver.
P. 133.
Ren. P. 253. F.
7.
Rom.
4.
P. 43. F. 23.
2.
Islam.
P. 35.
P.
Goth. P. 167. F.
P. 181.
F.
6. 8.
1,
12.
Railing. -- Goth.
Ren.
Plate.
F. 4.
Islam. P. 133.
- Chm.
P. 192.
P.
F. F.
209.
3, 5.
5, o.
F. 6.
234.
F.
b-
P. 257.
Jap. P. 198. F.
Ren. P. 221.
1,
P.
274. F.
4, 7-
Emp. P. 391.
F. 2. P.
P.
223.
8.
F.
7.
P.
276. F.
6.
Roc.
329. F.
Pocket.
Troth.
P. 160.
F. 7.
Railing Post. Etrus. Razor.
Col.
P. 335. F.
1.
P. 32. F. 11.
650
Reading desk.
Ren. P. 258. F.
ALPHABETIC INDEX.
5.
Germ.
P. 59. F.
2. 3.
6.
P. 281. F.
Rock-crystal vessel. Rolled-up curtain.

Roof.
F.
I
Ren. P. 223. F.
5.
Regulator.
Roc. P. 315. F.
Relief figure.
F. lb, 17.
F. 4, 13.
Preh. P.
1.
F. 18, 19.
P. 2.
Grec.
io.
Jap. P. 197. F. 12.
P. 23. F. II.
Goth.
P. 152.
F. 7, 13, 22. P. 3. F. 10, 12.
Egypt.
1, 2, 6, 8.
P. 6.
Assyr.
Phoen.
io.
4, 7,
P. 8. F.
P. 9.
Pers. P. 11. F. 10. P. 12. F. 9,

P. 13. F. 22.
5.
11,12.
Ind
P. 15. F. P. 20. F.
P. 25. F. F. 7.
P. 16. F.
Roof crest. Chin. P. 189. F. 8. Roeoceo forms. Roc. P. 313. F. i 8. Roeoeco ornament P. 313332. Rococco ornament in England. P. 332
Grec.
to
333.
in France.
u.
i.
P. 21. F. ii. P. 24. F. P. 29. F. 19.
13.
Rococco ornament
to
P.
314
Chin. P. 190.
322.
Relief ornament.
23, 31.
F.
2,
Preh.
P. 3. F.
17.
P.
4.
1.
F.
i, 2,
P. 2. F. 18.
7.
I,
Egypt.
P. 4. F.
P. 7.
Pers. P. 12.
21.
F. 13, 14.
Ind.
Phoen.
P. 13. F.
ornament in Germany and P. 324331. Rococco ornament in Italy. P. 323. Roman. P. 3344. Roman. P. 71107.
Rococco
Austria.
Rosette.
F.
2, 3.
P. 14. F. 9. P. 15. F. 9, II, 12. P. 16.
Rom. P.86.
F.
3-
F.4.
Goth. P. 146.
F.
io,
F. 21.
Grec. P. 17. F.
P. 19. F.
1
3,
1619.
P. 18.
2, 6, 7,
P. 153.
P. 164.
n.
Roc.
F. 4, 8.
10.
P. 21. F.
P. 173. F. 4.
9, 11, 12.
P. 25. F.
10.
2, 3, 5.
F.
1,
3, 8,
P. 32.
P. 44. F.
F. 13, 24.
1,
P. 43. F. 25.
P. 160. F.
3, 7,
Etrus. P. 31. Rom. 13. Goth.

4.
1
P. 328. F. 8. Rose- window. P. 166. F.

5.
Ren. P. 264. Text
Rom.
Text
F. 8.
figure P. 275.
P. 87. F.4.
Goth.
252.
figure P. 241,.
120.
P. 184. F.
ReligiOUS tools.
Grec. P. 30. F. 12,
3.
Russian Renaissance. Russian Ornament.

Sacrificial knife.
P.
21.
P. 251,
108111.
12, 13.
Rom. P. 41. F. Reliquary. Celt.
5,
2026.
3,
Grec. P. 30. F.
P. 50. F. 17. P. 64. F.
2.
Germ.
P. 65.
7.
Rom.
P. 41. F.
P. 58. F. 7.
F. 16.
Byz.
Sacrificial axe.
Rom. P. 41.
2.
F. 2,
12.
Rom.
P. 74. F. 10.
3.
P. 77. F.
5.
Saddle.
P.
Ren. P. 243. F.
F. 2.
Louis XVI.
F.
-Goth. P. 140. F. P. 304. 7. Bar.
P. 176. F.
3.
P. 181.
347.
F.
Salon decoration.
i
Louis XVI. P. 345.
Remonstrance. Bar. P. 307. F. Renaissance Arch. Text figures. P. 341. Renaissance in England. P. 261278. Renaissance in France. P. 216226. Renaissance in Germany, Austria and Switzerland. P. 227243. Renaissance in Hungary. P. 243. Renaissance in Italy. P. 201215. Renaissance in the Netherlands. P. 244-247. Renaissance in Spain and Portugal.
F. 3. P.
F.
1.
348.
P.
350.
F. 4.
Emp. P. 386.
13.
P.
387. P. 388.
F. 2.
F. 8,
Sandal. Egypt. P. 6. Saracenic. P. 121.
Saracen-Norman. - P. 8991. Sarcophagus. Phoen. P. 13. F.

Etrus. P. 31. F.
7.
14.
2,
Germ. P. 59. F
Rom. P. 39. F. 2, 4. Rom. P. 94. 7, 8.
F. 7.
Goth. P. 185. F.
6.
Satyr.
F.
2.
Rom.
Text
P. 42. F.
8.
Scabbard.
Scales.
Preh. P.l. F.30. Jap.P.196.

figure P.
P.
253-260.
j$5.
7.
Renaissance Ornament. P. 201 278. Restoration Ornament. P. 392-393. Rhyton. Egypt. P. 7. F. 6.

Rib.
Rom.
P. 42. F.
Scandinavian -Roman.
SeiSSOrS.
F.
9.
I.
P.
102107.
Preh. P.l. F. 35.
Ren. P. 223.
Rom.
P. 76. F. 12.
Jap. P. 199. F. 2.
Rocc. P. 316. F.
Rest. P. 393. F.
Ridge-tile.
Rifle
Screen.
F.
2, 3, 5.
mounting.
Bar. P.
294.
F. 8.
Jap. P. 199. F.4. Ren. P. 230.

2.
Ring.
Egypt.
P. 7. F. 12, 15.
Celt. P.
P. 17. F. 6. P. 63. F.
1
53.
Grec. F. 23. Byz.
Seal.
Rom.
P. 84. F.
7.
Seat.
Preh. P. 3. F. IO.
Egypt. P. 6.
F. 20, 24.
Assyr. P. 10. F.
2, 17.
Grec.
ALPHABETIC [NDEX.
P. 28.
F.
6.si
F.
b,
10,
lb,
18.
Rom
P. 39.
Sign-bourd.
Silk.
F. 3.
Ren. P. 269. F.
b.
I II.
Celt. P.
52.
F. 14.
F.
2.
Germ.
II.
.lap.
P. 198. F. 3.
b.
Ren. P. 224.
P. 58.
F. 3.
1,
Skand. P. 103.
5.
Bar. P. 289. F.
Text
figure
Goth. P. 157. F.
F. 4, 6, 12.
P.
230.
2, 4.
F.
1,
P.
242.
F. 4.
P. 623.
P. 277. F.
b.
P.
F.
284.
1.
Silk
damask.
Ren. P. 213. F.
P. 12. F.
8.
5.
P.
Ba.. P. 287. F.
P.
P.
288.
P.
P. 297.
2.
Silver coin.
Silver jewel.
F.
3.
Pers.
Celt.
F. 4.
305.
F. 4.
F. 3.
--
Hoc. P. 317. F.
P. 50. F. 16.
I.
P. 53.
320.
1.
P.
326.
F. 6.
F. 4.
332.
F. 3, 5.
5, 7,
Ren. P. 260. F.
10,
Col. P.
1
336.
P.
337.
F. 3,
5.
Silver mounting.
Ren. P. 252.
F.
1.
9.
P.
346.
Silver relief.
14.
Ren. P. 236.
F. 5.
P.
Class. P.
372.
F. 3.
Emp. P.382.
P.
Silver utensils.
100.
F.
Rom.
P. 41.
F.
F. 5.
F. 5.
F.
384.
F. 9,
10.
-- Rest. P. 393.
P. 42. F. lb, 19, 21.

P.
1,
Rom.
9.
P. 84. F. 12
Hell. Bieder. P. 394. F. 3. 13. Text figure P. ^57. Rom. P. 42. F. 10. Sedan chair.
398.
F.
Russ.
P.
109.
F. 4
r. 4
- Goth.
Rom.
Class.
P. 143. F.
57,
8,
P. 176.
--
- Ren.
F.
3.
P. 223.
10, 14.
P.
233
2.
P. 100.
F. 9.
F.
1.
Bar. P.
296.
F.
P.
237.
F. 4, 6.
F.
P.
1:.
250. P.
P.
P.
367.
278.
Roc.
Goth. P. 143.
9,
1.
P. 321.
II,
323.
P.
F.
Serviette.
P.
Ren.
P.
F.
328.
F.2 6.
P. F. 3.
Louis XVI.
P.
343
F. 3
7.
F.
24,
12,
13. F. 2.
46.
350.
347.
F. 3, 4.
349.
F.
t>,
Secretaire.
P.
1.
Ren. P. 258.
P.
1.
Roc.
P.
1
Emp.
''IS.
P.
384.
332.
F.
334.
F. 3.
Col. P.
3.
336.
Class.
ext figure P.
'//',',
F. 2.

F. 2.
Silver vessel.
Pers. P. 12.
21.
F. 16, 17.
P.
372.
Emp. P. 382.
F.
Phoen. P. 13. F.
Grec. P. 30. F. 24
P.
Semielassical Ornament.
P.340 400.
F.
5.
- Rom.
P.
42.
F. 4, 17.
43. F.
2b 28
P.
P.
Sepulchral slap. Ren. P. 201. Sepulchral monument. Ren.

F.
b.
Pomp.
P. 47.
F\2
4, 7.
Islam. P.
10.
P.
1.
201.
F. 8. F. 3.
--
Goth. P. 143.
F. b,
133 154
176
F. 8
1,
P.
203.
F.
1,
7.
P.
206.
F.
P. 167. F. 3.
P. 173. F. 3.
F. 7.
Sepulchral Urn s. Urn. Sewing-table. -- Bieder. P. 394. F. 6, 7. Ren. P. 202. F.i. P. 203. Sgraffito work. F. 810. P. 204. F. 3. Shaft of column. -- Rom. P.71.F.8. P. 73.
F. 3. P.
Ren. P. 212.
F. 3, 5, 7.
F. 5.
P.
222.
237.
Bar. P. 299. F.
5.
P. F.
306.
1.
Roc. P. 316. F.
P.
323
5
Class. P.
P.
365.
F.
:.
P.
368.
F. 4,
Emp.
380.
4S9-
F. 2.
P.
385.
F. 4.
F. 4.
P. 78.
F. 2.
3.
F. 8.
P.
86.
F.
F. J.
Skand.
Islam.
P.
Text
Skell.
figure P.
P. 102.
P.
103.
P. 125. F. F.
1.
Ren. P.
2,9. 209. F.
Preh. P. 2. F. 41.
3.
245.
P. 16.
Slave Renaissance.
Sleigh.
P.
250252.
10.
P.
266.
F. 3.
Roc. P. 321. F.
Byz. P. 67. F.
2.
Shield.
F. 21. F. 7.
Preh. P. 2. F. 42.
1
Ind.
Soekle.
Kelt.
P. 68.
Grec. P. 29. F. Rom. P. 100. F.

Grec. P. 25.
2,
2.
Rom.
P. 44.
F. 12, 14.
F.
7.
Rom.
P. 88. F. 3.
Scand.
2.
6.
Text figure
P. 102.
3.
Chin.
P. 194. F.
9.
p./;-. 234.
Ren. P. 218. F.
F. 4. lb.
8,
I
P. 227. F.
F.
O.
b.
Class.
Ship.
P. 27.
F. 17.
P.
355. F.
4.
P.
360.
Rom.
Shoe.
F. b,
P. 100. F.
Sofa.
3.
Egypt. P. 6. F.
Celt. P. 53.
F. 13.
Rom.
17.
P. 75. F.
17.
Goth. P. 160.
Ren. P. 284. F. Roc. P. 320. Louis XVI. F.i. Col. P. 337. F. - Class. P. 346. F. P. 344. F.I.
8.
12.
Text
Shoe buckle.
Shrine.
Sickle.
figure P. 5JJ5-
P.
F. 2, 3.
357.
1.
F.
Emp.
P.
385. F.
5.
P 389.
F. 5.
Roc. P. 328.
77. F\
1.
F.
Rom. P. Preh. P.
1 b, 8 12.
1,
F.
P.
390. F.2.
Bieder. P.
394.
Hell. P.
398. F.
6, 7.
Sideboard.
Sign.
F. 43.
b.
Soffit.
2.
Islam. P. 112. F. II.
Ren. P. 277. F.
F.
Spandrel.
I,
Islam. P. 117. F.
1,
2.
P. 127.
Bar. P. 312.
1-3
F. 7.
Signature tablet.
Rom. P. 72.
Spanish Roman.
P.
9294.
ALPHABETIC INDEX.
Spear-head.
P.
Grec. P. 29.
F. 16.
Etrus.
Pomp.
Phoen. P. 13. F. 1-4,
20,
1
22.
32. F.
26.
P.14. F.
9, 11.
1 18.
P. 19.
1
P. 15. F.
F.i -10.
-12.
hid. P.16.
17,
1
Sphinx.
P.
Egypt. P. 6. F.
F. 5.
Grec. P. 17. F. 15. P. 18. F.

P. 20.
48.
F, 14.
5, 6.
1,
912.
2.
F.
12.
15.
P. 23.
19.
2,
1,
Spinet.
Spire.
F. 4.
Bar. P. 298. F. Islam. P. 124. F.
Goth.
P. 135. P. 189. F. 11.
P. 21. F.
16.
P. 22.
F.i
P. 127.
P. 188.
F.2 4,6 9. P.24.F.I 3.

P. 29. F. 18,
6, 9,
P.28.F.4,
F. 4, 6.
F. 10.
19.
Etrus. P. 30. F.
1
11.
P.
1,
Rom.
P. 33. F.
1
9.
P.
34.
Spoon.
F. 23.
P.
Egypt. P. 6. F. 10.
Assyr. P. 10.
-
F.
14.
II.
P. 35. F.
12.
2, 4
P. 36. F.
18.
Rom.
14.
P. 41.
F. 11.
Rom.
P.37. F. 1-9. P.38. F. 1-7. P.39. F.

6,
1 4,
100. F.
t>,
Russ. P. 110. F. 10.

8.
10,
40. F.
2, 5, 6.
I,
6.
P. 41. F. 6.
1,
Ren. P. 223. F.
F. 4.
P.
233.
F. 3.
P.
237.
P. 42. F.
P. 45. F.
410.
I
Spur.
Stair.
P.
Roc. P. 321. Goth. P. 160.
F. b. P.
F. 11, 12.
Pomp.
P.
47.
F.
Germ. P. 54. F.
3.
F. 12.
9.
P.55. F. 1-9. P.57. F. 1-7. P.59.F.

P. 229. F.
4.
1 4.
Ren. P. 209. F.
262.
275.
F. 3, 5.
Bar. P. 286.
F.
F. 3-
Staircase.
F. 2.
Ren.
P.
261.
F. 2.
P.
282.
Ren.
710. Byz. P. 60. F. 14, 68. P. 61. P. 62. F. 16. P. 63. F. 3. 1, 410. 16. P. 67. F. 16. P. 64. F.i. P. 66. F. Rom. P. 71. Kelt. P. 68. F. 5, 12 14.
1
F.
2,
12.
P. 72. F.
17,
1
13.
P. 73. F.
1
1,
Stairs pillar.
P. 263. F.
5.
Goth. P. 185. F.
5.
414.
P. 78. F.
12.
P. 79. F.
12.
P.80. F. 1-12. P.81. F.
Stable.
Stall.
F. 2.
Ren. P. 251. F.
79.
P. 124. f. 3.
11.
P.83. F.4. P.86. F.
Stalactite.
islam. P. 112. F. 12.

P. 73. F. 3.
P. 88. F.
7.
Rom.
6.
Goth. P. 142.
i, 6.
12.
P. 148. F. 4
P. 154. F.
P. 157.
P.
F.
2.
P. 164. F. 9. P. 171. F. 5, 7. P. 187.
F.
15. P.89. F. 13, 6, 7. P. 92. F. 93. F. 19. P. 94. F. 17. 2-7. P. 96. F. 18. P. 97. F.
P. 91. F.
1 7. P.82. F. to 1 5. P.87.F. 1 8. 18. P. 90. F. 1 5,

1
-11.
P. 95.
1
F. 5.
Ren. P. 210. F.
F.
1,
P. 217. F. P.
7.
P. 98. F.
17.
1
P. 99.
F.
1-
12,
14

6.
11.
ib.
P.
P.
220.
279.
2.
P.
230.
F. b.
246. F.
4.
P.
100. F.
1.
Scand. P. 102. F. 17.

8.
3,
F. 2.
P. 106. F. P.
18.
-4.
F.
P. 107. F. 6,
P. 109. F.
5,
Russ.
Stand. Roc. P. 346. F. 1.

P. 392. F.
3.
333. F.8, ll. Emp. P. 384.
Louis XVI.
F. 3.
P. 108. F.i
Islam.
Rest.
P. 112.
7, 8.
18,
II
1,
1,
14.
P. 116.
F.
1,
2.
P. 122. F.
3, 7.
1-7.
P. 123. F.
Standard.
Statue.
Stela.
F. 9,
Assyr. P. 9.
F. 9.
3, 4.
P. 125. F.
P. 131. F.
P. 127. F.
Ren. P. 208.
F. 7.
3.
11.
Steer head.
Pers. P. 12. F.
Goth. P. 135. F.
P. 137. F. P. 144. F.
1
14. P. -12.
1
13, 8, 9, 132. F. 1-5. P. 136. F.

