Introduction

A Manual of HISTORIC ORNAMENT I TREATING UPON THE EVOLUTION, TRADITION, AND DEVELOPMENT OF ARCHITECTURE ftf THE APPLIED ARTS PREPARED FOR THE USE OF STUDENTS AND CRAFTSMEN I BY RICHARD GLAZIER HON. ASSOCIATE OF THE ROYAL COLLEGE OF ART ASSOCIATE OF THK ROYAL INSTITUTE OF BRITISH ARCHITECTS HEAD MASTER OF THE MUNICIPAL SCHOOL OF ART, MANCHESTER THIRD EDITION, REVISED AND ENLARGED WITH 600 ILLUSTRATIONS BY THE AUTHOR LONDON; B. T. BATSFORD LTD. NEW YORK; CHARLES SCRIBNER'S SONS PREFACE TO THE SECOND AND THIRD EDITIONS. HE extreme range of subjects included under Historic Ornament necessarily implies considerable restriction and condensation in text and illustration in one small volume, yet care has been taken in the selection of types to show the essentials and characteristics of national styles, and the evolution or development of design in various materials. The re-issue of this work has enabled the author to revise generally and also to add additional matter and illustrations in the more important sections. The subject of Architecture has received considerable amplification, as additional illustrations are given of the Greek, Romanesque, and Gothic styles, together with the Italian, French, and English Renascence, making this branch of the work more comprehensive and useful to the general reader. The section dealing with the applied arts has also been enlarged, additional plates of Gold and Silver, Bronzes, Furniture, Woodcarvings, and Bookbindings being inserted, together with a number of the beautiful initial letters of the early printed books of the latter part of the 1 5th and the early i6th centuries, illustrating the vitality, inventiveness, and skill of the craftsmen of the past. R. G. MANCHESTER, 1906 AM> 1914. REFACE. This manual has been prepared with the three-fold object of giving an elementary knowledge of Architecture and Historic Ornament, of awakening a responsive and sympathetic feeling for the many beautiful and interesting remains of ancient and mediaeval civilization, and lastly, of directing the attention of students and craftsmen to the beauty, suggestiveness, and vitality of the Industrial arts of the past, and their intimate relation to the social and religious life of the people. The advantages to be derived by students and craftsmen from such a study are manifold, for, by a careful study of these arts we may see the capabilities and limitations of material, the appropriateness and application of ornament, the continuity of line and form yet with a marked diversity of enrichment and treatment the interest and significance of detail, and the customs, myths, and traditions of the past, with their continuity of thought and expression. The illustrations, which have been chosen expressly for this work, are typical examples of each period or style and are produced in line as being the method best suited to the requirements of students, giving definition, emphasis, and constructive qualities of design rather than pictorial effect. In the appendix will be found a list of text-books and works of reference, which may be studied with considerable advantage by students desiring further information upon this important subject. RICHARD GLAZIER. ONTENTS. .... Ornament of Oceania .... Egyptian Ornament .... Assyrian Ornament .... Greek Architecture 3 5 9 Greek Ornament . . . . 13 Roman Architecture Roman Ornament Pompeian Ornament Byzantine Ornament ...... . . . .. . . . . . . .25 . 21 . . . . . .3129 Romanesque Architecture and Ornament . . . 33 Celtic Ornament . . . . . -35 Scandinavian Ornament 37 .... Norman and Gothic Architecture 38 ...... Norman Ornament 45 ....... Early Gothic 47 .... Decorated or Geometric Gothic 49 -Si Perpendicular Gothic . . . . . -53 French Gothic . . . . . . Renascence Architecture and Ornament . . . 55 French Renascence . . . . . .......71 English Renascence 77 ..... Mohammedan Ornament 83 Persian Ornament . . . . . ..8859 Indian Ornament . . . . . Chinese Ornament . . . . . ... -.9913 Japanese Ornament . . . THK Ai'i'LiKD ARTS. ....... Mosaics 97 ...... Greek Ceramics 99 ....... Ceramics . . . . . . . 101 Maiolica Terra Cotta . . . . . . .il1l09 Glass . . . . . . . .115 Stained Glass . . . . . . .117 Enamels . . . . . . 2 1 1 Gold and Silver . . . . . .125 Wrought Iron . . . . . . 1 29 Bronzes . . . . . .131 Decorative Furniture . . . . . 135 Wood Carving . . . . . . 1 39 Ivories . . . . . . . .141 Bookbindings . . . . . . .143 Textile Fabrics . . . . . .145 Terms used in Ornamental Art . . . .154 Printed Initial Letters . . . . . 155 Frets . . . . . . . 1 57 The Architectural Capital . . . . .158 LIST OF PLATES. PLATK I Ornament of Oceania . 2 Egyptian Ornament . Part I. The History and Development of & Architecture Ornament. ORNAMENT OF OCEANIA. Plate FIGURE Anocnr PATAKA SLABS lr1CARyrDv^/OOD AUCKLAND ttUSCW OLD CAKVC D L I PIT CL AUCKLAND ttU5CUtt . CAMOC 3TCfVMPO3T ALX1KLAMD MEW ZEALAMD OWOD HtAPt OOLLCCTIOn. RNAMENT OF OCEANIA. The ornamentation of the people of the Pacific Isles is full of interest, and is remarkable for the evolution and perfecting of an ornamental style by a primitive people, with myths and traditions purely local, and in no way influenced by other nations. It is a style of ornament full of meaning and symbolism, yet simple in detail and arrangement, not founded upon the beautiful vegetation and flora of their islands, but upon abstract forms derived from the human figure, and arranged with a pleasing geometrical precision remarkable for a primitive people. The ornamental art of these people may be broadly divided into provinces, each with its distinct ornamental characteristics and tradi- tions, New Zealand showing the highest development and Australia the lowest in the ornament of Polynesia and Melanesia. Much of the ornament is purely linear, consisting of parallel and zig-zag lines; that of Australia consists almost entirely of these lines incised in the ground and occasionally filled in with colour. In New Guinea a higher development is reached, the ornament, of straight and curved lines, being carved in flat relief. In the province of Tonga-Samoa, the surface is divided into small fields, and the linear ornament runs in a different direction on each of the fields. The Hervey and Austral Islands are distinguished by their remarkable adaptations of the human female figure, the illustrations given here showing the original type and its ornamental development. These ex- amples, together with the circular eye pattern, form the elements of the Hervey province, of which the Heape collection contains many fine examples. In the Solomon Island the linear ornament is occasionally interspersed with an inlay of angular pieces of mother of pearl. The New Zealand province is distinguished by its skilful pierced carving, the beauty of its spiral forms adapted from the human figure (figs. 1-12). and the con- stant use of the border here given. 3 EGYPTIAN ORNAMENT. HATHOMC CAPITAL MOUMTCD BY A MA03- PHIL>C WIMGCD GLOGC AMD A3P3 Plate 2 KCLIf f rivon THC BMTI5H nU5CUA. < ^sr^^i 3S b - ^JS > M GYPTIAN ORNAMENT. The history of Egypt, extending from 4400 .c. to 340 B.C., during which thirty dynasties existed, is usually divided into three groups: (i) The Ancient Empire, I.-XI. dynasties, 4400-2466 B.C.; (2) The Middle Empire, XII.-XIX., 2466-1200 B.C.; the New Empire, XX.-XXX. dynasties, 1200-340 B.C. and (3) The capitals of the Ancient Empire comprised Memphis and Abydos; of the Middle Empire, Thebes, Luxor, and Tanis; and of the New Empire, Sais and Bubastes. The remarkable civilization of these early dynasties is attested by the many fine remains of architecture, sculpture, and decorative arts that enrich our national museums. The Great Pyramids were built during the VI. dynasty, the largest by Kheops, 3733-37OO B.C., is 756 ft. by 756 ft., and 480 ft. high; the second, by Kephren, 3666-3633 B.C., is 707 ft. by 707 ft. and 454 ft. high; and the third, 333 ft. by 330 ft., and 218 ft. high, was erected by Mykerinos, 3633-3600 B.C. The Sphinx, half animal and half human, is probably of the VI. dynasty, yet it is singular that all the earliest sculptures of the III. and IV. dynasties with which we are acquainted were realistic por- traiture, remarkable for fidelity to nature. Kings, queens, and individuals of note were finely sculptured, frequently of a colossal size. But the Deities, Amen Sckhet, Horus, Hathor, Iris, and Osiris were represented in the later dynasties by small votive statuettes, noticeable for their number rather than for their artistic qualities, never reaching the excellence or vitality of the earlier period. Much of the architectural enrichment was in Ccfuo Relievo, a peculiarly Egyptian mode of ornamentation, the outline of the figures, birds, or flowers being sunk into the surface of the granite or basalt, and then carved within this sunk outline, leaving the ground or bed raised, these reliefs being invariably painted red, blue, green, and yellow. The frieze, which in the hands of the Greeks, at a later period, became their principal ornamental field, was used by the Egyptians in superposed bands, showing, in cavo relievo, the industrial arts and pursuits weaving, glass blowing, and the making of pottery; ploughing, sowing, and n-.iping; also hunting and fishing. The composition and sculpture of these incidents was simple, refined, and purely decorative, with a naivete' and unaflfectedness so appropriate to the architectonic condition^ Mingled with these incidents were the beautiful hieroglyphs, or picture writing of the Egyptians. Figs. 7-13 are examples of painted decorations showing the spiral construction of lines, together with the symbolic treatment of the Lotus, the latter being regarded by the Egyptians as a symbol of fertility and of a new life, hence the profusion with which it was used in their decorative work. Great fertility of invention was displayed in enriching their architectural capital- with the Lotus, the Papyrus, and the Palm. A singular feature introduced during the XVIII. dynasty was the Hathor Capital. surmounted by a small Naos. During the Ptolemaic period i < v><> the Hathor Capital was placed upon the \nti<al bell- capital (fig. 3). 5 ASSYRIAN ORNAMENT. Plate 3. KOUJUMJIK BRJTI5H A\U3CU/A ASSYRIAN ORNAMENT. The early history of Babylonia and Assyria is one long series of wars and conquests. Originally one nation, they became divided, and the younger Assyria in the north became the most powerful empire of that period, under Tiglath-Pileser I., B.C. noo, Ashur-nasir-pal, B.C. 885-60, Shalmaneser II., B.C. 860-25, TiglathPileser III., B.C. 745-27, the Great Sargon, B.C. 722-705, Sennacherib, B.C. 705-681, Esarhaddon, B.C. 681-668, and Ashur-ban-pal, B.C. 668-626. In B.C. 609 the capital, Nineveh was destroyed by Cyaxares the Mede, and Babylon arose again to power under Nebuchadnezzar, B.C. 604-562 : this city was destroyed by Cyrus the Persian, B.C. 539. Assyrian art, with its racial influences, religious beliefs, and climatic conditions, differs in a remarkable degree from Egyptian art. Though stone is found in Assyria, the great cities were built of brick, no doubt owing to the fact of the arts and civilization comiijg from Chaldea, where stone was scarce and clay plentiful. Both at Babylon in Chaldea and Nineveh in Assyria the traditional type of building was rectangular, with arched openings and vaults, built of sun-dried bricks. The lower part of the wall was covered with large alabaster slabs, carved in low relief with scenes representing the king and his warriors engaged in hunting or fighting (fig. l). The upper part of the wall was in enamelled brick, or in coloured stucco, with details of the Lotus and the bud, together with the rosette, which was often carried round the archivolt. The representation of the industrial arts and the pursuits of agriculture, which is so admirably illustrated upon the Egyptian reliefs, is entirely absent in Assyria. The enamelled bricks of Chaldea were modelled in low relief, with enamels of turquoise blue, yellow, white, and black, of fine quality and colour one splendid example of enamel on beton is the Frieze of Archers from the Palace of Susa. The enamelled bricks of Assyria were usually flat, or modelled but slightly, and the enamels were less pure. The external walls were similar to the internal ones, but with larger friezes and bolder reliefs, and usually with religious subjects (fig. 9). The portals were enriched with colassal winged and human-headed bulls, of alabaster, finely carved in relief. Typical examples of Assyrian ornament are the Lotus and the bud (figs. 2 and 3), the Patera or Rosette (figs. 6 and 7), and the Horn, or Tree of Life (fig. 8). The Lotus enrichment shows Egyptian influence, and only came into use during the 7th century B.C., when intercourse between the two nations was established. It is differentiated from the Egyptian Lotus by its vigorous growth and curved profile, and the geometrical form of the calyx of the flower and bud (fig. 2). The Anthemion or Horn, with its alternate bud and fir-cone, and with strong lateral markings, is beautiful in line and proportion >f mass (fig. 3). The Horn is frequently used as a flower on the sacred tree, a form of enrichment that influenced much of the later P< i and Sicilian textile fabrics. GREEK ARCHITECTURE. Plate - HEIGHT OT COLUMNS. II' 7* OR. 3O MODULC3. HCICHTOTCOLUMM 5 fCCT OK. 19 /AODULC3. REEK ARCHITECTURE. Classic or columnar architecture is divided into the Greek and Roman styles, and each style comprises several orders of architecture: the Grecian orders are