F.
1-12
Phoen. P. 13. F. 20.

12.
Grec. P. 21.
11.
P. 138.
II,
P. 29. F. 19.
2-4.
P. 146. F.
14, 710 19. P. 147
Stick head.
Roc. P. 316. F.
4.
F.
17.
F.
P. 148. F.
1
15.
120.
P. 149. F.
19
153
10
Stone arm. Preh. P. l. F. 25, 40, 42. Stone chest. Rom. P. 93. F. 9. Ren. P. 240. F. 1, 2. Stone engraving. Bar. P. 309. F. 1, 3, 5. Preh. P. 2. F. 40. - Egypt. Stone ttgure.
P.150.
F.
1
10.
P.151.F.
1 6,
10.
P.
7.
P. 160. F.
P. 161. F.
1
P. P.
P. 162. F.
9.
P. 163. F.
2,
14.
164
167
F. 6, 7, 12, 15.
F. 4.
P. 165. F.
F.
1,
68.
1,
P. 170.
8.
P. 177. F.
1,
35
P. 6. F. 9, 10, 15, 18. P. 7. F. 3.
Assyr.
P. 178. F.
1, 2, 4.
P. 179. F.
P. 9. F. 13.
Ind. P. 15.
F. 6.
F. 7. P. 181. F. 3. P. 182. F.
2, 4. P. 180 16. P. 184
Stonehenge. - Text Stone ornament. 18, 22, 35.
figure P. 2.
F.
F. 7,
13,
1 6.
P. 185. F.
F.
1,
6.
P. 186.
1
F.
1
Chin
Preh. P. 2.
Egypt. P. 4. F. 19, II-
2.
P. 187.
4.
P. 188. F.

5.
P. 194. F.
P. 201.
F.
14.
1,
P. 195. F.
4,
6.
13.
F.
Ren
P. 5.
F
18.
1,
2,
4-6,
8.
P. 6.
F. 9,
n,
15
1.
Assyr. P. 8. F. 14. P. 9. F.
P. 10. F.
Pers. P. 11. F.
37,
11, 12.
13, 5 P.203.F.I 6. P.204.F.1. P.205.F.i,2 P. 206. F. 14. P. 207. F. 13. P. 208

2,
P.
202.
ALPHABETIC INDEX.
F. F.
(>51
F.
17. 14.
P.
209.
F. F.
1,
3,
5, 6,
7, 8,
9.
P. 216.
P. 218.
P.
209.
5.
P. 217.
F. 9.
Text figures
'59P. 2.
2, 4.
P. 217.
i4,
9.
P. 4. 5, 2*1
F.
[ 5.
1.
P.219. F.7. P. 227. F.i, 2,47,9.

7. P.
StOne-tOOl.
-9, 37. 45, 77-
Preh. P.
1.
F. 43.
F.2.
P.228.F.I-8. P.244. F.2 4,6,

F. P.
245.
246.
P.
F.
1.
P.
250.
F. 3.
P. 253.
1,
Stone vessel. StOOl. Rom.

F.
7.
Ren. P. 231. F.
F.
P. 75.
11.
Ren. P. 277.
F.
29.
P.
254.
1,
F.
17.
P.
P. 255. F.
3, 7.
2.
P. 256. F.
F. 6.
2,
4.
P.
i
260. F.
1 .
P. 261.
Stucco ornament. -- Russ.

-
P. 108.
F. 5.
262.
F.
7
P.
1,
264.
P.
F. 4, 5, 8.
Islam.
P. 112.
F. 12.
P. 113. F.
14,
F.2.
P.265. 1.1.3
P. 271.
F. 3,
P.
5.
267.
F.i.
270.
F. P.
1-6.
273.
810, 1315.
P.
P. 114. F.i.
12.
P.U6.
118.
F.
2.
272.
F.
37.
P.
117.
F.
iio,
5,9,
P.
i
229.
17.
P.
279. F
F.
1.
35.
P. 280. F.
I 10.
1.
P. 120. F.
i, 4,
".P.
P.
123. F.
P. 124.
P.
P. 281.
P.
282.
F. 5.
283. F.
1
F.
F.
Bar P. 285. F. 17. P. 286. F.

F.
P.
1.
F. 3,
F.
P.
1,
5.
2.
-P.
F.
Ren.
201.
F. 3, 3.
1,
6.
248.
F.2 7.
P. 281. F. 9, io P.
P. 287.
P.
290.
F.
F.
1-7.
7,
P. 291. P.
300.
P.
13.
F.
:.
Roc.
328. F
8.
1.
1 4.
1,
292.
1 4,
P.
8.
293.
Col.
338.
F.
2.
Louis
P.
XVI
F. 3.
P. P.
342.
350.
F.
2.
P. 301. F.
P. F.
2 5.
P.
Roc
325.
314. F. 14.
1,
4, 5.
302. F. 14,0. P.324. F. 14. Col. P. 334. F 1, 3,

.
F. 1,2. P.
F.
1.
344. 15.
P.
2.
4, 5.
364.
345. 14.
P.
366.
Emp.
P.
392. F.
4,69. P.335. F.i 9.

P.
P.
337.
F.
1,
2.
Stove.
Roc.
338.
F.
1.
P.
339.
P,
Ke..
P. 231. F. 2. P.
F.
7.
250.
P.
F. 4.
Louis XVI. P. 340.
328.
F.
5,
Emp.
P.
6.
388.
F. 2,
5,
F. 3.
5. 7.
F.
F.
F. P.
F.
1-7. P.341.F.5. P.352.F.1 5. P.354. Class. P. 355. F. 1-4. P. 356.

1
.
Stuff pattern.
.lap.
200.
P.
3.
P.
Ren.
P. 213.
F. P. P.
224.
F. 3, 7.
P.
F.
357.
1,
F.i 6.
P.
P.
F.
358.
F.i b.
P.
P. 238. Bar.
1 5.
395.
3.
P.
278.
F.i
P.
3,
7-12.
2.
359.
2.
360.
F.
19.
4.
1.
361.
F.
1.
289. F.
3. 6.
I,
308.
F.
1-5.
P.
362.
2.
1,
i 5.
379.
P. 363.
Bieder.
P. 366.
F. F.
P.
2.
373.
P.
F. 2, F.
F.
1.
4 7.
368.
P.308.
F. 4,
n.
Hell.
Emp.
400. F.2,
Text
figure
P. 378.
F. 3. P.
389.
P.
F. 4.
P. 386.
F. 4, 5.
Sugar bowl.
Sugar-tongs.
Rest. P.
392.
Class. P.
5.
Roc. P. 330. F.
P.
F.
Bieder. P.
396. F.2 5.
F. 3, 4.
.
P.
Hell. P.
396.
25.
9,
181,
398.
400.
F. 4.
'>''
Sunshade.
P. 134.
I.rcc.
30. F.
14.
Islam.
F. 3.
Text
77,
169,
figures P. 4, 5, - S
'"''
-'',
37, 45,
7-,
Sundial.
Ren. P. 281. F.
1.
<7>
i",'\
".)'
"9.
24g,
131,
tsg,
Sweetmeat box.
1.
Ren. P. 212. F.i.
211,
239,
2g6,
%io,
Swiss Renaissance Wooden Buildings.
340, 419. 4;}4, 490, 547, 632.
Stone relief.
Preh.
P. 2.
F.
7,
13, 18, 2:.
Egypt.
P. 4. F.
S 7.
P. 5.
P. 9.
F. ib, 17.
- Assyr.
P. 8. F. 1,2.
F. 10. P. 12.
F. 4, 13.
P. 241-242. Sword. Preh. P. - Assyr P. 10.

F.
1,
F. 26, 39.
P. 2.
F.44.
P. 32.
F. 5.
-- Etrus.
b.
b.
Celt.
P. 52. F.
2.
P. 53. F. 1,2.
Islam.
Pers. P. 11.
F. 7, 9, 13,
14.5, 7,
F.
Germ.
Phoen. P. 13. F. 22.

10.
P. 58. F.
P. 120.
P. 196.
[nd.
P. 15.
F.
F.2.
P. 160. F.
14 lb.
Jap.
3.
P. 16.
2,
F. 5.
3, 0, 7.
Grec.
P. 20. F. 11.
P. 21. F.
P. 24. F.
P. 31.
13.
P. 25.
F. 13. 5Rom. P. 33.
Etrus.
F. 10, 11.
F. 3, b, 10, 11, 13, 14, ib, 18.
P. 35. F. 3
3,
5760.
Germ.
3,7.
P. 36. F.5. P. 38.

P.
F.i,
54.
F.
13.
F.i
Byz.
Ren. P. 215. F. F. Text figure P. Sword-hilt. Rom. P. 100. F. Sword-pommel. Preh. P. 2. Rom. P. 44. F. Symbol. Egypt. P. 4. F.
2, 5, 7.
P.
243.
5, 7, 8.
S'.S'5-
4.
F. 27,
44.
o.
7.
P. 7. F. 8.
P.
P.
F.24.
P. 62.
F. 4.
P. 63. F. 11.
P. 8. F. II, 12. P. 9. F. 13.
Pers. P. 12.
79. F.i.
P. 90. F.i.
1, 2,
P. 96.
Russ. P. 109. F.
F.
3, 7.
5, 6.
Goth. P. 147.
120.
203.
3.
3.
F.9.
P. 150. F.
2-9.
F.
1.
P. 160. F.
F.
Chin.
5,
P. 194. F. 3.
P.
P.
Syren. Assyr P. 8. Tabernacle. Goth.
F. 13.
P. 145. F. 3.
Ren.
Rom.
Ren.
P.
F.
P.
230.
F. 7.
6.
204.
208.
b.
Table.
Grec.
P. 28.
F. 15, 20.
654
P. 41. F. 6. P. 42. F.
F.
I,
ALPHABETIC INDEX.
2, 6.
Pomp.
7.
P.
47.
5.
Tile facing.
F.
Islam. P. 114. F.
Goth.
P. 171. F.
F. 6.
P.
P.
3, 4.
P. 119.
Ren.
i,
1-7.
P. 210. F. 3. P.
13.
220.
7.
P. 241. F.
8,
Tin utensil.
Tin vessel.
F. 5-
P. 245. F.
7.
P.
247. F.i.
-
P. 277.
Goth. P. 173. F. Ren. P. 222. F.
2,
7, s.
10.
P. 231.
F.
P.
284.
F.
F. 2, 7.
Col.
335. 346.
F.
6.
4.
F. 7, 8.
Louis XVI.
349.
P.
1.
P.
344.
P.
F.
2.
Ting-.
Chin. P. 189. F. 12.
F.
2.
P.
4.
Class. P.
370.
399.
Toilet table.
P.
3.
Emp.
382.
F.
2-4.
389. F.
P.
370.
F. 2.
Ren. P. 284. F.7. Emp. P. 390.

F. 3.
Class.
Bieder. P.
394. F.
Hell.
13.
F.
Tomb.
Pers. P. 11. F. 6.
P. 12. F. 13, 14.
Text
figure P. 4,
F-5.
6.
Phoen. P. 13. F. 22.

2, b.
Etrus.
IO.
P. 31.
Table-cloth.
Table plate. Tabouret.

P. 142.
Goth. P. 181
F.
7.
Pomp.
P.
45. F.
1,
Rom.
3.
5,
Chin. P. 192. F.
P.
P. 95. F.
18.
4.
Rom.
84. F
P.
8.
P.
Islam. P. 126. F. 3, 7, 8, 9,
Goth.
10, 14, 15,
5,
Goth. P. 181. F.
6.
6.
Ren.
.
242.
F.
F. 14.
Ren. P. 201. F.
P.
P.
2.
203. F.
Bar.
F.
1,
.
P. 287. F
2, 4.
P. P.
298.
F. 42, 3.
305.
206.
F.
1.
P.
253. F.
P. 273. F.
4.
Emp.
385.
P.
389.
Text
figure P. 00.
F. 4
Tomb
plate.
Goth. P. 175. F. 15.
Tambourine. Tankard.
Grec. P. 30. F.
11.
Torch.
Bar. P.
299.
F.
1.
Tower.
P. 193.
Grec. P. 30. F. 18. Grec. P. 22. F.

3.
Goth.
P. 123.
P. 148.
Tea-pot.
F.
5.
Chin.
P. 190. F. 4, 5.
F.
1.
Text
figure P. 338.
Temple. Islam. P. 131. F. 14. Terra eotta. Ren. P. 231. F. 3, Preh. P. 3. Textile ornament.
Transept. Byz. Trellis-work. -0.
P. 62. F. 5.
Islam.
F.
5.
Ren. P. 283. F.
8.
F.
3, 4.
Tribune.
Trident.
Assyr. P. 9. F.
F. 29, 34.
P. 50.
P. F.
1
o.
P. 10.
F. 27.
2.
- -
P. 16.
Celt.
I, I.
Grec. P. 28. F.
3.
Tripod.
F.
7.
Emp P. 378. F. Ind. P. 16. F. 23. Assyr. P. 10. V. Grec.

2.
1
1,
19,
3.
P. 28.
1
96. F.
Russ. P.
7.
1,
Rom.
P. 83.
I.
F. 7
111. F. P.
9.
2, 4. 7, 9.
P. 29. F.
4.
Etrus. P. 32. F.
5,
8.
Islam.
Rom.
P. 39. F.
3.
P. 40. F.
F. 14,
1.
P. 44.
17.
P. 114. F.
2.
P. 130. F. 13.
133. F.
F. 8.
-- Pomp. P. 47.
4.
15.
- Goth.
P. 143.
P. 140. F. 6,
F.
2.
P. 141. F.I, 3, F.
1.
P. 144. F.
1,
P. 172.
F.
8.
P. 181.
2, 5.
P. 187.
3.
F.
2.
Trireme. Trophy.
P.

F.
Rom.
Bar.
1,
P.
P.
44.
F. 13.
292.
F.
4.
b.
Class.
P. 189. F. 13.
5.
Jap. P. 198. F.
P. 199.
362.
4.
1.
F.
17.
P.
Ren. P. 213. F. 1-6.
P.
224.
278.
Tunic.
Goth. P. 181. F.
F.i 8.
F.
F.
I
236. F.i o,
3,
11.
P. 238.
4.
4.
F.i b.
P. P.
F.
Turret crest.
P. 245. F.
P.
258. F
Tympanum.
F.
5.
Ren. P. 250. F. Rom. P. 73. F. 12.

1.
P. 81
12.
P.
Bar. P. 287. F. 2,
F.
1,
289.
Goth. P. 138. F.
P. 153. F. 7
16.
298.
1,
2.
P.
300.
1.
16.
Roc.
Typographic ornament.
F.
P. P.
1,
P.
2,
Ren. P. 214
P. 308.
F.
2.
P. 311. P.
F.
P.
3, 5, 6.
P. 219. P.
F. 6.
226. F.
4.
-
2,
P. 319. F.
.7.
320.
F.
14.
P.
321.
1.
239.
310.
F. 7.
245.
F.
Bar
1.
F.
P.
1,
46.
F.
1,
Louis XVI.
345. F.
F.
i.
1.
Roc. P. 318. F.
346.
P.
5, 6.
400.
Emp.
1,
P.
380. F.
-
4.
Text
Bieder.
P.
u.
395. F.
P.
2,
4 7.
3.
Hell.
Urn.
figure P. 337, 381,
548.
P. 2. F. F. IS.
P. 292.
Preh. P.
399. V.
F. 2,
Text
16, 17, 21.
1.
F. 12, 13, 34.

P. 16.
Ind.
-
F.
5,
Celt.
7, 8.
figures P.
Theatre mask. Russ. Throne.
308, 368, 433, 623. Grec. P. 29.
P. 53.
F. 22,
F. 21.
Bar.
23.
P.
293. F.
Text
P. 111. F.
P. 318.
F. 3.
Thurible.
Tiara.
Rom. P. 75. Ren. P. 243. F.
2, 4, 5.
Roc.
Emp.
P. 381.
Valenciennes lace. Preh. P. 1. Vase.
Ren. F.
5
figure P. 4<J".
P.
224. F.i,
P. 2. F.
I,
2.
2,
7.
F.
9.
8.
9, IO, 12,
12,
14.
1517,
19.
Phoen. P. 13. F. b Ind. P. 16. F. 28,

17,
13.
9, II,
30,
Tie-beam.
Goth. P. 168. F.
8 n.
31.
Grec. P. 17. F.
P. 26. F.
14,
ALPHABETIC INDEX.
6io,
F.2,
P.
3,
655
12.
P.
30. F.
P.
24.
2,
Rom.
P.
40.
5,6.
F. 13.
42. F.
Celt.
i').
14, 17.
Pomp.
P.
Window. F. I. P.
Assyr.
2.
P. 8. F.
5
5. 7,
Byz. P. 66. F.
Ind. P. 15. 13. Rom.

P. 81. F. 7.
47.
P. 51.
F.9, II, 13.
P. 73. F.9, 10.
P. 76. F.i
7.
P 53.
F. 8 F. 2.
F. 17, 18,
Islam.
133.
86. F.
P. 92.
P.
F
3,
1.
P. 93.
F. 3, 8.
2, 3.
10.
P. 134. F. 6.
Goth. P. 138.
3,
P. 96. F.
8.
97. F.
5.
P. 98. F.
Islam.
P.
Chin. P. 190. F.
5.
6, 8.
P. 191.
6,
2.
F.
Scand. P. 102. F.
13.
3, 5.
P. 112.
F. 4. 5.
2.
F.
13,
P. 192. F.
3,
5, 7.
P. 193. F.
F. b,
7.
1
P. 114.
F.I
P. 124.
3, S.
7, 9.
Jap. P. 196.
1
.
F. 4, 6. P. 198. F.
P. 125. F.
P. 127. F.
P.
132. F.
2.
P.
Ren. P. 283. F.
P. 284. F. P. 314. F.
F. 4.
5. 4.
Bar.
P.
Goth. P.
i4. F.
2.
P. 148. F.
P. 149.
P. 166.
287.
F. 3.
Roc.
P.
324.
361.
F.
4.
F.7. P.151. F.i. P.164. F.