the Doric, the Ionic, and the Corinthian, and many examples of each of these orders are still extant in Greece and her colonies Asia Minor, Southern Italy, and Sicily. From a comparison of these buildings, certain constructive and decorative features are observed to be present, and thence they are considered as the characteristics of the style or order, which comprises the Base (except in the Grecian Doric, which has no base), Column and Capital, and the Entablature, which consists of the Architrave, Frieze, and Cornice. The proportions of these orders are generally determined by the lower diameter of the column, which is divided into 2 modules or 60 parts, the height of the column always including the base and capital. The DORIC order was used for the early Greek temples from B.C. 650, and culminated in the Parthenon, B.C. 438. The COLUMNS in this order are 41 / to 6 diameters in .height, with 20 shallow flutings with intermediate sharp arrises; the CAPITAL is half a diameter in height, and is composed of an echinus or ovolo moulding with annulets or deep channellings below, and a large square abacus above. The ARCHITRAVE is plain; the FRIEZE is enriched by rectangular blocks, with 3 vertical channellings in the face, termed triglyths, alternately with square metopes which were fre- quently sculptured. The CORNICE, composed of simple mouldings, projects considerably beyond the face of the frieze. Hie IONIC order has COLUMNS of from 9 to 9' ,. diameters in height, with 24 flutings divided by BASE narrow fillets; the is half a diameter in height, and composed of a plinth, torus, fillet, cavetto, fillet, torus, and fillet. The CAPITAL is 7 T ff of a diameter CARYAl II 'I , ! IIKCM. high, and consists of a pair of double scrolls or volutes, supported by an echinus moulding enriched with the egg and tongue, with an astragal below. The ENTABLATURE is one quarter the height of the columns, the \KtniiK\vi of one or more fascias, the FRIEZfc continuous and frequently enriched with sculpture in low relief; the CORNICE has simple and compound mouldings supported by a dentil band. aides were occasionally introduced into this order; they were female figures clad in drapery having vertical folds which re-echoed the ilutings of the Ionic column. These Caryatides supported the entablature in place <.f the columns; a beautiful example is in the south portico of the Krechtheum at Athens. 9 The CORINTHIAN order was not much used by the Greeks; the examples, however, show considerable refinement and delicacy of details. The COLUMNS are 10 diameters in height, with 24 flutings; the BASE is half a diameter high; the CAPITAL is a little greater than a diameter in height, and is enriched with acanthus foliated leaves and spiral volutes. The ENTABLATURE is richer and the CORNICE deeper and more elaborate than those of the other orders. The principal Doric buildings in Greece are: The Temples at Corinth2- 8 B.C. , 650, yEgina2' 8 , B.C. 550, the Parthenon 2- , and the Theseum2- 8 , B.C. 438 ; the Temples of Jupiter at Olympia2- 8 , B.C. 436, Apollo Epicurius at Bassae 2- 8 , B.C. 436, Propylaea at Athens, B.C. 431, and the Minerva at Sunium, B.C. 420. Ionic buildings are: Temples at Ilyssus 1- 7 , B.C. 484, Nike Apteros 1 * 7 , B.C. 420, and the Erechtheum, B.C. 420 (see plan, plate 57), North Portico 7 , East Portico8 at Athens. , In Asia Minor there are the Temples of Samos8 , Priene8 , Teos8 , Diana at Ephesus9 (with 36 of its columns sculptured), and of Apollo at Miletos. Corinthian buildings are : The Monument of Lysicrates, B.C. 335, the Tower of the Winds (octagonal in plan), and Jupiter Olympius2- 8 , B.C. 200. During the 5th century B.C. the Doric order was extensively used in the Greek colonies at Sicily. At Agrigentum there are the remains of six fine Doric temples, of which the Temple of Zeus2 , B.C. 450, is the largest, being 354 by 175 ft. In this Temple were found the Telemones, or Atlantes, male figures, 25 ft. in height, with their arms raised, probably supporting the roof. This Temple is also remarkable for its portido of seven columns, 60 ft. in height, and having the peristyle walled up. At Selinus there are five large Doric temples 2- 8 , and one5- 9 with columns 57 ft. in height, with an entablature of 19 ft. At Segesta there is a Doric temple2- 8 with only the peristyle complete and the columns unfluted, and at Paestum, in southern Italy, there are two Doric temples2- 8 and a basilica5 with its porticos of nine columns each. All these buildings in Sicily and Paestum date between 500 and 430 B.C. CLASSIFICATION OF CLASSIC TEMPLES. ARRANGEMENT OF COLUMNS AND WALLS. I Apteral - - II Peripteral 3 Pseudo-peripteral Dipteral - - Pseudo-dipteral - When the side walls have no colonnade. When there is a colonnade standing apart from the side walls. When the colonnade is attached to the side walls. When there is a double colonnade standing out from the walls. When the inner row of columns are attached to the side walls. THK RELATION OK THE ENDS OK THE TKMIM.B. In Antis - - Prostyle Amphi-prostyle Mono-prostyle Di-prostyle When the columns do not project beyond the ends of the side walls. When a portico stands in front of the temple. When there is a portico at each end. If the portico is one column in depth. If the portico is two columns in depth. THK NUMBER OK COLUMNS IN THE PORTICO. T Tetrastyle Hexastyle Otlastyle - If of four columns. - If of six columns. If of eight columns. 10 MONUMENT OF ATHEM5.BC355. PROPORTIONS OF THE ENTABLATURE, IN PARTS. ArchiFrieze. trave. - rriene I , CORINTHIAN < Jupiter \ Olympius 44* 5 46% 5' Cor- 96 'S* ' d I i,: Entab- lature. MoH "7 II IONIC ORDER, TKMIMK OP ILYSSUS. GREEK ORNAMENT. ANTHEMION ORNAMENT FROM CREEK TOMBS. Plate 5 SIZE OF OPENING. HEIGHT 16 WIDTH (U>ERdiamet/r7'lO Upp^r DETAIL OF THE ARCHITRAVE OF NORTH DOOR. ERECHTHEUM. ATHENS. 