1, 2.
12 15.
F. 6.
Col.
335.
P.
Louis XVI.
5.
P. 178. F. P. 186.
1, 4.
P. 182. F. 3.
3.
P. 185.
F.
,.
P.
352.
F. 4.
Class. P. 360.
F. 4.
F.
P.
F.
14.
P.
F.
1.
1,
P. 187. F. 2.
7.
F. 3.
372.
3.
P.
Emp.
'','-'.
384.
P.
Ren. P. 201. F\
F. 4.
P.
207.
P. P. P.
208.
227.
261. -
P. 391. F.
F. 4.
Hell.
P.398. F.3.4.
400.
216. F.2.
F. 4.
P. 219. F.
Text
figure
F.i
P. 251. P.
P.253.
4, 5.
F. 5.
Vase painting.
Grec. P. 27. F.
1 29,
P. 138.
5.
270. F.2,
5.
1,
P. 279. F.
6.
4.
Text 3339, 4' 43Vaulted-ceiling rosette.

F. 4, 7,
<>.
figure P. 36.
Bor. F
1-
P. 285. F.
3.
P. 290. F.
3, 4,1..
P. 291.
P.
Goth.
6.
:.
P.
302.
F.
Roc.
331.
1.107,
Col. P.
F.
1
337.
F.
Velvet.
P.
F.
Ren. P. 213. F.
F. 4,
i .
P.
224.
289.
F.
F. 7
P. 352.
p.
Hell.
-</<.
Louis XVI. P. 397. Text figure

1,
2.
P. 238.
5.
Bar. P.
F. 5.
282,
]4o,
4'9, 434,
1.
'
300.
Window-arch.
-
Venetian glass. 811.
Ren. P. 212.
2 4.
Window
3 5Rom. P. 90. Rom. P. 97. F. ;. column.

4.

P. 56. F.
F. 10.
3.
3,
Goth. P. 185. F.
Ren.
5.
;.
P. 260. F
F. 9.
Text figure. P. 347. Vignola's orders. Germ. P. 56. F. 4. Votive erOSS.
Window-reveal. Rom. P. 90. Wine-can. Chin. P. 191. F. 4.
Germ. Votive Crown. Wainscot. Assyr. P. 8.

5, 8,
1
P. 9. F.
Winged Winged
Pers.
globe.
steer.
Assyr. P. 8. F.
11.
Assyr. P. 9.
F. 13.
10.
1,
4.
Islam. P. 114. F.
7,
3, 4.
P. 115.
P. 11.
F.9.
F.
14.
P. 127. F.
12.
P. 128. F.
4.
14.
Ren.
P. 130. F.
Chin.
6, 8.
P.
144. F.
P.
P.217.
F. 6.
F. 5.
5,
P. 221. F.i.
P. 241. F. 3.4.
1.
P. 260. F.
P. 272. F.
4
282.
Winged sun. Egypt. P. 7. F. 8. Wood-Carving s. Wooden Ornament. Wooden Ornament. Preh. P. 3. F. 4, n-13. Egypt. P. 6. F. 20, 21. P.
F.
lb.
g,
7.
Bar.
P.
312. F.
8.
7, 8.
Rom.
1,
P. 73.
F. 3.
16, 21.
P. 74. F. 10.
P. 95. F. 12.
6.
Wall paper.
F.
3.
Goth. P. 172. F.
P.
229.
P. 75. F.
9, 11
13,
1
Bar. P. 310. F.2.
-Skand.
P. 105.
P. 103. F. F.
Wall panelling. Islam. P. 132. F. 1. Wall tapestry. Ren. P. 224. F. 4. Rom. Warrior. Rom. P. 75. F\ [4.
1 4.
13.
n. P. 104. F.i Russ. P. 109. F.2.

Islam.
P. 113.
15,
P. 110.
11,
F. 16.
12.
F.
5 7,
12,
P. 115. F. 10,
16.
P. 116.
P. 100. F. 18.
F.
45-
P- 121. F.
14.
5, 6.
P. 131. F. 5.
Washhandstand.
Assyr. P. 10. F.
F. 2.
10.
19.
Goth. P. 143. F.
P. 145. F. 1,5. P. 152,

P. 156.
1,
Watering-can. Rom. P. 74. Water-jug. Rom. P. 100. F.
F.i
10.
P. 154. F.i,
F.i
P.
P. 157. F.
F.
F.
1 b.
P. 158. F.
3, 4.
164
WatCh. Wedge.
Weight.
Bar. P.
308.
1.
F. 4.
Preh. P.
F. 35. P. 2. F. 8, II.
1 5, 811. P. 167. 1. P. 170. F.3, 4, 1, 3

1
F. b,
7.
P. 168
1
b. P. 171. F.
7
189
Rom.
P. 41. F. 19.
P. 180. F.
F. F.
1
5.
P. 187. F. 5.
Chin. P.
3,
West gable. Scand. P. 103. F. 5. West Gothic. P. 56. Wicker work. Preh. P. 1. F. 21,
P. 2. F.
P. 8.
1
.
12. Jap. P. 196. F. P. 197 P. 199. F. Ren. P. 202. F. 4

8.
4. 3.
i
22,28.
Assyr.
P. 210. F.
Egypt. P. 6. F.
8.
3,
5,b. P. 215. F.2,

1
4.
P.217
F. P.
F.
7.
P. 219. F.
3, 8.
5, 8.
P.
220.
16
230
15.
P. 227. F.
P. 229. F.
46.
65b
F.
i
ALPHABETIC INDEX
b, 8, 9.
P.
233. F.
5.
P.
241.
6, 7.
1.
F.
15.
246.
F.
13.
Roc.
4.
P. 265. F.
P.
242.
P.
F.
14.
F.
3, 4. 4,
P. 245. F.
1.
P.
F.
2,
4,
6.
P.
271.
P.
P.
333.
F. 4.
F. 4,
Emp.
Islam.
F. 4. F.
247.
P. 248. F.
1
P.
249.
10.
3.
7,
376.
Text
trellis
11,
1
figure.
P. 28(4.
17.
P. 251. F.
1,
10.
P.
P.
252. F.
2,
Wooden
F. 5,
work.
16.
P. 113.
P.
256. F.
68.
258. F.
F.
2,
2,
P. 260. F.
F.
2,
i~6.
P. 263. F.
6,7.
P.
P. 265. F.
4.
24. 18. P. 264. 1-6. P. 266. F.

P. 261. F.
P. 262.
1
-3,
4 6.
276.
Wood engraver. Goth. 159. F. 9. Wood relief s. Wooden Ornament. Wood Weapon. Preh. P. 2. F. 8, II.
Ind.
13.
271. F.
P.
274.
F.
1,
3,
5.
P.
P. 16. F. 3
2,
33.
F. 5. P.
277. F. 17. P. 279.

P. 282. F.
4, 6, 7.
F. 2.
P. 281.
F.
2-8.
P.
284. F.
1 4,
1,
Woollen stuff. Woven work.
Ren.
P.
278. F.
8,
7,
8.
Preh. P. 3. F.
34.
II
6, 7.
4, 5-
4, S-
Bar. P. 287. F.
1,
5, 6.
P. 288. F.
6.
F.
1
Ind. P. 16.
F. 29,
Grec. P. 28.
P. 291. F.
2.
P. 292. F.
1, 3,
P.
296.
-6.
F. 2.
F.3,
P.297. F.
4.
P.298. F.4-6. P.305.

2,
Writing desk.
I.

F. 3.
Rom.
P. 75. F. 9. P. 84.
P. 301. F.i. P.
P.304.
2,
F. 1,3.
F.
307.
F.
3, 5. 2, 4.
P. 311. F.
P. 318. F.
3.
P.
Roc.
Writing table.
Hell.
Class. P.
370.
F.
1.
10,
0.
P. 317. F.
F. 10. P.
F. F-
1,
35.
P. 321.
P.
399.
323. F. 2. P. 325. 1-4. P. 328. F.i. P.331. i3,5- P.333. F. 1 10.

P.
F. 2, 3. F.
326.
Wrought Iron-work.
5.
Ind.
P. 14. F. 11.
F.
1,
1 5.P.332.
Col. P.
11.
Rom.
P. 74. F.
4,
P.
83.
2,
334.
P. 99. F. 13.
Islam. P. 112.
P.
Scand. P. 105. F.5,
F. 2, 5.
335.
F.i 7.
P. 337. F.
3 11.
F. 9, 10.
5, 8.
Goth.
2.
1
P. 138.
3, 4, 6.
P. P.
F.
338. F.4. P. 341. F.i 4. Louis XVI. 344. F. 13. P. 345. F. 2, 5. P. 346. 1- 12. P. 349. F. 1, 2, 4, 5. P. 353.

F.
F. 5, 6.
140. F.
3, 5. 2.
P. 145. F.
P. 151. F.
P. 154. F.
P.
P. 156. F. 5.
ib.
P. 158. F.
1.
F.
169.
.).
F.
P. 173.
F. F.
13.
1
P.
F.
Class. P.
367.
13.
P.
F.
369.
P. 180. F.
1
b.
P. 181.
F. 6.
3.
P. 187.
P. P. P.
5.
370.
1
F.
P.
P.
372.
376.
385.
17.
17. P. 371. P. 374. F. 1.

379.
F. 4-
29.
Emp.
F. 4.
10.
F.
3.
P. 209. F.
P. 225. F.
P.
230.
244.
256.
P.
F. 7. P.
F. 5.
233. F.7.
234.
F.
19.
9.
F.
14.
382.
P.
P.
380.
P. 246. F. 2,3. P. 249. F.

j.
P. 381. P.
P.
F.
F.i 5. P.384.
5.
F.2,9,
F.
2.
P. 257. F.
3, 5. 6.
P. 258. F. 5.
F.
13,
390.
P.
388.
F. 1,5.
389.
P. 268. F.i
10.
P.
P.
269.
F.
1 7.
P.
274.
17.
1.
P.
F.
I 3.
3.
F.
F.
P. 393. F.
P.
15.
F.
Rest. P. 39-2.
F.i 5. P.282.
F.
F.1,3.
P. 283. F.
P.
F.
2 4.
2, 3.
Bieder. P.
394.
1.
Bar.
17.
398.
395.
P.
F. I, 2, 6, 7.
Hell. P. 396. F. Text P.399. F.

1,
P. 286. F. 1,5.
288. F.
P.
P. 292.
1,
F.5.
294.
1 7.
296.
3.
2.
P. 302. F.
F.
2.
figures P. 9, 28g, 405,
4 '3, 457,
'475,
537,
P.304.
607, 6ig.
P. 312. F.
Wooden sculpture work.

F. 5. F.
1
Islam.
F. 3
P. 303. F. 17. 5. 308. F.3, 5. P. 311. F. 4. 13. - - Roc. P. 314. F. 5.
P.
F. 131. P. 164.
P.
P. 317. F.
3.
P.
325.
2.
F. 6.
P.
5,
Goth.
8.
P. 142.
5.
F.
F.
Col. P.
338.
F.
Louis XVI. P. 343.

Class.
2.
328. F.5.
Ren. P. 242.
F.
F. 2.
249.
13.
1.
P.
354.
F. F.
3-6.
1,
F. o.
P. 251.
F. 4.
510.
263.
P. 252.
F. 10.
P.
6.
374.
P. 365. Emp. P. 391.
P. 261.
P.
F.3,
4.
P.
264.
F.
5,
Text
figure P. 108, 253,
503.
CATALOGUE
Architecture
Decorative and Industrial Art
Fine Arts
Contents of the Catalogue.

Page
A. Architecture
B. C.
3 9
The Nude Ornaments
for Architecture
and Sculpture
10
D. Ecclesiastical Art
E. Statuary
F. Jewelry, Silverware, Bronzes, Ceramics, etc
15
17
18
G- Furniture, Carpentry-work, Woodcarving, Marquetry, Furniture Mounting, Interiors, Draperies, etc

1.
21
21
Theory and History

Carpentry- work
Ecclesiastical
2.
3.
22
Altars
Woodwork,
23
4. 56. -.
Old Furniture
Woodcarving and
Upholstery
Details of Cabinetwork
Interiors in various styles
Modern Furniture and
25 27 29
31
Work
in
H. Decorative Painting and Art Industrial Designing

1
32 32 34 34 35 36 37
37
Ornaments
general
.
2.
3. 4.
Works
for
Lithographers
Textile Fabrics
House Painting
Church Painting
5.
6.
I.
...
Scenic Decorations
Painted and Stained Glass
K.
Wrought
Iron
38
Index of Authors'
Names
39
M
A. Architecture.
Architectural Forms of Classical Antiquity. The orders of Creek and Roman Architecture by Conslantin Uhde, Second edition, with 70 heliotype plates, ol which are colored,
i
large
folio,
tn portfolio.
Orders of Columns Die Saulenformen. Egyptian, Greek and Roman Architecture. Measurements in metric system after a new easily applicable method with special regard
to practice bj
text.
A.Speltz.
22plates and 63 illustrations
in
the
German
$ 2.00
114 pages, small quarto,
bound
in
cloth.
The Architecture of Classical Antiquity and the Renaissance h\ J, Buehlmann. 75 steel engravings and photo-lithographic
in
plates
portfolio with descriptive text translated

In
second revised and enlarged edition.

part-.
from the German ol the folio size. Complete in three

| is. no
The
3 parts,
each with the English text belonging
to
it,
can be had
s 6.50
separate at the following prii es Part I: The orders of Columns (Vignola), 28 plates Part II: Facades, Arches, Doors and Windows,"25 plates Part III: The development and the decoration of room-.
25 plates
Indispensable to the student as a
architect as a
7.50
work
of instruction and valuable to the trained
book of
reliable reference.
Ancient Ornamental Architecture. The best examples ol ancient ornamental architecture drawn from the originals in Rome and other parts <>[ Italy during- the years 1794, 1795, and 1796, by Charles Heathcote Tatham. Facsimile reproduction by photolithography, republished by William Helburn.
102 plates, folio size.
In portfolio.
$ 15.00
Architectural
and Ornamental
Details
in
Byzantine
Style
of Italian
buildings.
Columns,
capitals, consoles, rosettes, corbels, friezes,
mosaic works
etc.
with numerous profile designs and exact information of the measures by A.Dehli. 100 photolithographic plates, folio size. In portfolio. 20.00
Norman Monuments
Tl heliotype and photolithographic plates, reproduced from photographs specially taken and measured drawings with descriptive text, folio size, bound. % 15.00
of Palermo and Environs. study by A. Dehli and G. H. Chamberlin.
A. Architecture.
Romanesque Architecture and Ornament

Baukunst. Documents of old German art of the compiled by Theodor Kutschmann. with explanatory text in German. In
in
Germany
Romanische
first
period of the Middle Ages,

plates,
folio
size,
30 heliotype
portfolio.
$ 10.00
Gothic Ornaments. Selected from various buildings erected during the Middle Ages in England and France, drawn from the originals by A. Pugin. 100 heliotype plates, quarto
size.
In portfolio.
% 8.00
Architectural Details and Ornaments of Church Buildings in the Styles

of the Middle Ages
-
Architektonische Details und Ornamente
der kirchlichen Baukunst.

full
Portals, buttresses, columns, capitals, statues, vaults, choirs, interior views, and select characteristic details of the most famous Cathe-
drals of old and
modern
times.
each of 55 heliotype plates,
folio size.
Published by A. Harlel. Price per series
Two
series,
in portfolio
S 13.40
Old Paris
Le Vieux Paris.
buildings and their details. Reproduction from original photographs with descriptive French text by Egon and Waldemar
Its historical
Hessling.
Volume
and
I:
Romanesque-Gothic Period.
>0
heliotype plates (13x16' .."

$ 21.00
120 illustrations in the text.

II:
In portfolio.
Early Renaissance: "Styles Louis XII and FranQois I". With a study of the "Chateau de Gaillon" and the "Maison Francois I. de Moret". 60 heliotype plates (13x16V!") and 116 illustrations in the
Volume
text.
In portfolio.
$ 20.00
Other volumes dealing with the succeeding periods are in preparation. The authors have made an earnest study of the old historical buildings still in existence in Paris and of such vanished edifices whose fragments are still preserved in museums, schools and private collections. To illustrate the chronological development of all French styles, the authors have described some famous constructions, which were transfered to Paris and there reconstructed, as is the case with the world known "Maison Some of the most beautiful Francois 1. de Moret" and the "Chateau de Gaillon". fragments of the latter are reconstructed in the courtyard of the "Ecole des Beaux-
= The
Arts".
above work
is
published also
in
plates, the
same
illustrations in the text
and
German, with the same at the same prices.
Mansions of England in the Olden Time. Facades and interiors in English Gothic and Renaissance. By Joseph Nash. New facsimile edition in heliotype prints. 104 plates 1372X 19".
In portfolio.
% 25.00
Bound
An
in half
is
leather
$ 30.00
hereby offered to acquire at less than half the cost an edition of this famous work equal, in every respect, to the best of the previous editions. Thcreproductions are exquisitely clear and sharp.
opportunity
A.
Architecture.
The Old City Hall in AugsburgBuilt
Das Rathaus der Stadt Augsburg. by Elias Hall from 1615 to 1620. Numerous .scaled and measured drawings of details from the interior, ceilings, wall decorations, wood work, stonework, bands, hinges, etc. by L. Leybold. s 2 93 photolithographic plates, folio size. In portfolio.
-
Architectural Studies from Italy
Architektonische und ornamentale
Sudienblatter aus Italien. Sketches illustrating the principal examples of Florentine Renaissance Architecture by Hermann Schuette. 50 heliotype plates. %
Vestibules
Vestibuele.
interior
bj
Galleries,
courts,
etc.
'Jo
from
drawings
P. Gauthier.
plates
the Palaces of Genoa. 10> U". In portfolio.
Line
%
1.00
Roman
Palaces.
harles Percier and /'. F. L. Fond< tails by Napoleon I. A reprint ol the work published taine^ architects ol 's under the title "Palais, Maisons et autreedifices in the year modernes a Rome." 100 plates, folio size. In portfolio. \ 20.00
Exteriors, interiors and
(
Roman
Villas
and Parks - - Romische Villen- und Parkanlagen. hartes Percier Facsimile n production from the original work by and P. F. /.. Fontaine^ architects of Napoleon I., "Maisons de plaisano de Rome et de ses environ-." Xew edition by D.Joseph. 77 heliotype plates and 128 pages illustrated text, quarto size. In portfolio, s l-'.
(
1
"
German Half Timbered Houses
of the Renaissance Period
Deutsche
Fachwerkbauten der Renaissance.

Photographed and published by F. Correll with a short text in German by H. Stegmann. Two series of 30 heliotype plates each, folic
size.
Price per series,
in portfolio.
>
6.00
The
originals belong to an
epoch
in
which were produced the best and most cha-
racteristic
specimens of German old wood architecture.
Ancient Picturesque Architecture in Southern Germany
Alte Land-
architekturen. Half timbered city and country houses, castles, towers, town gates etc., together with a variety of quaint architectural details. Photographs from originals by R. Kemp/. Two series of 30 heliotype plates each, with more than 100 motifs in each series, folio size. Price per series,
in portfolio.
S 10.00
Old
Wood
Architecture in Switzerland
Charakteristische Holzbauten
der Schweiz.
Characteristic examples of ancient domestic architecture in Swiss Style from the 16 th 17 th and 18 th centuries. Facades, interiors, cross sections, ground plans and various details, measured and drawn by and 32 pages of illustrated E. Gladbach. 32 heliotype plates
,
UxM"
German
text.
In portfolio.
% 12.00
A.
Architecture.
Buildings in England and France - - Photographisehe Reiseaufnahmen. Ancient and modern buildings, full views and details, reproductions from original photographs by Adolf Burr. 160 motifs on 80 heliotype plates, quarto size. In portfolio. $ 6.
Examples of Colonial Architecture
in
South Carolina and Georgia.

etc.
Exterior and interior views, furniture, details of decoration Ed. Crane and E. E. Sodcrlioltz. 52 heliotype plates, folio
portfolio.
By
In
size.
$ 16.00
many
Containing some of the best and most interesting specimens of colonial architecture, of which have now disappeared.
Old Colonial Architectural Details in and around Philadelphia, Pa. Published by Goforth and Mc. Auley. 50 plates of scaled and measured drawings. In portfolio. 12.00
The Georgian Period.
By Win.
States.
Rotcli Ware. collection of carefully selected details illuminating "Colonial" or XVIII* century Architecture in the United
Stndent's Edition: 100 fullpage reproductions of measured drawings and photographic views, together with miscellaneous illustrations in
the text, folio size.
In portfolio.
$ 15-00
Architectural, Decorative, and Industrial Art of the Epoch of Louis XVI. Examples of designs by the most prominent French, English, German, Dutch and Italian architects, decorators and artists of the middle of the XYIII th century. Facsimile reproduction by photolithography. Compiled and edited by A. Schoy. 300 plates, folio size, in two portfolios.
$ 45.01
of the Period of Louis
The most comprehensive work

and industrial
art
in
all its
XVI
covering architectural
branches.
Empire
Style.
Architectural, sculptural and decorative details in the style of the First Empire. Motifs for the interior and exterior decoration of buildings, for furniture and all kind of art objects, composed or collected, and engraved by P. N. Beauvallet. Facsimile reproduction of the original edition, which was published in Paris, 1804, the year of the coronation of Napoleon I. 72 photolithographic plates, folio size. In
portfolio.
$ 12.00
The Supreme Court of Justice

Leipzig-.
in Leipzig
Der Reiehsgerichtsbau zu
facades, staircases, Edited by Ludwig Hof-
Ground
mann.
plans,
full
exterior and interior views,
columns, portals and
many
other details.
100 heliotype plates
reproduced from photographs specially

folio size. In portfolio. % 30.00
its
taken and from measured drawings, large

This superb building
is
perhaps the most beautiful of
kind.
A.
Architecture.
Architectural
Ornaments
in
Modern Romanesque
Neuromanische
Ornamentik.
Sculptural details taken from various buildings erected in the Modern Romanesque Style by prominent American architects. Edited in J.O'Kane. 20 heliotype plates, quarto size, reproduced from photographs taken expressly for the work from the originals. In portfolio.
\ 4.00
Plastic
Ornaments
in
Plastische Ornamente.
Louis
II
New
folio,
designs
XIV and
other historic styles for the building

In
and art-trades by
The work
cartouches,
contains
shi<
Friling.
30 heliotype plates, folio size.

capitals,
pillars, friezes,
ol
ports 8.00
designs
for
finials,
corners,
panels,
many other ornamental
details
facades ami art objects.
Modern Architectural Ornaments

Details
Bauornamente der Gegenwart.
from buildings recently erected by prominent architects, '.00 drawn by Alex. Speltz. 25 plates, quarto size.
Architectural Designs
/'.
and Constructions und Bauausfiihrungen.

P.\
Architektonische Entwiirfe
and partly chromo, large
>
I
Ewerbeck.
36 plates, partly heliotype
folio.
In portfolio.
contains a
for
This publication
selection
of the
famous architect,
cathedral
style of the 8 th
instance
the projects for
works of the late the restoration of the Atrium to the

best
architectural
ne.
at Aix-la-Chapelle
with
the
tomb
of
This project
is
in
the
to
and 9 th centuries, called

Style.
"' >ld
Christian Style",
which was prior
the
Romanesque
Wertheim's Warehouse
Facades,
./.
in Berlin
details,
interiors,
Der Wertheimbau. ground plans, cross sections
etc.
s
by
8.00
Messel.
30 heliotype plates, folio size, in portfolio

in
Full
Views and Details mostly
modern Barocco
Style of the Palaces
of the Paris Exhibition 1900.
Drawn from
size.
nature by A. Raguenet.
96 lithographed plates,
>
folio
In portfolio.
lo.OO
The
Villas of
Grunewald Villenkolonie Grunewald. The most elegant and characteristic villas and country houses erected in Grunewald, the fashionable suburb of Berlin, Germany. Full exterior and interior views, facades, staircases, details and ground plans. Edited by Egon Hessling. 3 series each of 100 plates, quarto
mostly heliotype prints, reproduced from photographs specially taken, and from measured drawings by various prominent architects.
size,
Price per series,
in
portfolio
$ 8.00
A Manorial Country House Grunewald.

the
in
the
Grunewald
Ein
Landhaus im
Total views, details and ground plans. By Ernst I/uie, architect of German Emperor. 34 plates, quarto size, mostly heliotype prints, reproduced from photographs specially taken and from measured
drawings.
In portfolio.
5.00

8
A. Architecture.
The
Villa
Fuerstenberg.
Full views ol the exterior and the interior, details and the ground plans of this mansion and its premises, situated in a suburb, "Grune-
wald", of the
the
German German Emperor.

In portfolio.
capital,
and built by Ernst Ihne, architect of 22 plates, quarto size, mostly heliotype prints,
$ 3.50
reproduced from photographs specially taken and from measured

drawings.
Modern Architecture
Arehitektur im Bild.
Facades, interiors, ground plans and details of dwelling and business

houses, hotels and public buildings built by prominent architects. Edited by Bruno Hessling. 5 series of 60 heliotype plates each, folio Price per series, in portfolio. size. 10.00
Exterior
Decorations
of
Modern
Building's
Ornamentenschmuck
moderner Bauten.
Portals, gable ornaments, windows and other decorations of facades, Edited by Bruno Hessling. constructed by prominent architects. 25 heliotype plates, folio size. In portfolio. % 6.00
Facades
and Details of Modern Buildings moderner Bauten.

Designed and 'executed by prominent
Hesslitig.
2 series of 60 heliotype
series, in portfolio.
This collection
is
Fassaden und Details

Edited by Bruno Price per
$ 10.00
architects.
plates each, folio size.
an extract from the work "Modern Architecture".
Interior Architecture
Innenarchiand Furniture in Modern Styles tekturen und Mobel der Neuzeit. Full views and details of halls and rooms with furniture, executed Edited by Bruno after original designs by prominent architects.
Hessling.
2 series of 60 heliotype plates each, folio size.
Price per
% 10.00
Modern Architectural Studies
Die Neuzeit. Facades, interiors and details of public and private buildings, recently erected by prominent architects. Compiled and edited by F.Dreclisler.
100 heliotype plates,
reproduced from photographs specially taken,

% 10.00
of
large folio size. In portfolio. This work contains the latest examples
Modern Architecture.
Architectural Studies from Budapest
Architektonische
Studienblatter.
their
Facades and
details of public
and private buildings famous for
architectural beauty, recently erected in Budapest. Heliotype prints reproduced from photographs specially taken by H. Riteckivardt,
30 plates, large folio size. In portfolio.
S 12.
Brickwork Architecture
Entwlirfe fur Ziegelrohbau. Designs for brick buildings for city and country by H. Adami. 2 series of 30 colored plates each, 13V8X19". Price per series, in portfolio.
% 12.00
B.
The Nude.
Street Doors and Portals -- Die schbnsten Haustiiren und Tore. The most beautiful doors in wood recently executed for modern buildings in Berlin and its environs after designs by prominent archiEdited by Egon Hessling. series each of 40 heliotype plates, tects. reproduced from photographs taken expressly for the work, quarto Size. Price per series in portfolio
'_'
Details
for Stone
and Brickwork Architecture
Stein-
und Ziegel-
architektur.
in Romanesque and Gothic styles by G.G. Uugewitter. Bas< arched mouldings, windows, tympanums, balconies, steeples, chimneys, doors, gates, stairs, vaults, and other details in stone and brickwork. 18 lithographed plates, folio size. In portfolio. % 10.00
Designs
profiles,
Details for
Architecture Gothische Holzarchitektur. Gothic style by G. G. Uugewitter. Carved beams and friezes, supports, pillars, ceilings, wainscotings, room and hall doors, gates, windows, bay windows, balconies, garret windows, --hop hunts. stairs and other details in wood. 48 lithographed plates, folio size.
Designs
in
Wood
In portfolio.
Country and City Churches

I
Land- und Stadtkirchen. Irawings ol perspective views, details and plans oi small and medium17 lithographed sized churches, recently built by G- G. Ungevoitter.
In portfolio. S
12.00
plates, folio size.
B.
The Nude.
Kinder-Studien. Child Studies Studies of children from the nude by F. and A. Becker. 50 heliotype plates, quarto size, reproduced from photographs taken from life.
In portfolio.
s 10.00
childlife,
Numerous most charming scenes from

while
groups and single

ease
figures,
which,
rendering
in
nevertheless,
artist.
and nude ingenuity, show, their arrangement and posing the hand and eye of the experienced
the
originals
in
all
their
natural
The Nude
Akte.
Studies from the nude. The human body, both sexes, and all ages, from childhood to advanced age; single figures and groups, also partly draped iigures and parts of the human body, arms, hands, legs, 120 heliotype plates with several hundred feet etc. by H. Eickrnann. figures reproduced from photographs taken from models artistically posed by the author, Professor at Fehr's Art Academy, Berlin. Issued Price per series in portfolio in 3 series of 40 plates each, folio size. 9.00
Ill
C.
Ornaments
for Architecture
and Sculpture.
Movendo. Nude
studies of the
human
children
by A.
Fiedler.
the
figure in motion, both sexes, adults and 53 heliotype plates, folio size, containing over
ft
170 illustrations.
In portfolio.
12.0(1
beauty of the lines of the human body by means of a series of instantaneous photographs of models posed in action, partly imitating antique originals, and always in accordance with the artistic purpose intended.
The author shows
Studies of Flowing Draperies Gewandstudien. Drawings by H. Friling. 16 heliotype plates, folio size, containing over 40 illustrations of draped female figures. In portfolio. 6.1
1
ft
The
draperies are studied with minute care to

still
show
the arrangement and setting
of loose material on
and moving limbs.
C.
Ornaments for Architecture and Sculpture.
Lessons on Form.
synthetic development of ornament, its elements and applied forms by A. Bin nek. A. Geometric forms; natural forms plant, animal, human body; artistic forms. B. Bands, free ornaments, supports, orders of architecture, borders, limited and unlimited flat ornaments, shields, cartouches, coats of arms, emblems, symbols etc. Written and drawn at special request of the Prussian Ministry of Commerce and Industry. Authorised English edition translated from the German by David 0' Conor. Size 872x12", bound in cloth.
$ 3.00
The
The designs
are
beautifully pure
and simple
in
form,
in
clear black outlines on
square ruled paper.
Handbook of Ornament. A grammar of art-industrial and
architectural designing in
all
branches
for practical as well as theoretical use
by
F. S. Meyer.
300 plates,
containing about 3000 illustrations of the elements of ornament, of the combination of ornaments, and of the application of decoration to objects. English edition revised by Hugh Staiuius, F. R. J. B. A.
Demy
octavo
size,
bound
in cloth.
ft
3.60
Styles of Ornament. Shown in designs and arranged

text.
in historical
order with descriptive
A handbook
for architects, designers, painters, sculptors,
wood-
carvers, chasers, modellers, cabinet-makers and artistic locksmiths as well as also for technical schools, libraries and private study. By A. Spelts. Authorised English edition by David O'Conor. 400 fullpage plates and numerous illustrations in the text. Octavo size,
bound
in cloth.
$ 6.00
Ornaments
for Architecture
and Sculpture.
II
The Development and the Recognition of

By Hermann Lindenberg. Outlines
their
essentials.
the straight line

lines;
Styles of Ornament. compounding ornament and Illustrating the development of ornament from to the completed form. Contents: Outlines. Formaall for
tions of leaves in various motives; such as circular, spiral

bell
Two
An
and wave shaped forms, buds, flowers, animal heads, scrolls, etc. series, 14 parts Series I, 6 parts. Series II, 8 parts.) Price per
>
i
series.
indispensable
etc.,
work
tor
schools and
students.
it
Most
useful
lor
wood-carvers,
modellers,
lor the
complete ornaments
contains.
Ancient Ornamental Architecture. The best examples oi ancient ornamental architecture drawn from the originals in Rome and other pails oi Italy during the 17 )4, 17 and 1796, by Charles Heathcote Tatham. Facsimile re production b\ photolithography, republished by William Helburn.
-
.->,
I02plates, folio size.
In
portfolio.
Masks of the Column of Trajanus

saule.
Die Charakterkbpfe der Trajansoriginal reliefs round the
janus
Drawings from the antique by Francois Boucher.

in
Column
the
11
ol
lt.<-
engravings published
plates, folio size.
Motifs of
Facsimile reproduction ol the middle of the 18 th century.
original
heliotype
s
1.00
In
portfolio.
sculptors and modell.
gnat value
for
Architectural
and Ornamental Details
in
Byzantine Style
of Italian
etc.
buildings.
Columns,
capitals, console--, rosettes, corbels, friezes,
mosaic works
with numerous profile designs and exact information of the measures by A. Dehli. 100 photolithographic plates, folio size, fnportfolio. % 20.00
in
Germany
Romanische
Baukunst. Documents of old German art of the first period of the Middle Ages, compiled by Theodor Kutschmann. 30 heliotype plates, folio, size, with explanatory text in German. In portfolio. 10.00
jj

of the Middle Ages Architektonische Details und Ornamente der kirchlichen Baukunst.
.
Portals, buttresses, columns, capitals, statues, vaults, choirs, interior
views, and select characteristic details of the most famous Cathemodern times. Puhlished by A. Hartel. Two series, each of 55 heliotype plates, folio size. Price per series in portfolio
full
drals of old and
$ 13.40
Gothic Ornaments. Selected from various buildings erected during the Middle Ages in England and France, drawn from the originals by A. Pugin. 100 heliotype plates, quarto size. In portfolio. s.
12
C.
Ornaments
tor Architecture
and Sculpture.
Old Paris
Le Vieux Paris.
and their details. Reproduction from original photographs with descriptive French text by Egon and Waldemar
Its
historical buildings
Hessling.
Volume
and 120
I:
Romanesque-Gothic Period.
90 heliotype plates (13x1672 ")

$ 21.00
illustrations in the text.