409 BC. REEK ORNAMENT. Greece, or Hellas, consisted of a number of small states, speaking the same language, and worshipping the same gods. Almost the whole of the /Egean coast of Asia Minor was occupied in early times by Greek Colonies, which supplanted those of the Phoenicians of Tyre and Sidon. The southern portion of this seaboard was occupied by the Dorians, and the northern by lonians. In the course of time other Greek settlements were made on the Black Sea and Medi- terranean Coast of Asia Minor, as well as at Syracuse, Gela and Agrigentum in Sicily, and in Etruria and Magna Grecia in Italy. These colonies appear to have reached a higher state of art at an early period than Greece itself. The ascendency in art in Greece was enjoyed by the Dorians circa, 800 B.C. ; after which Sparta took the lead but was in turn excelled by the lonians, when Athens became the focus of Greek art, and attained a degree of perfection in that respect that has remained unequalled to this day. Athens was destroyed by the Persians under Xerxes, 480 B.C.; but under Pericles (470-429 B.C.) Greek art reached its culmination. The abundant, although fragmentary, remains of Grecian architecture, sculpture, and the industrial arts, show most vividly the artistic feeling and culture of the early Greeks, with their great personality and religious sentiment, in which the personal interest of the gods and goddesses was brought into relation with the life and customs of the people. Their myths and traditions, their worship of legendary heroes, the perfection of their physical nature, and their intense love of the beautiful, were characteristic of the Greek people, from the siege of Troy to their subjection by Rome, B.C. 140. The almost inexhaustible store of Greek art, now gathered in the British Museum, and in other European museums, furnishes one of the most valuable illustrations of the many glorious traditions of the past. The vitality of conception, the dignity and noble grace of the gods, the consummate knowledge of the human figure, and the exquisite skill of craftsmanship, are here seen in the greatest diversity of treatment and incident. The work of Phidias, the most renowned of Greek sculptors, is ly represented in the British Museum by noble examples, showing hi- threat personality, wonderful power, and his remarkable influence upon contemporary and later plastic art. The Parthenon, or temple of the goddess Athene, which was built upon the Acropolis at Athens by Ictinus and Callicrates, B.C. 454-438, enriched with splendid works of sculpture by Phidias. Many of the original^ .in- now in the British Museum forming part of the Klj,Mn Marbles, which were purchased from the Earl of Elgin, in 1815. Tin two pediments of the temple contained figure sculpture in the round, larger than Jife size. The Eastern group represents the birth of Athene, and tin- western group the contest of Athene and Poseidon 13 ELEVAT10M Of THE PARTHENON. for the soil of Attica. The fragments of these pedimental groups are now in the British Museum, and, though sadly mutilated, show the perfection of sculpture during the Phidian age. Of the 92 square metopes sculptured in high relief, that enriched the Doric frieze, 15 are included in the Elgin Marbles. The subject represented on these metopes was the battle between the Centaurs and Lapithae, or Greeks, a fine example of composition of line and mass, and dramatic power of expression. HOOMC rMCZCTFOM 1 '^1 j^.'ffi.ai.JH/T""^ 'pARTur-MOM'"AT^'cMg1 The continuous frieze upon the upper part of the cella wall, under the colonnade or Peristyle, was 40 feet from the ground, 40 inches in height, and 523 feet in length. It was carved in low relief, the subject being the Panathenaeic procession, the most sacred and splendid of the religious festivals of the Ancient Greeks. This frieze, with its rhythm of movement and unity of composkion, its groups of beautiful youths and maidens, sons and daughters of noble citizens, 14 its heroes and deities, heralds and magistrates; its sacrificial oxen, and its horses and riders are doubtless the most perfect production of the sculptor's art. Each figure is full of life and motion, admirable in detail, having an individuality of action and expression, yet with a unity of composition, appropriate to its architectural purpose as a frieze or band. The Parthenon, however, was but the shrine of the standing figure or statue of the goddess Athene, which was 37 feet high, and formed of plates of gold and ivory, termed Chryselephantine sculpture. Probably owing to the intrinsic value of the material, this work of Phidias disappeared at an early date. Among the examples of sculptured marbles in the British Museum is the beautiful frieze from the interior of the Temple of Apollo at Phigaleia, erected by Ictinus, B.C. 450-430. This frieze, which shows an extraordinary vitality and movement, is 101 feet long and consists of 23 slabs 25V2 inches in width, the incidents depicted being the battle of the Greeks and the Amazons, and the contest between the Centaurs and the Lapithae. The dignity and reserve of the Parthenon frieze is here replaced by activity and energy of line and an exuber- ance of modelling. DftTTLf OTTHC Some of the marbles in the British Museum are from the Nereid Monument of Xanthos, B.C. 372, so called because the female figures display moist clinging garments, and have fishes and seabirds between '5 their feet. These sculptures show a high degree of perfection, and were probably the work of the Athenian sculptor, Bryaxis. Among other examples of the Greek treatment of the frieze, is that of the Erechtheum, B.C. 409, with its black Elusinian stone background, and white marble reliefs. The Temple of Nike Apteros, of about the same date, is noted for the beautiful reliefs from the balustrade which crowned the lofty bastion on which the temple stands. An example of Nike or victory, adjusting her sandal is here given. These reliefs are remarkable for their delicacy and refinement of treatment, and the exquisite rendering of the draped female figure. Other friezes now in the British Museum are from the Mausoleum erected by Artemisia to her husband, Mausolus, B.C. 357-348. This tomb consisted of a solid basement of masonry, supporting a cella surrounded by a colonnade of 36 columns. The upper part of the basement was enriched with a frieze illustrating the battle of the Centaurs and Lapithae; the frieze of the cella was illustrated with funeral games in honour of Mausolus. Seventeen slabs of the frieze of the order from the colonnade are in the British Museum; they represent the battle of the Greeks and Amazons. In their composition these slabs show extraordinary energy of movement and richness of invention. This frieze differs absolutely from the Parthenon frieze in its fertility of incident and intensity of action. Bryaxis, the sculptor of the Nereid monument executed the north frieze, while the south was by Timotheus, the east by Scopas, and the west by Leochares. A remarkable building, where again the frieze was an important feature, was the great altar at Pergamos, erected by Eumenes II., B.C. 1 68. This had a basement of masonry 160 ft. by 160 ft., and 6 1 ft. high, enriched with a sculptured frieze 7 ','2 ft. high. The subject is the Gigantomachia, or battle of the gods and giants; the treatment being characterized by passionate energy and expression, and daring skill in grouping and technique. Ninety-four of the original slabs of this frieze are now in the Berlin Museum. The frieze was an important decorative feature with the Assyrians and Greeks. The continuity of incident and rhythm of movement that was possible with the continuous frieze, together with its func- tional use of banding, no