II:
In portfolio.
Early Renaissance: "Styles Louis XII and Francois I". With a study of the "Chateau de Gaillon" and the "Maison Francois I. de Moret". bO heliotype plates 13x1 672") and 116 illustrations in the
1
Volume
text.
In portfolio.
20.00
Other volumes dealing with the succeeding periods are in preparation. The authors have made an earnest study of the old historical buildings still in existence in Paris and of such vanished edifices whose fragments are still preserved in museums, schools and private collections. To illustrate the chronological development of all French styles, the authors have described some famous constructions, which were transfered to Paris and there reconstructed, as is the case with the world known "Maison Francois I. de Moret" and the "Chateau de Gaillon". Some of the most beautiful fragments of the latter are reconstructed in the courtyard of the "Ecole des Beaux-
= The
Arts".
above work
is
published also
in
plates, the
same
illustrations in the text
and
German, with at the same
the
same
prices.
Architectural Studies from Italy
Architektonische und ornamentale
Studienblatter aus Italien. ^krtehes illustrating the principal examples of Florentine Renaissance
Architecture by
Hermann
Schuette.
50 heliotype plates.
$ 8.00
- Stucco-Dekorationen. Stucco Ornaments Louis XIV Style The plastic wall and ceiling decorations of the historic
castle "Leopoldskron" near Salzburg, Austria, built in the first half of the 18 th century. FZdited by ./. Foster. 32 heliotype plates, folio size, reproduced from photographs and from drawings by the author. $ 10.00
Der Louis XVI Stil. Louis XVI Style Cabinet making, interiors, decorative plaster and metal work, mouldings ete. An analysis of the Louis XVI style and its historical development in France, Germany, Austria, and Italy, together with comparisons of the contemporay styles in England and America. By Waldemar Hessling. 60 pages of richly illustrated text in German, with S plates 12x17", very- finely reproduced in heliotype, from photographs taken expressly for the work. In portfolio. $ 12.00
'
great
number
of motifs for carving, modelling, etc. are illustrated.
Architectural, Decorative, and Industrial Art of the Epoch of Louis XVI. Examples of designs by the most prominent French, English, German, Dutch and Italian architects, decorators and artists of the middle of the XVIII th century. Facsimile reproduction by photolithography. Compiled and edited bv A. Schoy. 300 plates, folio size, in two portfolios. S 45.00
C.
Ornaments
for
Architecture and Sculpture.
13
Empire
Style.
sculptural and decorative details in the style of tinMotifs for the interior and exterior decoration of buildings, for furniture and all kind of art objects, composed or collected, and engraved by P. N. Beauvallet. Facsimile reproduction of the original edition, which was published in Paris, 1804, the year of the coronation ol Napoleon I. 72 photolithographic plates, folio size. In
Architectural,
First
Empire.
portfolio.
12.00
Empire Style
(
Empire Ornamente.
(rnaments, furniture, objects of art etc. from the epoch ol Napoleon I. Facsimile reproduction of the work published 1803 in Paris under the title "Nouveau recueil en divers genres d'ornements et autres objets propres a la decoration", b\ Charles Normand, architect and member In oi the French Academy at Rome. 36 heliotype plates, folio sizeportfolii
>.
S 6.00
Architectural
Ornaments
in
Modern Romanesque
Neuromanische
Ornamentik.
Sculptural details taken from various buildings erected in the Modern Romanesque Style by prominent American architects. Edited by J.O'Kane. 20 heliotype plaits, quarto size, reproduced from photo graphs taken expressly for the work from the originals. In portfolio.
Ecclesiastical
Ornamental
designs
in
Stonework
Kirchliche
Steinbildhauer-
Arbeiten.
New
the
Romanesque and Gothic

fittings,
and holy water

tablets, crosses
.
fonts, canopies, pedestals,
and other church
of pulpits, baptismal pews, candelabrums, votive for execution in stone. By

In
/.
Xicdling.
portfolio.
13.70
Plastic
Ornaments
Plastische Ornamente. Louis XIV and other historic styles for the building and art-trades by //. Friling. 30 heliotype plates, folio size. In port-
New
designs
in
folio,
8.00
The work
contains designs
for
capitals,
pillars,
friezes,
finials,
corners,
panels,
cartouches, shields, and
many
other
ornamental details of facades and art objects.
Rococo Ornaments.
Xew
by
Exterior
II".
designs of various motifs of ornamentation in Louis Huber. 6 heliotype plates, folio size. In portfolio.
XV
Style
f 2.70
Decorations
of
Modern
Building's
Ornamentenschmuck
moderner Bauten.
Portals, gable ornaments,
windows and other decorations of facades, constructed by prominent architects. Edited by Bruno Hessling. 25 heliotype plates, folio size. In portfolio. $ 6.00
plastic Studies --
Modern
Moderne Plastische Studien.
Motifs for the decoration of facades, walls, ceilings, objects of art etc. composed and modelled by students of the Berlin School of Handicraft under the direction of B. Kruse and H. Baum. 26 heliotype
plates, folio size.
In portfolio.
$ 5.40
14
C.
Ornaments
for Architecture
and Sculpture
Stucco Ceilings Stucco Plafonds. Total views and details of ceilings executed in stucco by E. Jftckel after designs in various styles by prominent architects. 30 heliotype plates, folio size, reproduced from photographs specially taken. In
portfolio.
$ 6.00
Stucco Ceiling's Decken und Deckenteile. Total views and details of ceilings executed in stucco by R.Schirmer, after designs in various styles by prominent architects. 30 heliotype plates, folio size, reproduced from photographs specially taken. In
portfolio.
% 6.00
From My Workshop
Plastic
Aus Meiner Kunstwerkstatte. ornaments for interior and exterior decoration: Ceilings, mouldings, panels, capitals, friezes, masks, decorative statues, together with a great variety of motifs for the decoration of facades. Designs in various styles by prominent architects executed by 7?. Schirmer. 5 series of 30 heliotype plates each, folio size, reproduced from photographs taken expressly for the work. Price per Series, in portfolio
| 6.00
--
Decorative Sculpture Work Plastic ornaments for
Dekorative Bildhauerarbeiten.
interior
and exterior decoration: Ceilings, mouldings, panels, capitals, friezes, masks, decorative statues, together with a great variety of motifs for decorating facades. Designs in various styles by prominent architects executed by Zeyer and Drechsler. 2 series, each of 60 heliotype plates, quarto size, reproduced from photographs taken expressly for the work. Price per
S 8.00
Ideas for Ornaments and Art Objects in the

tale Ideen.
"New"
Style
Ornamen-
An
encyclopaedia
architects, sculptors,
H. Friling. Price per series,
ornaments in the "New" Style for designers, modellers, goldsmiths, fresco painters etc. by 2 series of 30 photolithographic plates each, folio size.
of.
in portfolio.
$ 5.00
Ornamental Plant Studies
- - Motive aus der Pflanzenwelt. Sketches from nature by H. Baum 20 plates, quarto size, reproduced from drawing. In portfolio. $ 2.00
Ornamental Plant Studies -- Ornamentale Pflanzenstudien.
A book intended to demonstrate the method of deriving ornamental suggestions from natural plants, illustrated by about 240 designs of plants in natural and in applied form. By F. Moser. 30 photolithographic plates, quarto size with descriptive text. In portfolio $ 4.00
For use
art
in
drawing classes and
in
manual training schools, handicraft and applied-
schools: also for practical purposes.
Blossom and Fruit
Bltite und Frucht. Photographs of natural fruits, flowers, and leaves, artistically arranged as still life, festoons, friezes, panels, ceilings, and other kinds
of
folio size.
ornament. By C. Behrens. 2 series of 36 heliotype plates each, Price per series, in portfolio. $ 12.00
D.
F.cclesiastical
Art.
1")
D. Ecclesiastical Art.
Old Paris
Le Vieux Paris.
Its historical
buildings and their details. Reproduction from original photographs with descriptive French text by Egon Hessling, First volume: Romanesque Gothic Period, contains the famous churches and cathedrals of Paris and its environs: Notre Dame de Paris, I. a Sainte Chapelle, Cath6drale de St. >enis etc. Full views and many details for architects and sculptors. 90heliotype plates 13 It' /?" > 21.00 and 120 illustrations in the text. In portfolio
I
Architektonische Details und Ornamente der kirchlichen Baukunst.

of the Middle Ages
Portals, buttresses, columns, capitals, statues, vaults, choirs, interior
drals of old and
views, and select characteristic details of the most famous Cathemodern times. Published by A. Hartel. Two series, each of 55 heliotype plates, folio size. Price pei series in portfolio
full
;.
i"

Baukunst.
in
Germany
Romanische
Middle Ages,
folio
size,
Documents
of old
German
art ot the lirst period of the
compiled by Theodor Kutschmann. 30 heliotype with explanatory text in German. In portfolio.
plates,
% 10.00
Gothic Ornaments. Selected from various buildings erected during the Middle Ages in England and France, drawn from the originals by A. Pugin. 100 heliotype plates, quarto
size.
In portfolio.
8.00
Religious Sculpture
Sculptures Religieuse. Art of the Middle Ages in France. Collected and edited by E. Walsdorf. Statues of God, of Christ, of the Virgin,
Documents
of Christian
the
Twelve Apostles figures of Angels, high reliefs of Biblical scenes and scenes from the lives of the Saints. 60 heliotye plates, quarto size, reproduced from photographs taken expressly for the
work from
Religious Statues
the old originals.
In portfolio.
16.00
Kirchliche Figurale Skulpturen.
Single statues, groups, reliefs etc representing scenes from the life of Christ, Biblical scenes etc., sculptured by H. Hirsch. 40 heliotype plates, quarto size, reproduced from photographs taken expressly for
the
work from
the originals.
In portfolio.
s 8.00
16
D.
Ecclesiastical Art.
Altars and Pulpits
Altare und Kanzeln. examples of ecclesiastical work in the Gothic style taken mostly from the most famous German cathedrals and churches of the Middle Ages. Compiled and edited by A. Hartel. 30 heliotype plates, in folio size, reproduced from photographs specially taken.
series of
In portfolio.
10.70
Land- und Stadtkirehen. Country and City Churches Drawings of perspective views, details and plans of small and mediumsized churches
recently built
In portfolio.
by G. G. Ungewitter.
47 lithographed
$ 12.00
plates, folio size.
Ecclesiastical
Ornamental
Stonework
Kirchliche
Steinbildhauer-
Arbeiten. New designs in the Romanesque and Gothic of pulpits, baptismal and holy water fonts, canopies, pedestals, pews, candelabrums, votive tablets, crosses and other church fittings, for execution in stone. By
./.
Niedling.
In portfolio.
% 13.70
Altars in
Romanesque and Gothic Style

Stile.
in the styles of the
Altare
im romanischen und
gotischen
New
by
designs
altars giving front

A. Niedling.
folio.
Middle Ages for a great variety of and side views, ground plans and many details 32 plates, 4 of which are colored, folio size. In port
$ 13.70
Altars, Pulpits
and
Stalls
in the
Altare, Kanzeln
und
Chorgesttihl.
styles for ecclesiastical
New
designs
wood work, giving total views and details. Measured drawings by P.Gommel. 32 photolithographic plates, folio size. In portfolio. bum
Ecclesiastical
Woodwork
woodwork
Kirchenmbbel.
New
styles for various ecclegiving total views and details of organ cases, Measured drawings stalls, galleries, side altars, gospel desks, etc. bv P. Gommel. 32 photolithographic plates, folio size. In portfolio.
designs in the
siastical
% 10.00
The above work
is
to
be considered
as the second series to the author's first
publication: Altars, Pulpits and Stalls.
Ecclesiastical
Woodwork and Carving
Kirchliche Tischler- und Holz-
bildhauerarbeiten.
New
designs in the Romanesque and Gothic styles for pulpits, stalls, screens, doors, ceilings, confessionals, galleries, organs, and other church fittings in wood by A. Niedling. 32 plates, 4 of which are colored, folio size. In portfolio. $ 13.70
Tombstones
Grabsteine. designs in the Renaissance style for memorials, headstones, and monuments bv A. Huber. 60 heliotype plates, quarto size. In port-
New
folio.
$ 4.00
E.
Statuary.
Decorative Painting' for Churches
- -
Kirchenmalereien.
Mollis for ecclesiastical fresco painting in the Romanesque and Gothic Wall and ceiling decorations, panels, painted styles by A. Niedling. columns, rosettes, friezes, borders and various kind of architectural
painting.
28 plates.
folio size.
2-1
of which
are
reproduced
by chromolitho$
h>-
graphy,
In portfolio.
Wrought Iron
I
Railings for Graves -- Schmiedeeiserne Grabgitter. >esigns in iothic and Renaissance styles of grave-railings with detail drawings in working size by ./. Schubert. 6 plates and 12 large sheets with details in natural size. In portfolio. $ 3.40
<
Styles of Ornament.
Shown
text.
in
designs and arranged
in historical
handbook
wood
carvers, chasers, modellers, cabinet-makers and artistic locksmiths .is well as also for technical schools, libraries and private study, bj Authorised English edition by David O' Conor. 100 fullA.Spelts.
page plates and numerous bound in cloth.
illustrations
in
the
text.
Octavo
size,
6.00
E. Statuary.
Modern German Sculpture
collection of the most
Deutsche Skulpturen der Neuzeit. prominent works of German sculptors with
biographical notices, edited by A. Schulz. 3 series, each of 60 heliotype plates, folio size, reproduced from photographs of original Price per statues, busts, reliefs, etc., taken expressly for the work.
$ 12.00
Modern Belgian Sculpture
La Sculpture Beige Contemporaine. most prominent works of Belgian artists edited by Egon Hessling with biographical notices in French by F. Symons. 60 plates in heliogravure and heliotype and 66 illustrations in the Reproduced from photographs taken from the originals. In text.
collection of the
portfolio.
% 26.70
artists
The Belgian
admiration
in
of the
present
time have
aroused the highest interest and

represented
in
all
artistic
circles.
Amongst the
artists
the
work
are:
Meunier, van der Stappen, Lagae, Dillens.
Religious Statues
Kirchliehe Figurale Skulpturen.
Single statues, groups, reliefs etc. representing scenes from the life of Christ, Biblical scenes etc., sculptured by H. Hirsch. 40 heliotype plates, quarto size, reproduced from photographs taken expressly for
the
work from
the originals.
In portfolio.
8.00
18
F.
Jewelry, Silverware, Bronzes, Ceramics,
etc.
Religious Sculpture
Sculptures Religieuse. Art of the Middle Ages in France. Collected and edited by E. Walsdorf. Statues of God, of Christ, of the Virgin, the Twelve Apostles, figures of Angels, high reliefs of Biblical scenes and scenes from the lives of the Saints. 60 heliotype plates, quarto size, reproduced from photographs taken expressly for the work from the old originals. In portfolio. 16.00
Documents
of Christian
ft
F. Jewelry, Silverware, Bronzes,
Ceramics,
Art Objects in Bronze. Silver etc.
etc.
Metallgerate.
clocks, inkstands,
Lamps,
candlesticks,
chandeliers,
vases,
frames,
wine bowls, and various fancy-articles executed in all kinds of metal after new designs in historic styles by accomplished draughtsmen. Edited by P. Gerke. 20 heliotype plates, folio size.
centre-pieces,
In portfolio.
ft
8.00
Small Plastic
Work
- -
Kleinplastik.
Clocks, inkstands, candlesticks, plates, and other fancy articles in metal, all modelled by A. Reimann. 40 heliotype from photographs taken expressly for
lamps, frames, mirrors, vases, kind of jewelry, designed and plates, quarto size, reproduced
the work.
In portfolio.
$ 8.00
Ideas for Ornaments and Art Objects in the

tale Ideen.
"New"
"New"
Style
Ornamen-
An
encyclopaedia of ornaments
in
the
Style for designers,
architects, sculptors, modellers, goldsmiths, fresco painters etc. by
H. Friling.
2 series of 30 photolithographic
in portfolio.
plates each, folio size.

$ 5.00
Price per series,

for practical as well as
theoretical use
architectural designing in all branches by F. S. Meyer. 300 plates,
containing about 3000 illustrations of the elements of ornament, of the combination of ornaments, and of the application of decoration
to objects.
Demy
Styles of
English edition revised by octavo size, bound in cloth.
Hugh
Stannus, F. R.
J.
B. A.
ft
3.60
Ornament Shown in designs and arranged

text.
in historical
handbook
wood.
carvers, chasers, modellers, cabinet-makers and artistic locksmiths as well as also for technical schools, libraries and private stud}- By A. Spelt:. Authorised English edition by David O' Conor. 400 full-
page plates and numerous bound in cloth.
illustrations
in
the
text.
Octavo
size,
$ 6.00
K.
etc.
1"
Masks of the Column of Trajanus

saule.
Die Charakterkopfe der Trajans-
Drawings from the antique original reliefs round the Column of Trajanus by Francois Boucher. Facsimile reproduction of the original engravings published in the middle of the 18 th century. 11 heliotype
plates, folio size.
In
portfolio.
1.00
Motifs of great value for sculptors and modellers.
Henri Francois Brand (1789 1845). Life and Works of the famous engraver
>A<nul
Lehnert.
'-"_'
oi medals. Edited by Hildeheliotype plates, folio size, with about 150 figures,
and
71
pages German
text.
In portfolio.
Architectural, Decorative, and Industrial Art of the Epoch of Louis XVI. Examples ol designs by the most promineni French, English, German, Dutch and Italian architects, decorators and artists of the middle oj the XVIII th century. Facsimile reproduction by photolithography. Compiled and edited b\ A. Schoy. 300 plates, folio size, in two portfolios.
15.00
of the

and industrial
art
in
all
Period of Louis
XVI covering
architectural
its
branches.
Louis XVI Style
- -
Der Louis XVI
Stil.
Cabinet making, interiors, decorative plaster and metal work, mouldings etc. An analysis of the Louis.\VI style, and its historical development in France, Germany, Austria, and Italy, together with
contemporaj styles in England and America. By 60 pages ol richly illustrated text in German, with 8 plates 12x17", very finely reproduced in heliotype, from photographs taken expressl) for the work. In portfolio. s 12.00 A great number of motifs for carving, modelling, inlay work etc. are illustrated.
comparisons
of the
Waldemar
Hessling.
Louis XVI Furniture in the Louvre Total views of cabinets, chads,
of various pieces of furniture, Edited by Egon and Waldemar Hessling. 36 heliotype plates, fix 17", reproduced from photographs taken expressly for the work, with
Le Mobilier Louis XVI au Louvre. commodes, bureaus etc., parts details of carving and ornamentation.
tables,
descriptive illustrated text. In portfolio. $ 13.40 The work is published in two editions, French and German, and contains not only designs of art furniture but also numerous motifs for application to bronze and
metal work.
Empire
Style.
Architectural, sculptural and decorative details in the style of the First Empire. Motifs for the interior and exterior decoration of buildings, for furniture and till kind of art objects, composed or collected, and engraved by P. X. Beauvallet. Facsimile reproduction of the original edition, which was published in Paris, 1804, the year of the coronation of Napoleon I. 72 photolithographic plates, folio size. In
portfolio.
S 12.00
20
F.
etc.
Empire Style
Empire Ornamente.
etc.
Ornaments, furniture, objects of art
from the epoch of Napoleon
I.
Facsimile reproduction of the work published 1803 in Paris under the title "Xouveau recueil en divers genres d'ornements et autres objets propres a la decoration", by Cliarlcs Normand, architect and member
of the French
portfolio.
Academy
at
Rome.
In
% 6.00
Modern
plastic Studies
Moderne Plastisehe Studien.
Motifs for the decoration of facades, walls, ceilings, objects of art etc. composed and modelled by students of the Berlin School of Handicraft under the direction of B. Kruse and H. Baitni, sculptors and professors. 26 heliotype plates, folio size, reproduced from photographs taken from selected originals. In portfolio. $ 5.40
Dekorative Bildhauerarbeiten. Decorative Sculpture Work Plastic ornaments for interior and exterior decoration:
Ceilings,
mouldings, panels, capitals, friezes, masks, decorative statues, together with a great variety of motifs for decorating facades. Designs in various styles by prominent architects executed by Zeyer and Drcchslcr. 2 series, each of 60 heliotype plates, quarto size, reproduced from photographs taken expressly for the work. Price per
s s.nu
From My Workshop
Plastic
Aus Meiner Kunstwerkstatte.

interior
ornaments for
ings, panels, capitals, friezes,

a great
various 5 series
graphs
and exterior decoration: Ceilings, mouldmasks, decorative statues, together with variety of motifs for the decoration of facades. Designs in styles by prominent architects executed by R. Schirmer. of 30 heliotype plates each, folio size, reproduced from phototaken expressly for the work. Price per Series, in portfolio.
$ 6.00
Blossom and Fruit

Photographs arranged as
of
of
Bliite
und Frucht.
fruits,
natural
C.
flowers,
and
leaves,
artistically
still life,
festoons, friezes, panels, ceilings,
and other kinds

12.00
ornament.
By
Behrens.
2 series of 36 heliotype plates each,
folio size.
Price per series, in portfolio.
Deutsche Skulpturen der Neuzeit. most prominent works of German sculptors with biographical notices, edited by A. Schuls. 3 series, each of 60 heliotype plates, folio size, reproduced from photographs of original
collection of the
statues, busts, reliefs, etc., taken expressly for the

w ork.
T
Price per
g 12.00
Religious Statues
Kirchliche Figurale Skulpturen.
Single statues, groups, reliefs etc. representing scenes

of Christ, Biblical scenes etc., sculptured
plates, quarto size,
from the life by H. Hirsch. -to heliotype reproduced from photographs taken expressly for
In portfolio.
% 8.00
the
work from
the originals.
(i
Furniture, Carpentry-work,
Woodcarving
etc.
21
Modern Belgian Sculpture
La Sculpture Beige Contemporaine. most prominent works <>i Belgian artists edited by Ego Hessling with biographical notices in French by Symons. 60 plates in heliogravure and heliotype and 66 illustrations in the text. Reproduced from photographs taken from the originals. In
collection of the
i/
/'.
portfolio.
The
Belgian
in
all
artists
artistic
of the
circles.
present
time
$ 26.70 have aroused the highest interest and

in
admiration
Amongst
the artists represented
the
work
are;
Meunier, van der btappen, Lagae, Dillens.
Religious Sculpture
Sculptures Religieuse. Art oi the Middle Ages in France. Collected and edited by E. Walsdorf. Statues of God, of Christ, of the Virgin, the Twelve Apostles, figures oi Angels, high reliefs oi Biblical scenes and scents from the lives ol the Saints. 60 heliotype plates, quarto size, reproduced from photographs taken expressl] for the work from the old originals. In portfolio. 16.00
Documents
of Christian
G. Furniture, Carpentry-work,
WoodMountetc.
carving, Marquetry, Furniture

ings, Interiors,
i.
Draperies
Theory and History.
History of Furniture with Special Reference to the Architectural and
Geschiehte des Mobels. study book for furniture makers, designers and others. Edited by Dr. .1. Koeppen and C. Breuer. An analysis of the development of furniture from the time of the first dwellings to the period of the Roman Empire, including the furniture of the East Asiatic lands, also some specimens of Early North American Work. Descriptive text in s 8.00 German, with 423 illustrations. Bound in cloth.
Technical forms
Styles of Ornament. Shown in designs and arranged

text.
in historical
A handbook
wood-
carvers, chasers, modellers, cabinet-makers and artistic locksmiths as well as also for technical schools, libraries and private study. By H. Sptitz. 400 fullpage plates and numerous illustrations in the text.
Octavo
size,
bound
in cloth.
S 6.00
Handbook
of Ornament.
A grammar of art-industrial and architectural designing in all branches

for practical as well as theoretical use
by
F. S.
Meyer.
3000 plates.
$ 3.60
E)emy octavo
size,
bound
in cloth.
22
G.
Woodcarving
etc.
Technical Drawing Lessons for the Use of Joiners and Cabinet Makers
1
Das Fachzeichnen fiir Tischler. For schools and self instruction. Published by request and with the support of the Prussian Ministry for commerce and industry by
A. Blunck.
In three divisions.
of
Div.
I.
The Plan
Part
1.
Study
II.
Principles of Construction
Artistic
Der Lehrplan. 32 pages of text $ 0.50 Die Konstructionslehre.
II.
22S pages of text with S65 illustrations.

2.
Part.
Part.
Forms
$ 3.50
Die Kunstform.
Die
Stillehre.
119
pages
of
text with 371 illustrations.
II.
3.
Study
of Styles
2.00 History of fur(In
niture with ration

,,
numerous
illustrations.
2 volumes.
Prepa-
II.
Part.
4.
Technical Design
for instruction.
55 pages of text with
Das Fachzeichnen. A guide numerous illustrations.
II.
Part.
5.
Technical Instruction
Der
Unterricht.
$1.50
The Ma$ 4.00
terials,
II.
Drawings,
etc.
170
pages
of text.
Part
5.
2 nd Section
separately.
Formenlehre.
124 plates of
Lessons on Form designs with 20 pages
Die
of text.
$ 3.00
All the above volumes are in
German, and bound
in full cloth,
small
quarto
Div.
III.
size
(S'/sxH
^").
Portfolios of Designs and Patterns, to supplement the text. Series I. 58 plates $ 6.00

II.
120 plates
24 plates
III.
$ 6.00 $ 6.00
The above
portfolios are in large folio size
(20x27
/4"),
many
of the
plates are double size (folded).
2.
Carpentry-work.
Street Doors
and Portals - Die sehonsten Haustiiren und Tore. The most beautiful doors in wood recently executed for modern
tects.
its environs after designs by prominent archiHessling. 2 series each of 40 heliotype plates, reproduced from photographs taken expressly for the work, quarto size. Price per series in portfolio. % 4.00
buildings in Berlin and
Edited by
Egon
Carpentry
Work in the New designs in

plates, 12
Gothic Style
Gotische Bautischlerarbeiten.
the Gothic style for door ways, stairs, shop-fronts verandas, balconies, gables etc. by A. Huber. 30 photolithographic
x IS".
In portfolio.
$ 6.00
Carpentry Work in the Gothic Style Gotische Bautischlerarbeiten. Designs in the Gothic style for doorways, and all kinds of interior woodwork by A. Niedling. 16 photolithographic plates, folio size.
In portfolio.
s 5.40
<>.
Furniture,
Carpentry-work, Woodcarving
etc.
'_M
Plain Carpentry
Designs
lings,
Einfache Bautischlerarbeiten. Furnishings: doors for various purposes, ceiwindow linings etc. by A. Huber. 10 photolithographic plates,
for interior
Work
folio size.
In portfolio.
8.00
Carpentry Work in the Style of the German Renaissance des Bautisehlers. New designs for doorways, shop-fronts and all kinds
Arbeiten
ol
.
interior
/.
woodwork
in
the
style
of
the
In
German Renaissance by
portfolio.
Huber.
% 20.00
60 heliotype plate-, folio size.
Doorways and Interior Doors und Zimmertiiren.

Designs
for
in
the
"New"
Style
Moderne Haus24
wooden doors
In
of
all
kind- by
./.
Huber.
heliotype
plates, folio size.
portfolio
$6.00
in
Louis XVI Style
Der Louis XVI
Stil
der Kunsttischlerei.
Cabinet making, interiors, decorative plaster and metal work, moiil dings etc. An analysis ol the Louis XV] style, and its historical development in France, Germany, Austria, and Italy, together with
of the cont< mporay styles in England and America. By Hessling. 60 pages ol richly illustrated text in German, 17". very finely with 8 plates 12 reproduced in heliotype, from photographs taken expressly for the work, [n portfolio. % 12.00
comparisons
Waldemar
great
number
of motifs
for
carving, modelling, etc. are illustrated.
3.
Ecclesiastical
Woodwork,
Altars.
Altars
and Pulpits
Altare und Kanzeln. examples of ecclesiastical work in the Gothic style taken mostly from the most famous German cathedrals and churches of the Middle Ages. Compiled and edited by A. Hartel. 30 heliotype plates, in folio size, reproduced from photographs specially taken.
series of
In portfolio.
| 10.70
Altars, Pulpits
and
Stalls
Altare, Kanzeln
und Chorgestuhl.
New
designs in the Romanesque and Gothic styles for ecclesiastical wood work, giving total views and details. Measured drawings by /'. Gommel. 32 photolithographic plates, folio size. In portfolio. % 10.00
Ecclesiastical
Woodwork
designs
in the
Kirehenmbbel.
styles for various eccledetails of
etc.
New

total
siastical
stalls,
woodwork, giving
side altars,
to
views and
galleries,
by P. Gommel.
The above work
gospel desks, 32 photolithographic plates,

is
organ cases, Measured drawings

$ 10.00
the author's
first
folio size.
to
be considered as
the
second series
publication: Altars, Pulpits and Stalls.
24
G.
Woodcarving
etc.
Ecclesiastical
Woodwork and
Carving-
Kirchliche Tisehler-
und Holz-
bildhauerarbeiten. New designs in the Romanesque and Gothic styles for pulpits, stalls, screens, doors, ceilings, confessionals, galleries, organs, and other church fittings in wood by A. Niedling. 32 plates, 4 of which are
colored, folio size. In portfolio.
13.70
Altars in
Style
Altare
im romanischen und
g*otischen Stile. Xew designs in the styles of the Middle Ages for a great variety oi altars giving front and side views, ground plans and many details by A. Niedling. 32 plates, 4 of which are colored, folio size. In portfolio.
$ 13-70
Gothic Ornaments. Selected from various buildings erected during the Middle Ages in England and France, drawn from the originals by A. Pitgin. 100 heliotype plates, quarto
size.
In portfolio.
% 8.00
Religious Sculpture
Documents
Sculptures Religieuse. Art of the Middle Ages in France. Collected and edited by E. Walsdorf. Statues of God, of Christ, of the Virgin, the Twelve Apostles, figures of Angels, high reliefs of Biblical scenes and scenes from the lives of the Saints. 60 heliotype plates, quarto size, reproduced from photographs taken expressly for the work from the old originals. In portfolio. % 16-00
of Christian
Kirchliche Figurale Skulpturen. Religious Statues Single statues, groups, reliets etc. representing scenes from the life of Christ, Biblical scenes etc., sculptured by H. Hirsch. 40 heliotype plates, quarto size, reproduced from photographs taken expressly for
the
work from
the originals.
In portfolio.
$ 8.00
Old Paris
Le Vieux Paris
Its historical
buildings and their details. Reproduction from original photographs with descriptive text by Egon Hessling. First volume: Romanesque-Gothic Period, with the famous churches and cathedrals of Paris and its environs: Notre Dame de Paris, La Sainte Chapelle, Cathedrale de St. Denis and others. 90 heliotype plates, 13x1b V', and 120 illustrations in the text. In portfolio. % 21.00
1
The volume
styles.
contains a great variety of ornaments
in
the
Romanesque and Gothik
G.
Woodcarving
etc.
25
4.
Old Furniture.
Mansions of England in the Olden Time.

Facades and interiors
Xasli.
In
in
English Gothic and Renaissance.
By Joseph
S 25.00
New
in
facsimile edition in heliotype prints.

half leather.
is
104 plates 13 l /a
30.00
portfolio.
Bound
An
j>
hereby offered to acquire at less than half the cost an edition of this famous work equal, ill every respect, to the hest of the previous editions. The reproductions an exquisitely clear and sharp.
opportunity
Old Louis
XV
Furniture -- Vorbilder der Kunsttisehlerei des XVIII. Jahr-
hunderts. Designs of furniture and interior wood work, reproduced from the originals oi the most prominent French, English and German artists of the middle of the 18 th century, especially from the works b)
F.
II.
Habermann,
Tlioina-
F. de Cuvillies, J. A. Meissonier, Chippendale and others. Compiled and

'_'
I.
Bruno Hessling. series oi Price per series in portfolio.
36
heliotype
plates
('. de la Fosse, republished by each, folio size.
s 9.40
Seat Furniture Louis XV Style Entwiirfe fur Sitzmobel. Designs of chairs, sofas, couches etc., reproduced from the works <>l the masters of the middle of the 18 th century: F. 1. Habermann, F. de Cuvillies, J. A. Meissonier, Thomas Chippendale and others. Compiled and republished by Bruno Hessling. 25 heliotype plates,
1
folio size.
In portfolio.
of the
%
in
S.O
The
plates
above work are published also
the
work:
"Old Luis
XV
Furniture".
Chippendale Furniture Englisehe Rokokomobel. Designs of chairs, solas, beds, tables, librarj book-cases, clock-cases, sideboards etc., reproduced from the original work of Th. Chippendale, published 17m' under the title "The Gentleman and Cabinet
maker's Director",
llie
is heliotype plates, folio size.
In portfolio.
% 6.00
plates
of the
above work are published also
in
the work: "Old Louis
XV
Furniture".
English Furniture in the Style of the latter Part of the 18 th century -
Englisehe Kunstmobel. Facsimile reproduction from the original works of Thomas Sheraton, F. Hepplewhite and William Thomas. 32 heliotype plates, folio size.
In portfolio.
% 10.00
of the
The
plates
title:
above
album are published also
in
two volumes under
the
following
English Art Furniture
Englisehe Gebrauehs- und Luxusmobel.
Facsimile reproduction from the plates of the work by Thomas Sheraton published 1791 under the title: "Cabinet Maker and Upholsterers Drawing Book". 16 heliotvpe plates, folio size. In portfolio.
S 5.00
26
G.
Woodcarving
etc.
English Household Furniture
Eng'lische Hausmbbel. Facsimile reproduction from the plates of J. Hepplewhite's work published 1794 under the title: "Cabinet Maker and Upholsterer's Guide", with a supplement plate reproduced from designs by William Thomas.
In portfolio.
$ 5.00
Colonial Furniture in America.
collection
of scaled drawings,
details
and sketches
of
what
is
commonly known as American Colonial Furniture. Measured and drawn from antique models by A. C. Nye. 55 lithographed plates, folio
size.
In portfolio.
$ 14.00
Louis XVI Style
Der Louis XVI
Stil.
and metal work, mouldings etc. An analysis of the Louis XVI style, and its historical development in .France, Germany, Austria, and Italy, together with comparisons of the contemporay styles in England and America. By Waldemar Hcssling. 60 pages of richly illustrated text in German, with 8 plates 12x17", very finely reproduced in heliotype, from photographs taken expressly for the work. In portfolio. % 12.00
Cabinet making, interiors, decorative plaster
great
number of
motifs for carving,
modelling, etc. are illustrated.
Louis XVI Furniture in the Louvre -- Le Mobilier Louis XVI au Louvre. Total views of cabinets, chairs, tables, commodes, bureaus etc., parts of various pieces of furniture, details of carving and ornamentation. Edited by Egon and Waldemar Hessling. 36 heliotype plates, 12x17", reproduced from photographs taken expressly for the work, with
descriptive illustrated text. In portfolio. The work is published in two editions French and German, and
,
.$
13.40
not
contains
only designs of art furniture but also numerous motifs for application to bronze and
metal work.
Architectural, Decorative, and Industrial Art of the Epoch of Louis XVI. Examples of designs by the most prominent French, English, German, Dutch and Italian architects, decorators and artists of the middle of Facsimile reproduction by photolithography. the XVIII th century. Compiled and edited by A. Schoy. 300 plates, folio size, in two portfolios.
$ 45.00
of the Period of Louis

and industrial
art in all
its
XVI
covering architectural
branches.
Empire
Style. Architectural, sculptural and decorative details in the style of the First Empire. Motifs for the interior and exterior decoration of buildings, for furniture and all kind of art objects, composed or collected, and engraved by P. N. Beauvallet. Facsimile reproduction of the original edition, which was published in Paris, 1804,- the year of the coronation of Napoleon I. 72 photolithographic plates, folio size. In
portfolio.
$ 12.00
G.
Woodcarving
etc.
27
Empire Style
Empire Ornamente.
oi
Ornaments, furniture, objects
art etc.
from
tin-
epoch
of
Napoleon
I.
Facsimile reproduction of the work published 1803 in Paris under the title "Nouveau recueil en divers genres d'ornements et autres objets propres a la decoration", by Charles Xormand, architect and member of the French Academy at Rome. 36 heliotype plates, folio size. In
portfolio.
-
Styles of Ornament.
Shown in designs and arranged in historical order A handbook for architects, designers, painters, text.
wiili
descriptive
sculptors,
wood-
carvers, chasers, modellers, cabinet-makers and artistic locksmiths as well as also for technical schools, libraries and private study. Bj A. Spelts. Authorised English edition by David O' Conor. 400 fullpage plates and numerous illustrations in the text. Octavo size,
bound
in cloth.
hum
5.
Woodcarving and
Sec chapters
3
Details of Cabinetwork.
V
k" and 4 "Old Furniture"
=
Details for
-
"Ecclesiastical
Wood
Architecture in the Style of the
German Renaissance
Einzelheiten fur Holzarchitektur. Designs for details ol all kinds of woodwork: columns, pilasters, capitals, consoles, fillings, profiles and other motifs in large scale by A. Huber. 48 lithographic plates, imperial folio size. In portfolio.
Italian
Renaissance.
Wood Carving and Marquetry Work
Holz-
skulpturen und Intarsien. A series of plates ol a memorial cabinet richly decorated with sculptured ornaments and inlaid work alter designs in the style of the Italian Renaissance. Designed by M. Hoffmann, architect, and executed in ebony and ivory by A. Hoffmann, wood sculptor to the German Emperor, 10 heliotype plates, quarto size, reproduced from photographs taken expressly for the work. In portfolio. s 3.40
Wood Carvings and

Mobel
in
Furniture in Louis XIV Style
Holzskulpturen und
Barock.
Panels, friezes and borders for wall decorations, frames and details ol furniture designed in Louis XIV Style and executed by Adolph Hoffmann. 40 helliotype plates, quarto size, reprodeced from photo-
graphs taken expressly for the work.
In portfolio.
$ 8.00
Wood
Carving's
and Furniture
Rokoko.
in Louis
XV
Style
Holzskulpturen und
Mbbel
in
Chairs, stools, tables, mirror and picture frames, consoles and a great variety of fancy woodware with many details designed in Louis style and executed by Adolph Hoffmann. 3 scries. 1 st and 2 d series of 30 heliotype plate each, 3 d series 40 heliotype plates, quarto size,
XV
reproduced from photographs taken expressly lor the work.

per series in portfolio.
Price
6.70
28
G.
Furniture, Carpentr\--work,
Woodcarving
etc.
Frames and Gilded Work
Entwiirfe
fiir
Vergolderarbeiten.
etc.
Picture and mirror frames, consoles, fire screens, candelabrums
Designs reproduced lrom the works of famous masters of the middle of the 18* century, F. H. Hahermann, J. A. Meissonier, Thomas Chippendale and others. C6mpiled and republished by Bruno
Hessling.
18 heliotype plates, folio size. In portfolio. g 5.40 These plates are published also in the work: "Old Louis XV Furniture".
French Furniture
in
Modern
Style -- Mobiliers Franeais.
Total views and details of furniture recently executed in workshops in Paris and other French cities after designs by prominent French architects and various accomplished draughtsmen. Edited by Egon
Hessling and E. A. Seguy. 80 heliotype plates, quarto size, reproduced from photographs taken expressly for the work. In portfolio. $ 12.00
This volume contains numerous details for the carving and ornamentation of furniture.
Plant
Ornament
fiir
for
Chipped and Inlaid Work
Pflanzenornamente
Holztechniken. Designs in the Modern Style by F. Mosey.