doubt tended to preserve its traditional form, hence we have many remains from antiquity of this beautiful decorative treatment. An early and fine example is the frieze of Archers from the palace of Susa, B.C. 485, now in Louvre. This 16 frieze, of which an illustration is here given, was executed in enamel on beton. A dignity of con- ception and unity of com position were here com- bined with skilful modelling of relief work, and fine colouring of blue, turquoise and yellow. This treat- ment of the frieze no doubt influenced the later work of the Greeks, who so nobly carried on this tradition of the frieze. Greek ornament is distinguished by simplicity of line, refinement of de- tail, radiation of parts, unity of composition, and perfect symmetry. The anthemion, which is the typical form, is derived from the flower of the acanthus, and differs from the earlier Lotus type in its more abstract rendering and its absence of symbolism; it has a charm of composition and a unity and balance of parts, yet lacks that interest and deeper significance associated with many periods of art. The anthemion was sculptured upon the top of the funeral stele (figs, i, 2, and 5, plate 5), upon the architrave of dooways (fig. 6), and above the necking of the Ionic columns (plate 4), or painted upon the panels of the deep coffered ceilings. It was also used in a thousand ways upon the many fine vases and other ceramic wares of that period. The simplicity and beauty of the anthemion and its ready adaptability, has doubtless rendered it one of the best known types of ornament. Like the Egyptian and Assyrian prototype, the k anthc-mion is usually arranged with alternate flower and bud, connected by a curvid line or more frequently by a double spiral. Illustrations are given on plate 6 of. a few typical examples, where the rhythm and beauty of composition are indicative of the culture and perfection of Greek craftsmanship. Another feature, which at a later period received considerable GREEK ORNAMENT. Plate 6, MMIIMUMIIIIIIIIIIIIlim THE in /WsbLE. rPOn THC f^OOrAPCX OF LY5ICVATE3 ATHENS b.C . 335 development, was the scroll given on plate 6, which is a fine example from the roof of the monument to Lysicrates. The scrolls, cut with V-shaped sections, spring from a nest of sharp acanthus foliage. This scroll is formed of a series of spirals springing from each other, the junction of the spiral being covered by a sheath or flower; the spiral itself being often broken by a similar sheath. This spiral form, with its sheathing, is the basis of the Roman and Italian Renascence styles, and sharply differentiates them from the Gothic ornament, in which the construction line is continuous and unbroken. The rosette, a survival of the early Greek form, found at Crete, (1600 B.C.) was frequently used upon the Architrave (fig. 6), and the funeral stele (fig. 5, plate 5) where its circular and radiating form contrasts so beautifully with the functional straight lines of archi- tectural design. The extraordinary vitality and versatility of the Greek craftsman may be traced through a magnificient series of coins (iating from B.C. 700 to B.C. 280 The interest of subject, beauty of composition and largeness of style, combined with the utmost delicacy of technique, of these gold, silver, and electrum coins, are a reflex of the artistic feeling for beauty of the early Greeks. Colour, as well as form, was a great factor in the art of the Greeks; their architecture and sculpture were enriched and accentuated by the judicious use of beautiful colour. The Parthenon, with its simple and refined Doric architecture, and magnificent sculpture by Phidias, was enhanced by colour, which was introduced in the background of the pediment and of the draperies. thTehferie"zeLi,acaunndarailas,o"upoor nstuhnek borders panels and accessories of the ceilings, were frequently enhanced with blue, having rosettes or stars in gold A or colour. frank use of pure colour was almost universal in early Egyptian and Assyrian art, and the Greeks were not slow to avail themselves of any art that was beautiful. 19 ROMAN ARCHITECTURE. Plate 7. HEIGHT Or COLUMNS. 38' KT. O^ 19 MODULES 16 fKT3 HTIOHT OT COLUMfO 29 5 OR. ao A^ODULCS 6 PARTS 20 OMAN ARCHITECTURE Is differentiated from that of Greece by the extensive use of the arch and of superposed orders. The many fine remains of Roman temples and public buildings show the extraordinary versatility and conception of the Roman architects, their constructive skill, and their remarkable power of assimilating the arts of other nations. The Roman temples were somewhat similar in plan to their Greek prototypes, but usually without the side colonnade, larger in scale, and with an ostentatious display of mouldings and ornaments, less refined in contour and detail. . C: >OL AVI >[LICI TM6VNIC POT t 11 VICO>^>HO!> OfMiM'S roRmyMin yvt PKIMCIPI6VS OBREV PveuCAMRfSinvrAM iMPtlUVMQVC POPVlt ROMAN! PIUJPACATVM INSICMBVS viKTvriBvs IQIVM DPMI FOHisovt s- p p K. AFkCH OF 5EPTIHIU5 5EVERU5 A typical example is given here of a triumphal arch, namely, that of Septimus Severus, A.D. 203. Other examples are the Arch of Titus, A.D. 83, and the Arch of Constantine, A.D. 326, all near the Forum at Rome. Trajan's Arch, A.D. 114, was destroyed by Constantine, who used many of the reliefs for the building of his own arch. The superposition of columns and arches is seen in the Theatre of Marcellus, B.C. 20, where the lower order is of the Doric and the upper I the Ionic; this, like the early Greek Theatre, was semi-circular in plan. The Colosseum, commenced by Vespasian. \ i>. 72, and completed II by Titus, A.D. 80, has a third storey, having the Corinthian order, and an attic storey with Corinthian pilasters, the whole reaching to a height of 157 ft. The diameters of the amphitheatre were 584 by 468 ft. One of the best preserved build- ings of the early Roman period is the Pantheon (plan, plate 54), built during the reign of Had- rian, A.D. 118-38. This has a fine dome of coffered jinimnimmr ^"W^Bl " "VnW -! <* >i4 ' ***** panels, having a diameter of 142 ft., and an alti- tude of 71 ft. 6 in., with a total height of 143 ft. from the floor to eye of dome. The beautiful octastyle Corinthian portico, of the time of Ag- rippa, B.C. 27, has granite columns 46 ft. 6 in. in height, with fine capitals in white marble. The magnificent temple of Castor and Pollux, frequently called Jupiter Stator, is only known from the three columns still standing; but these show the magnitude of scale and the exuberance of detail that characterized the finest period of Roman architecture. The proportions of this order are columns, 45 ft. 3 in. in height and the entablature 1 1 ft. 7 in. The Tuscan and Composite orders were added to the Doric, Ionic, and Corinthian orders, thus forming