Inlaidwork.
2 parts ol 24 heliotypeplates each, folio size. part in portfolio.
Parti: Carving, Part II: Price per

g 5.00
Ideas for Ornaments in the "New" Style -- Ornamentale Ideen. An encyclopaedia of ornaments in the "New" Style by H. Friling. 2 series of 30 plates each, folio size. Price per series, in portfolio. % 5.00
Blossom and Fruit
Bliite
und Frucht.
Photographs of natural fruits, flowers, and leaves, artistically arranged as still life, festoons, friezes, panels, ceilings, and other kinds of ornament. By C. Behrens. 2 series of 36 heliotype plates each,
folio size.
Price per series,
in portfolio.
12.00
Modern
plastic Studies --
Moderne Plastische Studien.
Motifs for the decoration of facades, walls, ceilings, objects of art etc. composed and modelled by students of the Berlin School of Handicraft under the direction of B. Kruse and H. Baum. 26 heliotype
plates, folio size.
In portfolio.
g 3.40
From My Workshop
Plastic
- Aus Meiner Kunstwerkstatte. ornaments for interior and exterior decoration: Ceilings, mouldings, panels, capitals, friezes, masks, decorative statues, together with a great variety of motifs for the decoration of facades. Designs in various styles by prominent architects executed by R. Schirmer. 5 series of 30 heliotype plates each, folio size, reproduced from photographs taken for the work. Price per Series, in portfolio. $ 6.00
<;.
Woodcarving
etc.
29
Decorative Sculpture Work Plastic ornaments for
Dekorative Bildhauerarbeiten.
interior
and exterior decoration: Ceilings, mouldings, panels, capitals, friezes, masks, decorative statues, together with a great variety of motifs for decorating facades. Design-- in various styles by prominent architects executed by Zcycr and Drechsler. 2 series, each of 60 heliotype plates, quarto size, reproduced from photographs taken expressly for the work. Price per
s 8.00
The Development and the Recognition of all Styles of Ornament. By Hermann Lindenberg. Outlines for compounding ornament and their essentials. the development of ornament from Illustrating the straight line to the completed form. Contents: Outlines. Formations of leaves in various motives; Mich as circular, spiral and wave
lines:
bell
shaped forms, buds, flowers, animal heads,

Series
for
I,
scrolls,
etc.
Two
An
series, 14 parts
6 parts.
and
Scries
II,
8 parts.
for
Price per
s
series.
indispensable
etc.,
1.50
work
tin-
schools
students.
it
Most useful
wood-carvers,
modellers,
lor
complete ornaments
contai

for practical
architectural designing
in
.ill
branches
containing the application of decoration to objects.
as well as theoretical use by F. S. Meyer. 300 plates, about 3000 illustrations of the elements ol ornament and
English edition revised by

size,
Hugh StannuSj F.R.J.B.A. Demy
octavo
bound
in cloth.
J 3.60
6.
I.Iodern Furniture
and
Interiors in Various Styles.
Gotische Mbbel. Furniture in the Gothic Style New designs for household furniture in Gothic, with constructive and ornamental details in large size by A. Niedling. 40 plates, 15x1772". In portfolio. % 13.70
- Gotische Wohnraume und Mbbel. Gothic Interiors and Furniture Perspective views of Gothic interiors and single pieces of furniture designed by H. Freyberger. '_T> lithographic plates, folio size. In
portfolio.
$ 7.00
Gothic Furniture
Moderne gotische Mbbel.
designs for household furniture and fancy cabinets in the Gothic stvle bv A. Huber. 30 photolithographic plates, quarto size. In portfolio.
Xew
$ 6.00
Renaissance Furniture
Entwiirfe moderner Mobel. household furniture in the style of the German Renaissance by A. Huber. 2 series of 60 heliotype plates each, folio s 'JO.OO size. Price per series in portfolio
Xew
designs
of
30
G. Furniture, Carpentry-work, Woodearving
etc.
Fancy Cabinet Work
Kleine Fantasie- und Luxusmobel. Designs of furniture in various styles with numerous details by G. C. Krause. 48 lithographic plates with more than 300 designs, quarto
size.
In portfolio.
-
5.00
Fancy Furniture
Kleine Gebrauchs- und Ziermobel. New designs for corner and wall cabinets, flower tables, jardinieres, pedestals, consoles, screens, dressing tables, tabarettes etc. by G. C. Krause: 30 lithographic plates, containing about 100 drawings, quarto
size.
In portfolio.
g 3.00
Modern Seat and Parlor Furniture

Salonmobel. Designs in the present
taste
Moderne Sitzmobel und kleine

C.
by G.
size.
Krause.
40 lithographic plates
$ 5.00
with about 140 designs, quarto
In portfolio.
Seat Furniture
Moderne Sitzmobel. designs for seat furniture of all kinds by A. Huber. Series I: Upholstered seat furniture without open woodwork. 2 parts of 24 chromolithographic plates each, quarto size. Price per part
New
in portfolio
$ S.40
Series II: Upholstered seat furniture with open lithographic plates, quarto size. In portfolio.
wood work.
24
chromo% S.40
Rococo Furniture
Sketches
for
Rokokomobel. modern furniture
in
Louis
XV
Style by A. Huber.
6.70
In portfolio.
American Seat Furniture
Amerikanische Sitzmobel. kinds of modern American seat furniture with open wood work by R. Come/sen. 45 plates reproduced by
SO original designs of
all
photolithography, quarto size.
In portfolio.
6.70
Household Furniture
Mobel. Designs
in
Modern English Style
Moderne
eng-lische
of cabinetwork of various description by A. Huber. 30 photolithographic plates, quarto size. In portfolio. $ 6.00
Present Styles of House Furnishing:
Die Wohnung-sausstattung
der
Gegenwart.
Designs
of perspective
in all the
folio size.
views of plainly and richly furnished interiors recent favorite styles by J. Pape. 12 heliotype plates, large
In portfolio.
% 5.40
French Furniture
in
Modern
Style
- Mobiliers Franeais.
Total views and details of furniture recently executed in workshops in Paris and other French cities after designs by prominent French architects and various accomplished draughtsmen. Edited by Egou Hcssluig and'ii. A. Seguy. 80 heliotype plates, quarto size, reproduced from photographs taken expressly for the work. In portfolio. $ 12.00
This
furniture.
volume
contains
numerous
details
for
the
carving
and ornamentation of
G.
Woodcarving
etc.
31
Furniture in the Modern Style Designs for furniture of

3 series
portfolio
oi
all
Styl
Modern.
in
kinds
the
folio
"New"
size.
style
by
./.
Huber.
in
30 heliotype plates each,
Price per series
$8.00
Der Sezessionstischler. Furniture in the Modern Style everj article of household furniture in the so called Designs for "Modern Style" by H. Werner. 24 heliotype plates, quarto size. In
portfolio.
s 6.00
Interior Architecture
and Furniture
in
Modern
Styles -- Innenarchi-
tekturen und Mbbel der Neuzeit. Full views and details of halls and rooms with furniture, executed Edited by Bruno after original designs by prominenl architects. Hessling. 2 scries .it 60 heliotype plans each, folio size. Price
i
10.00
7.
Upholstery Work.
Die Tapezierkunst. Guide for Drapery Hangers and Interior Decorators A treatise on the practice of upholsterer's work, cutting and hanging 57 pages German text and 80 photodraperies by G. F. Lenoir. lithographed plates, 13x18", illustrating several hundred designs for
curtains of
tables, mantel piece-,
every description, lambrequins, draperies for dressing mirror frames, easels, etc. In portfolio. % 15.00
Richly Furnished and Decorated Interiors
Ausstattung vornehmer
Wohnraume.
Designs for window, door and bed decorations, dressing tables etc. by A. and L. Streitenfeld. 19 plates, including illustrated title page, mostly in finest chromolithography, large folio size. In portfolio. $ 12.00
Reiche und elegante Sitzmobel. Rich and Elegant Seat Furniture Designs of chairs, sofas, lounges etc. with and without open wood work in various styles by A. and L. Streitenfeld. 26 plates, partly chromolithography and partly heliogravure, large folio size. In portfolio.
$ 12.00
Upholsterer's,
and Decorator's Art
Die Praxis des Tapezierers
und
Dekorateurs. Designs of window decorations, portieres, bedhangings, canopies etc. by A. and L. Streitenfeld. 3 series of 24 colored plates each, quarto
size.
Price per series in portfolio.
8.00
32
H.
Decorative Painting and Art Industrial Designing.
The Decorator's Portfolio Designs for window,

plates, quarto size.
Mustermappe des Dekorateurs.

etc.
door,
windows, niches, canopies
chimney and mirror decoration, for bay by A. and L. Streitenfeld. 36 colored

9.40
In portfolio.
Upholstered Seat Furniture Moderne Polstermobel. By A. and L. Streitenfeld. 16 colored plates, quarto
Plain
size.
In portfolio.
$3.40
Decorations
Tapezierer.
for
Upholsterers
Einfache
etc.
Dekorationen
by A. and L.
fiir
Designs
feld.
of draperies, curtains,
lambrequins
Streiten% 2.70
20 colored plates, quarto size.
In portfolio.
H. Decorative Painting and Art

Industrial Designing.
i.
Ornaments
in general.
Colored Ornaments
in
Farbenornamente.
the styles of Louis
New
designs
XV, Louis XVI and Empire by

% 2.70
H. Friling.
4 chromolithographic plates, folio size.
Barocco Ornaments
Baroek-Ornamente.
facsimile reproductions from old original prints. Compiled and edited by E. Kumsch. 10 heliotype plates, folio size. In portfolio. $ 2.70
Rococco Ornaments
by E. Kumsch.
Rokoko-Ornamente.
Facsimile reproductions from old original prints. Compiled and edited

In portfolio.
% 2.70
Empire Style
Empire Ornamente.
etc.
Ornaments, furniture, objects of art
from the epoch
of
Napoleon
I.
Facsimile reproduction of the work published 1803 in Paris under the title "Nouveau recueil en divers genres d'ornements et autres objets propres a la decoration", by Charles Normand, architect and member of the French Academy at Rome. 36 heliotype plates, folio size. In
portfolio.
$ 6.00
Ornamental Plant Studies
Ornamentale Pflanzenstudien. book intended to demonstrate the method of deriving ornamental suggestions from natural plants, illustrated by about 240 designs of plants in natural and in applied form. By F. Moser. 30 photolitho-
graphic plates, quarto size with descriptive

For use
art
in
drawing classes and
in
text. In portfolio % 4.00 manual training schools, handicraft and applied-
schools: also for practical purposes.
II
Decorative Painting and Art Industrial
'
Blossom and Fruit
Bliite und Frucht. Photographs oi natural fruits, flowers, and leaves, artistically arranged as still life, festoons, friezes, panels, ceilings, and other kinds of ornament. By C. Behrens. 2 series "l 36 heliotype plates each,
folio size.
Price per series,
in
portfolio.
$ 12.00
Leaf Forms
Blattformen.
Facsimile reproductions from nature. A collection "I 500 leaves in natural size by C. Behrens. 80 heliotype plates, folio size. In portfolio.
|
l
Of
great
practical
value
for
every designer.
i
The
collection
may
also be profit-
ably usee! by teachers in advanced drawing clas
Japanese Ornaments
Japan Album.
Facsimile reproductions from original Japanese prints. Compiled and edited by E. Kumsch. >0 heliotype plates, folio size. In portfolio.
|6.70
Surface Ornaments in the

Motifs of
all
"New"
Style
Moderne Flachornamente.
kind of flat ornament developed from plantând animal forms by H. Friling. 3 s< ich ol -I heliotype plates, folio size. Price per series, in portfolio. % 12.00
Flat
Ornaments in Louis XVI, Ornementaux.
Empire, and Other Style
Dessins
New
ing,
designs for
textiles,
embroideries, wall papers, decorative paint-
of
and all other kind of surface ornamentation, mostly in the styles Louis XVi and Empire by H. Friling. 32 heliotype plates, folio
In portfolio.
S
I'
1
size.
" 11
Flachenverzierung. Surface Ornamentation Designs in Louis XVI, Empire, and other historical styles, with several designs in the "New" style, by G. Neuhqff. Motifs for woven fabrics, embroideries, wall papers, and decorative painting". 30 heliotype plates, folio
size.
In portfolio.
Lessons on Form.
synthetic development of ornament, its elements and applied plant, forms by A. Bin ink. A. Geometric forms; natural forms animal, human body -; artistic forms. B. Bands, free ornaments, supports, orders of architecture, borders, limited and unlimited flat ornaments, shields, cartouches, coats of arms, emblems, symbols Written and drawn at special request of the Prussian Ministrj etc. Authorised English edition translated of Commerce and Industry. from the German by David O' Conor. Size sV2 xl2", bound in cloth.
The
S 3.00
The designs
are beautifully pure
and simple
in
form,
in
clear
black
outlines on
square ruled paper.
34
H.
Figurale Flachendekorationen. Allegories for Decorative Painting' Allegoric compositions for fresco painters, glass painters, art industrial designers etc. by Martin Wiegand. 20 heliotype plates, folio size.
In portfolio% 5.00 drawings representing allegories of: Morning, Evening, Day and Night; Woman, Song, Love, Cupids, Spring, Summer, Autumn, Winter;
Painting, Architecture, Sculpture, Art.
The work
in
contains beautifully designed figural compositions of ornamental character
clear outline
Rhinegold, Wine,
Industry,
Commerce,
2.
Works
for
Lithographers.
Skizzen fiir Lithographen. Sketches for Lithographers and Designers Designs in the "New" style for all kind of lithographic work: placards, menus, cards of invitation, labels, book covers, frames, borders, and a great variety of graphic ornaments by Julius Klinger. 16 photolithographic plates, folio size.
In portfolio.
2.70
Designs for Graphic Arts
- -
Graphische Musterblatter.
Placards, labels, trademarks, letter heads, menus, pricelists of wines, cards of invitation, Christmas cards, bookcovers, frames, and a great variety of motifs for all kind of lithographic work reproduced from original drawings in the "New" style by accomplished draughtsmen
and artists. Edited by each of 60 colored plates,
.!.
Kndb and
F.
von Biedermann.
2 series,
folio size.
Price per series,
in portfolio % 8.00
Diplomas
Diplome. Designs of addresses, honorary documents, membership and dedication certificates, posters, and other graphical ornament work by G- Rehlender.
In portfolio.
% 12.00
Lithographic Art Designs
Allerlei Sinnbilder.
Emblems,
allegories, symbols, attributes, trophies,
heraldric motifs,
chimerae, shields, cartouches, borders, friezes, ornamental lettering, and many other suggestions for the graphic arts by G. Rehlender. 2 series, each of 2-1 plates, folio size, with about 1000 figures in each series. Price per series, in portfolio. $ 6.00
3.
Textile Fabrics.
Oriental Carpets
Orientalische Teppiche.
originals
Drawings from
plates, folio size.
by
IF.
FrUhlich.
14
chromolithographic
% 12.00
In portfolio.
Orientalische Gewebe. Oriental Textile Fabrics Documents of Eastern Art. Collected and edited by E. Kumsch, Conservator of the Royal Collection of Historic Textile Fabrics in Dresden. 40 photographic plates, folio size, taken from the originals. Price per series, in portfolio. $ 24.00
H.
35
Oriental Carpets
and Embroideries
Old documents of Eastern L'O colored plates, folio size.
art
Aneiens Tapis, Etoffes et Broderies. h Stall. collected and edited by

(
In portfolio.
12.00
Old Textile Fabrics
Alte Stoffe.
, ,
17 ,h and 18 th centuries. art from the 16 th Collected and edited by E. Kumsch , Conservator of the Royal Collection of Historic Textile Fabrics in Dresden. 4 series, each of 50 photographic plates, folio size, taken from the originals. Price
Documents of weaver's
per series,
in portfolio.
% 25.00
Linen-damask
Leinen-Damastmuster. Samples of linen-damask from the IT and and edited by E. Kumsch, Conservator ol
1
' 1
18 th centuries.
oil
t(
size,
Historic Textile Fabrics in Dresden. taken from the originals. In portfolio.
Royal Collection of 25 photographic plates, folio

the
%
13.40
Laces and Embroideries on Linen Spitzen und WeiBstickereien. Old samples from the 16 th 17 ,h and ls [h centuries. Collected and edited by E.Kumsch, Conservator oi the Royal Collection of Historic textile Fabrics in Dresden. 50 photographic plates, folio size, taken from the originals. In portfolio. s
, ,
!
Modern Art Embroideries
Moderne Kunststickereien.
Embroidered screens, door and window curtains, borders, covers ol pianos, of couches and of tables, cushions, fans, robes etc. executed by Elise Bender, Embroideress to the Imperial Court, Berlin. L'4 heliotype plates, folio size, reproduced from photographs taken from the
originals.
In portfolio.
8.00
4.
House
Painting.
Wall and Ceiling- Paintings in the Romanesque and Gothic Styles
Neue Dekorationsmalereien.
Middle Ages for decorative painting and private buildings with and without wainscotting, by W. Pastern. 28 chromolithographic plates, folio size. In
designs
in the styles of the
New
of interiors of public portfolio.
% 16.00
Wall and Ceiling Painting
Moderne Dekorationsmalereien.
New
designs in historical styles for all kind of house painting, by R. Feldner. 35 chromolithographic plates, folio size. In portfolio.
$ 20.00
Wall and Ceiling Painting- -- Moderne Dekorationsmalereien.
New
designs in historical styles for all kind of fresco painting, by W. '/miuIcv. 30 colored plates, folio size. In portfolio. % 20.00
i*
36
H.
Sketches for Fresco Painters
A
in
collection of motifs for
Aus raeiner Skizzenmappe. modern wall and ceiling painting designed
various historical styles and executed in public buildings and dwelling houses in New York and other American cities by J. Trischka. 16 chromolithographic plates, quarto size. In portfolio. s 6.00
The Painted
Ceiling* Der farbige Plafond. New sketches for ceiling decoration, mostly in the Empire style, by 77. Friling. 8 richly colored plates, quarto size. s 2.70
Motifs for Decorative Painting --
Moderne Dekorationsmotive. Designs in various styles for interior decoration by 77. Friling. 2 series, each of 15 heliotype plates, folio size. Price per series, in portfolio
| 5.00
Wall and Ceiling Painting
77.
Malereien.
New
the
designs for fresco painting

style
"New"
by
in the old Norwegian style, and in Friling. 8 chromolithographic, and 2 heliotype
plates, folio size.
In portfolio.
$ 6.70
Fresco Painting Dekorative Malereien. Designs for decorative painting of facades, walls and ceilings. Allegories, mythologic scenes and ornaments composed by J. Bossard. U colored plates, large folio. In portfolio. $ 800 Bossard's designs are conceived in and imbued with the spirit of the New art.
Wall and Ceiling Painting in the
"New"
Style
Moderne Deeken-
und Wandmalereien.
Designs for corner and center pieces, friezes, panels, by C. Behrens. '-'series, each of 20 heliotype plates, folio size. Price per series, in
portfolio.
| 6.00
Outline and Color Kontur und Farbe. Sketches of all kind of fresco painting in the "New" style by C.Behrens. 30 tinted heliotype plates, folio size. In portfolio. $ 12.00 The above work may be considered as a third series to the author's work "Wall and Ceiling Painting". Behrens' designs offer a great variety of actually new ideas,
of easy
adaptibility for practical purposes not only
by fresco
painters,
but also by
wall-paper and textile designers, lithographers, etc.
5.
Church Painting.
- -
Decorative Painting for Churches
Kirchenmalereien.
Motifs for ecclesiastical fresco painting in the Romanesque and Gothic styles by A. Niedling. Wall and ceiling decorations, panels, painted columns, rosettes, friezes, borders and various kind of architectural painting. 28 plates, 24 of which are reproduced by chromolitho-
graphy,
folio size.
In portfolio.
% 16.00
I.
Painted and Stained Glass.
6.
Scenic Decorations.
-
Theaterdekorationen. Scenic Decorations and Interior Architecture Innenarchitektur, Perspektiven. Gorgeous and magnificent sceneries in the Barocco style oi 0] and dramas. Facsimile reproduction of the original engravings, published at the beginning ol the 18 th century after designs by Giuseppe Galli Bibiena, architect and scenic decorator to the Imperial Court In portfolio. of Charles VI. 26heliotype plates, folio size. % 13.40
The author
is
believed to be the most ingenious scenic
<
who
ever lived,
nil
and a mastei ol drawing schools
perspective,
from
this
stand point his
.'
lor
Scenic Decorations of the Court Theater of Vienna
Theaterdekora-
tionen des Hof-Burgtheaters zu Wien. (ecorations for the dramas Kcitchen von Heilbronn, King Lear, Faust, composed and executed In Gilbert Lehner, decorator at tli< Court Theater at Vienna. 29heliotype and 12 chromolithographic plates and 80 sketches distributed throughout the German explanatory text. In
I
portfolio.
10.00
Also sold in three parts separately: Part I: Katchen von Heilbronn, 13 plates

II:
III:
1.00
King Lear,
14 plat.-,
3.00
Faust, II plates
Scenic Decorations
Theatermaiereien.
New
designs lor painting" ot sceneries and curtains oi theaters by Ch. Schleusing. - series, each of 16 colored plates, quarto size. Price s 6.70 per series, in portfolio
Contents: Views of village squares and streets, rooms of farmhouses, inns, castles
interiors, forest
and other
and landscape sceneries, fairy palaces, theater curtains, etc
I.
Painted and Stained Glass.

-
Master pieces of Old Swiss Glass Painting

ture Suisse sur Verre.
Chefs-d'oeuvre de la Pein-
A. collection of the rarest examples of the old Swiss Cabinet Glass Painting of the Middle Ages and ol the Renaissance edited by the Historic-Antiquarian Society of Winterthur, Switzerland, with explanatory text in French or German by Dr. A. Hafner. 60 heliotype plates, partly colored, imperial folio size, reproduced from photographs taken expressly for the work. In portfolio. $ 54.00
38
K.
Wrought
Iron.
Stained Glass Designs

for
Vorlagen fur Kunstverglasungen. the "New" style for all kind of stained glass windows private and public buildings by A. Lyongruen. 2 series, each of
in
16 chromolithographic plates,
portfolio.
large
folio
size.
Price per series,
in
| 10.00
Stained Glass
Kunstverglasungen.
designs in the Gothic and Renaissance for stained glass windows in private and public buildings by L. Westphal. 2 series, each of 16 photolithographic plates, quarto size. Price per series, in portfolio
S 4.00
New
Glass Painting' and Stained Glass Glasmalerei und Kunstverglasung. New designs in historic styles for windows in painted and stained glass suitable for churches, private, and public buildings drawn by accomplished architects and draughtsmen and executed by L. Jesse/. 60 lithographic plates, quarto size. In portfolio. $ 15.00
K.
The Art Locksmith
I
Wrought
Iron.
, ,
Der Kunstsehlosser. wrought iron chiefly in the styles of the 16 th 17 th and 18 th centuries by F.Moser. Lampstands, candlesticks, lighting fixtures, signs, padlocks, railings, hinges, door handles, grave crosses, gates,
>esigns for
balustrades, flagstands etc.

portfolio.
24 plates, black and white, folio size.
In
$ 6.70
A Handbook of Art Smithing.

book for the use of practical smiths, designers of ironwork, techand art schools, architects etc. by F. S. Meyer. Containing 214 illustrations. Demy octavo size, bound in cloth. $ 2.40
nical
Wrought Iron Railings
for
Graves
Schmiedeeiserne
In portfolio.
Grabgitter.
Designs in Gothic and Renaissance styles of grave-railings with detail drawings in working size by A. Schubert. 6 plates and 12 large
sheets with details in natural size.
$
3.4(1
Lessons on Form.
synthetic development of ornament, its elements and applied plant, forms by A. Blunck. A. Geometric forms; natural forms animal, human body artistic forms. B. Bands, free ornaments, supports, orders of architecture, borders, limited and unlimited fiat ornaments, shields, cartouches, coats of arms, emblems, symbols etc. Written and drawn at special request of the Prussian Ministry of Commerce and Industry. Authorised English edition translated from the German by David O' Conor. Size 8V*xl2", bound in cloth.
The
$ 3.00
The
designs are beautifully pure
and simple
in
form
in
clear black outlines on
square ruled paper.
'
Index of Authors' Names.
Adami. Brickwork Architecture Baum. Ornamental Plant Studies

.
.
.... .... ....
14
Gauthier. Vestibules Gerke, Art Objects in Bronze, Silver, &c.
18
Beauvallet, Empire Style 6. 13. 19. 26 Becker. F. and A., Child Studies 9 Behrens, Blossom and Fruit 14. 20. 28. 33 Leaf Forms 33 Outline and Color 36 Wall and Ceiling Painting in the "New" Style .36 Bender, Modern Art Embroideries 35 Bibiena, Scenic Decorations and Interior Architecture 37 Blunck, Lessons on form 10. 33. 3S 22 Technical Drawing Lessons Bossard, Fresco Painting 36 Boucher, Masks of the Column of Trajanus
Gladbach,
land
lid
Wood Architecture in Switzer5
...
Gofortli and Mc. Auley, Old Colonial Architectural
Details
.
6
|6-
Gommel,
Altars, Pulpits and Stalls
Ecclesiastical
Woodwork
16.
.
23 23
28
Habermann, Frames and Gilded Work Old Louis XV Furniture
...
....
Seat Furniture Louis XV Style Hafner, .Master pieces of Old Swiss Glass Painting
.
.25
.
25
37
I
Hartel.
Architectural
Details
and Orna.
.
11.
19
Buelllmann. The Architecture of Classical Antiquity and the Renaissance Burr, Buildings in England and France Chippendale. Furniture Cornelsen, American Seat Furniture 30 Correll, German Half Timbered Houses 5 Crane and Soderholtz, Examples of Colonial Architecture 6 Dellli, Architecture and Ornamental Details in Byzantine Style of Italian Buildings 3.
.
.
.
and Chamberlin Norman Monuments oi Palermo and Environs
Modern Architectural Studies Eickmann, The Nude

Drechsler,
9
7
ments of Church Buildings 4. Altars and Pulpits 6. Hepplewhite, English Household Furniture Hessling, Bruno Exterior Decorations of Modern Buildings ... Facades of Modern Buildings Interior Architecture and Furniture 'V Modern Architecture 17. Egjn, Modern Belgian Sculpture Street Doors and Portals 9. The Villas of Grunewald Egon and Waldeviar, Louis XVI Furni10. ture in the Louvre 4. 12. 15. 19. 23. Old Paris 12. Waldemar, Louis XVI Style. Egon and Seguy, French Furniture in
I
1
23 26
3 8
,s
31
8
2
1
22
7
26
24
20
Ewerbeck, Architectural Designs and Constructions
Modern Style
Hirsch, Religious Statues
Justice in Leipzig
. .
28.
15.
17.
20.
30 24
6
Feldner,
Fiedler,
Forster.
Wall and Ceiling Painting Movendo Stucco Ornaments Louis XIV Style
35 10
1
Hoffmann, Ludwig, The Supreme Court of
Freyberger, Gothic Interiors and Furniture

Friling.
29
32 33 28
Studies of Flowing Draperies Surface Ornaments in the "New" Style Wall and Ceiling Painting Frb'lllich, Oriental Carpets
Colored Ornaments Flat Ornaments Louis XVI, Empire,

Ideas for Ornaments 14. Motifs for Decorative Painting The Painted Ceiling
.
<S:c.
18.
36
...
-3
7.
Adolf, Wood Carvings and Furniture Louis XIV Style Wood Carvings and Furniture Louis XV Style Renaissance Wood Carving Gothic Huber, Carpentry Work Carpentry Work the Style of the
in in
27
27 27 22
-1
Italian
A.,
in
in
Plastic
Ornaments
...
13 10
33
36 34
German Renaissance - Details for Wood Architecture

Doorways and
Interior
Doors
... ...
.
27
23
3
1
Furniture in the Modern Style - Gothic Furniture
29
40
Huber, A., Household Furniture English Style Plain Carpentry Work Renaissance Furniture Rococo Furniture Seat Furniture
in
Index of Authors' Names.

Pag.
-
Page
Modern
.
.
Normand, Empire Style

30 23 29 30
16
.
13.
20. 27
,30
Nye, Colonial Furniture in America 26 O'Kane, Architectural Ornaments 7. [3 Pape, Present Styles of House Furnishing 28 Pastern, Wall and Ceiling Paintings 35 Percier and Fontaine, Roman Palaces 5
. .
...
...
Tombstones W., Rococo Ornaments
Jaeckel, Stucco Ceilings . JeSSel, Glass Painting and Stained Glass 38 Ihne, Manorial Country House 7 The Villa Fuerstenberg 8
....
.13
....
.
Roman
Villas
and Parks
. .
....
II.
Pugin, Gothic Ornaments
M
5
4.
15.
24
7
Ragucnet, Full Views and Details of the Palaces of the Paris Exhibition 1900
Rehlender, Diplomas Lithographic Art Designs Reimann, Small Plastic Work Rueckwardt, Architectural Studies
.....
Kempf, Ancient Picturesque Architecture Sketches for Lithographers Knab and Biedermann, Designs for Graphic
Klinger,
.
...
from
34 34
18
8
34
Budapest
34
21
.
Arts Koeppetl and Breuer, History of Furniture Krause, Fancy Cabinet Work
Fancy Furniture .... Modern Seat and Parlor Furniture Kruse and Baum, Modern Plastic Studies
13.
....
30 30
30
28 32 32 33 35 34 35 34
Schirmer, From My Workshop 14. 20. 28 Stucco Ceilings 14 Schleusing, Scenic Decorations 37 Schoy, Architectural, Decorative and Industrial Art of the Epoch Louis XVI
...
12.
6.
19.
26
20.
Kumsch, Barocco Ornaments Rococo Ornaments ... Japanese Ornaments Laces and Embroideries on Linen Linen-damask Old Textile Fabrics
Schubert,
Scluilz.
Wrought
Iron Railings for Graves

'7- 38
17.
20
Oriental Textile Fabrics

I
KutSChmann, Romanesque Architecture 4. I. 15 Lehner, Scenic Decorations 37 Lehnert, Henri Francois Brand 19 Lenoir, Guide for Draperv Hangers 31 Leybold, The Old City Hall in Augsburg 5 Lindenberg, The Development and the Recognition of all Styles of Ornament 1 Lyongruen, Stained Glass 38 Masterpieces of Old Swiss Glass Painting 37 Messel, Wertheim's Warehouse in Berlin 7 Meyer. A Handbook of Art Smithing 38 Handbook of Ornament IO. 18. 21. 29 Moser, The Art Locksmith 38 Ornamental Plant Studies 14 Plant Ornament for chipped and inlaid work 28 Nash, Mansions of England 4. 25 Neuhoff, Surface Ornamentation 33 Niedling, Altars in Romanesque and Gothic 16. 24 Carpentry Work in the Gothic Style 2 2 Decorative Painting for Churches [7. 36 Ecclesiastical Ornamental Stonework
...
Schuette, Architectural Studies from Italy 5. 12 Sheraton, English Art Furniture 25 and Hepplewhite, English Furniture in the Style of the latter Part of the l8'h century 25 SpeltZ, Modern Architectural Ornaments 7 Orders of Columns 3 Styles of Ornament IO. 17. 18. 21. 27
....
Stoll,
Oriental Carpets
and Embroideries
Portfolio
.
Streitenfeld,
The Decorator's
Plain Decorations for Upholsterers
35 32 32
31 31
Rich and Elegant Seat Furniture Richly furnished and decorated

teriors
In-
32 Ancient Ornamental Architecture 3. Trischka, Sketches for Fresco Painters 36 Uhde, Architectural Forms 3 Ungewitter, Country and City Churches >). 16 Details for Stone and Brickwork
Tat ham
.
Upholsterer's and Decorator's Art Upholstered Seat Furniture
....
Architecture
Details for
Wood
Architecture
13.
16
Ecclesiastical
Woodwork
and Carving
16.
24
29
Ware, W. Rotch, The Georgian Period Walsdorf, Religious Sculpture 15. 18. 21. Werner, Furniture in the Modern Style Westphal, Stained Glass Wiegand. Allegories for Decorative Painting Zander, Wall and Ceiling Painting Zeyer and Drechsler, Decorative Sculpture
.
9 6
24 31
...
38 34 35
2<j
Furniture
in
the Gothic Style
...
Work
14.
20.
Printed by C. G.
Roder G. m.
b.
Leipzig
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Styles of Ornament

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I

STYLES OF ORNAMENT SHOWN IN DESIGNS a d BY ALEXANDER SPELTZ

DESIGNS AND ARRANGED IN HISTORICAL ORDER WITH DESCRIPTIVE TEXT.

A HANDBOOK FOR ARCHITECTS, DESIGNERS, PAINTERS.

rRANS] A Mi FROM THE SECOND

FULL-PAGES ILLUSTRATIONS WITH ILLUSTRATED DESCRIPTIVE TEXT

has been undertaken with

undertake the preparati

second edition, and also

arrange for an English translation of the work.

has been most carefully revised and considerably enlarged.

has enabled the author,

the English edition, to deal extensively with,

and pay particular attention

Art, as well as in the Art of the United States

of Ornament when this la

was an English colony.

the plates have been subjected to

and single figures having been redrawn.

confident that these important improvements, the very

large increase in the

the careful revision of text and

and the special attention paid to English Art,

for the English edition as favourable a reception in

met with amongst educated

book, compiled with special care, gives a

of the figures being arranged

according to the materials of which they are composed.

Anglo-Saxon helmet and shield

(L'Art pour tousi.

Ornament Grecian Ornament

The Doric Ornament

The Corinthian Ornament

Frescoes and Yascpainting

The Etruscan Ornament The Roman Ornament

The Pompeian Ornament The Celtic=Germanic Ornament

THE MIDDLE AGES

The Byzantine Ornament

The Roman Ornament

North German Brickwork Architecture German Enamehvorks in the Middle Ages

The Roman Ornament

The Roman Ornament in the Provence The Norman-Roman Ornament

The Roman Ornament in The Saracen Norman Ornament

Upper and Middle

The Roman Ornament The Roman Ornament

The Scandinavian=Roman Ornament

The Russian Ornament The Islam Ornament

193 198 199

The Arabian Ornament The Moorish Ornament

203 207 207

The Saracenian Ornament The Ottoman Ornament

The Arabian-Persian Ornament From Ispahan The Arabian-Indian Ornament

The Gothic Ornament

The Gothic Ornament

The Gothic Ornament The Gothic Ornament

The German Brickwork

The Gothic Ornament

-96 299 303

The Gothic Ornament

The Gothic Ornament

184 -188 184

The Chinese Ornament