the five orders of architecture. The Romans rarely used the peristyle temple, i consequently the cella was of the same width as the portico. In the civic buildings and palaces, TI1E COR1NTHJAN OK|1KK the Romans show the greatest constructive skill KROM run 22 and splendour of embellishment. The skilful planning and appro- priateness of decorative treatment in their basilicas and amphitheatres are evidences of the practical nature of the Romans. The Basilica or Hall of Justice was an important architectural feature, rectangular in plan, with a semi-circular apse at one end, where the tribunal was placed; roofed with timber framing, or vaulted with concrete, and supported with rows of columns or piers. The remains of two typical Roman basilicas are still in existence: the Basilica of Trajan, A.D. 1 14, rectangular, 180 by 160 ft., five aisles, the centre aisle with a semi-circular wooden roof, and enriched with bronze plates, is typical of one class ; and the Basilica of Maxentius, A.D. 310, with a width of 195 ft., and a length of 260 ft., is typical of a vaulted Basilica, the two side aisles with barrel-vaults, and the centre aisle with an intersecting vaulted roof. These Roman basilicas were adopted by the early Christians to their service, and the basilica church became the typical form used up to the 1 2th century in the Romanesque provinces. The Roman houses were of two Puxn or THC HU3C OP Mrcfc-fMVDi THT "H Jj c @ 9 T~^T"1' g "^ types : the Domus, or houses clustered together, and the Insular, houses which were surrounded by streets. Most of the finest Pompeian houses were of the Insular type. The usual plan of a Roman house consisted of the Ostiuni, an entrance or Vestibule, which opened into the Atrium, a large room or court partly roofed over, with an opening in the, centre called the Compluvium, under which was the Impluvium, or cistern of water, placed below the level of the ground. Small chambers surrounded the Atrium, and at the further end was the Tablimim or private room, frequently leading to the Peristylium or private part of the house, an open court, with a colonnade surrounding a marble fountain, with flowers, shrubs, and trees, forming a Viridarium. Sur- 1 rounding the Peristylium were private . rooms, one of which was the Tri- clinium, or dining room. From the Peristylium, fauces or passages led to the Porticus, a colonnade which overlooked the garden. ROMAN ORNAMENT. F.c I Plate 8 FR.ltZC.rOR.un OF THAJAM. LATCfVAM nU5CUn. ..PAD 24 OMAN ORNAMENT. Rome, founded by Romulus, B.C. 783, became by successive wars and conquests the mistress of the world, absorbing the arts and the architecture of the Etruscans B.C. 567, the Samnites B.C. 340, and of Corinth and Carthage B.C. 146. From these varied sources arose the style termed Roman, assimilating and adopting the column and the horizontal entablature of the Greeks; the arch, the vault, the mural paintings, and the decorative use of bronze and terra- cotta of the Etruscans, with the sculpture, ornament, mosaics and coinage of the Greeks and Carthaginians. These varied arts were assimilated and perfected by the Romans during the period B.C. 100 to 337 A.D. Roman ornament is the continuity of the Greek and Etruscan styles, consisting of the anthemion, the acanthus and the scroll; the Romans using these forms with greater exuberance and elaboration, together with bold and vigorous carving, yet lacking the simplicity, refinement, and graceful contour of the Greek and Etruscan forms. Roman ornament consists largely of continuous spiral lines, clothed with cups and sheaths of acanthus foliage, the various spirals ter- minating in a rosette. These main spirals are frequently interwoven with fine curved or spiral lines, clothed with acanthus or other foli- ation, such as the vine, olive and ivy. Birds and reptiles and cupids, and the chimera or griffin (fig. i) are often interspersed with the ornament, thus giving that large- ness of mass, and contrast of form, which is so characteristic of Roman art. The Thermae, or baths and public buildings, dis- played fine decorative ceilings, having deep sunk panels called Lacunaria, or coffers; square, hexagonal or octagonal in form, with a centre rosette in high re- lict .,.,,1 thr bonier mouldings of the rollers being enriched with KKRKD CRIMNG. BASIUICA the egg and dart, or the water leaf. These exhibit an effecti\e : ment of moulded surfaces. The ceilings of the tombs and palaces 25 ROMAN ORNAMENT. Plate 9, Kcuer iriTHeuffiri GALLCKY STUCCO DECORATION IN LOW RELICT WIMCTD WITH OWtAMCnT mOM A TOVO Ofl THE. VIA LAT1MA RDMt . A D ISO. W5COVCRXD in ifl6O THt CtlLIMC rj BAWL-VAULTED 3Ct no i . ww STUCCO ounAncr in LOW urucr Aaiunc in ratio vt\ LATIHA MM V uan BMUSH MUSEUM. were in many cases ornamented with circular and square panels, richly decorated with arabesques or mythical figures, and cupids in low relief of fine stucco; the mouldings or divisions in higher relief, and having the water leaf or the egg and dart enrichment (plate 9). The architectural frieze and the sepulchral urn and sarcophagi of this period were often decorated with festoons (figs. 4 and 5, plate 9), which were supported by cupids or by candelabra (plate 9), or by the skulls of oxen, as on the frieze from the Temple of Vesta at Tivoli, here given, which is no doubt a survival of the sacrificial custom of worship. The architectural basilica and _ , . . forum of Trajan, erected A.D. 114, by Apollodorus, a Greek of Damascus, was of the utmost magnificence, the remains attesting to the skill and artistic craftsmanship of the Romans. Apollodorus also erected the marble column of Trajan, having a rectangular pedestal 18 feet high, and richly sculptured with the dresses, armour and standards of the Roman army. This pedestal supports a column of the Tuscan order of architecture 97 1 / ft. highi, and 12 ft. in diameter, enriched with a series of spiral bands, having bas-reliefs representing the successive events of the Dacian War by the Emperor Trajan. This magnificent and well preserved relic of antiquity furnishes a complete epitome of the costumes and the arms and armour of that period. Another well preserved column, similar to that of Trajan, was erected in Rome by Marcus Aurelius, A.D. 174. the subjects of its reliefs being the war with the Marcomans. Large marble urns, or tazze, enriched with Bacchanalian figures, surrounded with foliage and birds and animals; magnificent tables, chairs, couches, and candelabra, of bronze, enriched with silver damascening, together with the choice remains of sculpture and mosaics, all indicate the llixu- riousness and love of magnificence of the wealthy Roman citizens. In Roman architectural ornament we see the most powerful model- ling combined with the use of the continuous scroll growing from a nest of foliage, repeated in their painted decorations (see Pompeian). This elaboration of the typical Greek ornamentation and the rounded serrations of the Acanthus (see plate 36) forms the chief character- istic of Roman ornament, which is wonderfully bold and vigorous in conception and execution, but deficient in the refinement and delicacy of Greek art. There is a considerable difference in the foliations of the various capitals. The Corinthian capital of the Parthenon has foliage of the simple olive leaf type. In the composite capital of the Arch of Sep- timus Severus the foliage is serrated like fig. 8, plate 8, while that of the Corinthian capital of the Temple of Vesta, Tivoli, is more of the parsley leaf type, and each leaf is folded forward at the terminations. 27 POMPEIAN ORNAMENT. Plate 10. FMEZE F\OM THE TEMPLE OF 1515 V ZAHnSPOnftn WALL DCCOf^ATIOn . FOMjn Or HEKCULC3. POHPEll 79 A D. 28 iOMPEIAN ORNAMENT. Pompeii, Herculaneum and Stabia, Roman cities, were buried by an eruption of Vesuvius, A.D. 79. These cities had already suffered from an earthquake, A.i>. 63, and were being rapidly rebuilt when they were finally destroyed by the eruption. The Younger Pliny, the historian, was a spectator of the event at Pompeii, and wrote two letters to his friend Tacitus, describing the event and his flight from the doomed city, which remained buried for seventeen centuries, with the treasures of gold and silver, bronzes of rare workmanship, mural paintings on a most magnificent scale, and floors of mosaics of marvellous execution and design; everything affording a vivid glimpse of the domestic and public life of the Romans of the ist century A.D. Herculaneum was discovered in 1709, and Pompeii 1748, and from these cities many valuable remains of art have been taken. In the museum at Naples there are over 1,000 mural paintings, some 13,000 small bronzes, over 150 large bronzes of figures and busts, and 70 fine large mosaics. A plan of a Roman house is given on page 23 showing the arrange- ment and use of the rooms. The floors were covered with mosaics (see plate 37), those of the vestibule, corridors, and small rooms having simple patterns enclosed with borders of the key pattern, or the Guilloche in black, red, grey, and white tesserae. The floor of the triclinium, or dining room, was often a magnificent mosaic representing some mythological or classical subject. The walls were painted in colour, usually with a dado Veth the height of the wall, with pilasters dividing the wall into rectangular panels and a frieze above (plate 10). The general scheme of colour was, the dado and pilasters black, the panels red, and the frieze white; or black dado, red pilasters and frieze, with white or yellow panels. The decorations upon these various coloured grounds was light and fanciful, and painted with great delicacy. Representations of architectural forms, such as columns and entablatures, are often rendered in perspective upon the painted walls. The painted ornament has somewhat the same characteristics as the Roman relief work, but is usually much more delicate in treat - ment. The spiral form and the sheath are always prevalent, and from these sheaths and cups grow the finer tendrils or delicately painted spray of foliage, upon which birds are placed. Stucco enrichments, such as ornamental string courses and mouldings, were frequently combined with the painted ornament; they consist of small details, such as the water leaf, the egg and dart, and the anthemion, and are repeated in a regular series. Herculaneum differed considerably from Pompeii, for here the finest works of art and innumerable MSS. have been found, showing that a higher intellectual life existed than that at Pompeii, where not a single MS. has been found. It is probable that Herculaneum equal to Athens itself in the wealth of its art treasures. 29 BYZANTINE ORNAMENT, Plate 1 1 CAPJTAIX PROM VJTALE RAVEHMA HBKZD MARBLE SCREEN S1 MARKS. VWjQPHAOl OT THCOPS1U5 7"CrMTTJKy. 3 APOLUTiARr PICRCED MARBLE ^CRECn. SVO^R LILY CAPITAL. S'MABKS T A\AKKS VCM1CE YZANTINE ORNAMENT. The decline of the Roman empire, in the 3rd and 4th centuries A.D., had its inevit- able influence upon contemporary art, but perhaps a more potent influence was that of Christianity, which, in the reign of Constantine, received state recognition and support; and when this Emperor removed the seat of government from Rome to Byzantium, the traditional Greek and Roman arts were assimilated with those of Persia and Syria, but moulded and influenced by the new religion, giving that strong vitality, deep significance, and symbolism which is so remark- able a feature of the Byzantine style. The change of style did not take place immediately, for most of the buildings erected by Constantine were in the traditional Roman style, but the arts were gradually perfected until they culminated in the building of S. Sophia, by Anthemius of Tralles and Isidorus of Miletus, during the reign of Justinian, A.D. 538. This building is remarkable for its splendid dome, supported by semi-domes and pendentives on a square plan (see plate 57), its embellishment with mosaics of glorious colours, and the great inventiveness and symbol- ism of the detail. The traditional sharp acanthus foliage of the Greeks was united with the emblems of Christianity, such as the circle, the cross, the vine, and the dove; the peacock also is fre- quently seen. Figure sculpture was rarely used, but groups of figures were used in great profusion in the gold-ground mosaics that covered the upper part of the walls and the vaults and domes of the magnificent Byzantine buildings. The churches of Ravenna, in Italy, have somewhat similar characteristics: S. Vitale, A.D. 535, the basilica churches of S. Apollinare Nuovo, A.D. 493-525, S. Apollinare in Classe, A.D. 535-45, together with the Baptisteries, are rich in mosaics and sculptured capitals of the 6th and 7th centuries. -In the cathedrals of Torcello, A.D. 670, and Murano, and the beautiful S. Mark's at Venice, marbles and mosaics were used in great profusion to enhance the architecture. The sketch plans given on plate 57 are typical of Byzantine planning, in which the symbolism of the circle and cross are used as constructive features. This sym- bolism is a marked feature in Byzantine ornament; interlacing circles and crosses mingle with the acanthus or the vine, and arc cut with a peculiar V-shaped section. The circular drill is largely used at the sinking of the leaves, and but little of the background is visible in the sculptured ornament of this period. Pierced marble screens of interlaced foliage, or the fret in combina- A tion with their circle, were frequently used (see plate 56). large number of pierced parapets in S. Mark's are carved in low relief, with various modifications of the interlacing Guillochr. or circles. 31 ROMANESQUE ORNAMENT. Plate 12 rwczc fRon THE CHURCH OF SAIHT-GILLES. PROVTMCE Z>UU>.c POKT1OM OFEMCX.I5H MS A D \OK> BRITISH MU5EUM DtTAIL rooM DOOlAsAY y ,\005T I HA CAPITAL FRO/1 LAOM MODENA CATHEDRAL BASE or COLUMNS DOOR vrRortA PORTAL FROM 5AIMT- -GILLE5 OMANESQUE ARCHITECTURE ftf ORNAMENT. Romanesque architecture differs from Roman chiefly in the universal use of the arch, the absence of the classic entablature, and in the imagery and symbolism of its sculpture and ornament, doubtless due to Northern influence. One of the earliest existing buildings of this style is the church of S. Ambrogio, Milan (nth century), which has a na\ (. and aisles, three eastern apses, and a western atrium, surrounded by an open arcade, enriched with vigorous reliefs of interlaced ornament and animals. Contemporary in date is S. Michele, Pavia, with a nave and transepts and central cupola: there is a single eastern apse, having an open external gallery and bands of sculptured ornament. This and the frequent use of the lion or griffin as a support for pillars, are characteristic of the Lombardic style, and are seen at S. Michele, Lucca, and the Cathedral, Baptistery, and the Campanile of Pisa. It was, however, in France and Germany that the Romanesque reached its highest development, principally in the south and south- west of France, where the churches are distinguished for the richness of the west fronts. S. Trophime, Aries (i2th century), has a fine low semi-circular pro- A jecting porch, resting upon a sculptured frieze and pillars. cloister, with arcading of coupled columns richly sculptured, is attached to this church; while S. Gilles (1076) has a low projecting porch of three arches, enriched with vigorous, sculpture and ornament (plate 12). The Cathedral at Angoul6me has a vaulted nave, with three cupolas, and a west front with recessed arcading and figures: two square towers, with open arcading and conical spires, rise from the angles of the facade. Notre Dame, Poitiers, is even more rich in its gabled west front, having a fine doorway with two tiers of arcading above. The facade is flanked by two circular turrets, with massive columns attached, having an open arcade above, with a conical spire ; enriched corbel tables are carried across the front, over the door, tlit upper arcade and window, and round the turrets. nt-Front, PeVigueux, has a richly sculptured west front and nave of tin- iith century, to which was added in 1150 a larger church similar in plan to S. Mark's at Venice (a Greek cross, see plate 57), and roofed with five cupolas in stone. In central France there was the magnificent Abbey Church of Cluny, with its range of six towers; md in Germany this number of towers is found at the great Roman- esque churches of Speyer, Worms, and Laach, with their singular western apse and external clearstory gallery. Plate 12 illustrates a few of the chief features of Romanesque orn.iinrnt. The uppi-r frieze is similar to the Roman scroll, but !<- ;ous in modelling, ami with a rounder form of serration ot leaf form. The I..I.MI capital ha^ rich interlacing ornament and animals it suggest Scandinavian influence. The portal of Saint-GUkfl ?how- the exuberant carving and -toriation that characterized many of the churches of south-west France. 33 c CELTIC ORNAMENT, Plate i 3 3Mio_D eniMCHCD WITH Rpo THC COOK or BNTiannuarun. Dut^cw -, K ,M.T>- coLLr ELTIC ORNAMENT. No period in the history of art is more remarkable than the Celtic. The carved stone architecture and crosses, the bronzes, enamels, and silversmith's work, the splendid illuminated books and manuscripts with capitals and borders, full of imagery and intricacy of detail, and the clear and accurate writing of the text are all indications of the culture and love of ornament of the early Irish people, showing a remarkable preference for the spiral and interlacing forms. The bronze shield (fig. with the northern 6"), with Fylfot its " spirals and bosses of enamel enriched is a typical example of the 2nd or 3rd century, A.D. Then comes the trumpet pattern or divergent spiral, which, seen in its infancy on the bronze shield, reached a great degree of elaboration in the 8th and 9th centuries, A.D. (figs. 2 to 7), being typical of Celtic work up to the middle of the 1 1 th century when all trace of this spiral is lost. The interlacing bird and animal forms used from the 8th to the I4th cen- turies are doubtless derived from Byzantine and Lombardic sources. The serpent or dragon, which is such a marked feature from the 7th to 1 5th century must have been borrowed from the north, as Ireland had no traditions of snakes or dragons, and it is to Scandinavia, with its legend of Fafni, that we must look for the origin of the dracontine treatment. It is this Zoo- - mmm '^r4 '^ AT Ik ION, - IMKI-.KI A!>. morphic character that distinguishes the Celtic from all other styles of ornament except Scan- dinavian. The obverse of the magnificent processional Cross of Cong (A.D. 1 123), is divided into 46 panels of decorations, and convoluted snakes occupy 38 of them. The illustration given here of the Irton Cross is a typical example of the Celtic ornamentation. The early or Pagan period is noted for its bronze work, cast and wrought, and enriched with Champleve" enamels. The fine chalice of Ardagh (page 125) and the Tara Brooch (plate 43) 7th century, are splendid examples of the Christian period dating from St. Patrick, A.D. 440-460. The beautiful Book of Kells, the Book of Armagh, the Book of Durrow, manuscripts of the early part of the Qth century (Trinity College, Dublin), and the Book of Durham, called the Lindisfarne Gospels, A.I'. 689-721. written by Eadfrith, and illumin by Ethelwald, are a tribute to the vitality, assimilation of ideas, and the culture and wonder- ful craftsmanship of the early Irish people. In Irish manuscripts gold is not used. ex< -pt in the I.mdi-f.irnr Compels, where a minute quant used. 35 SCANDINAVIAN ORNAMENT. Plate 14. THEOTTCK55WM AMD THE GOLD. O'CAAWJfn&Ml'JW THE DRAGOM COPtnHAGtM . HYLLC5TAD CHURCH AMD THE 3WO*P QT 3 A BROOCH Or SILVER GILT I5OO A D 6R.OM1C H/VTCHET CANDINAVIAN ORNAMENT. The beautiful bronze and silver jewellery and implements of war of the early Viking period, found in Norway, Sweden, and Denmark, display no trace of plant forms in their ornamentation, the latter consist- ing wholly of interlacing animal forms chiefly the dragon. destitute The Viking of ornament, ship found at Sandifiord in shows traces of the " Bronze 1880, although Dragon Prow," referred to in the early Scandinavian Sagas. At the commencement of the 1 2th century, plant forms are found mingled with the dragons, and figure sculpture became important in treating of the myths of the gods; Frey,