The Start
An essential condition in panel ornament is the Start or commencement, which should at least be consistent. The natural root is not in every case sufficient, though at times it may be employed with effect.
The start point of the growth line or lines varies in position according to attitude. In panels in a horizontal plane, the start is frequently central and the traditional treatment is usually some form of rosette from which the other details radiate.
In some positions, particularly pilaster panels, the ornament is suspended, which is consistently rendered by the employment of knobs and ribbons. Ribbons are not only logical, but interesting on account of the variety afforded and are also of service in giving unity to a composition. Extremely amenable to harmonious arrangement and susceptible of great variation, the ribbon can be twisted, folded or arranged in groups of pleatings, the ends being occasionally scrolled or split.
The start mostly in evidence in ornament is that known as the Cup or Nest, which is composed of leaves arranged somewhat in the form of a tulip, with generally an inverted cup leaf below. It is composed of leaves either of the Acanthus or water type, but for the sake of variety one of these may appear in the upper part of the cup and the contrasting form in the lower. The proportion between the two parts as to height and width should also be varied, and when the cup leaf is used in pilaster panels it generally occupies the whole width of the base.
No. 246. The Nest or Cup-leaf Start.
No. 247. Italian Renaissance Foliated Figure Start.
Such artificial objects as vases and baskets form fairly consistent base starts for floral detail, others as Altars and Tripods are not quite so logical, though useful in conveying a sense of support. Shields and Labels, generally employed centrally in wide panels where the ornament is displayed laterally, are effective in the contrast they afford to the floral details.
No. 248. Italian Renaissance Panel, Choir Stalls, St. Pietro, Perugia. Stefano Martelli, 1535.
The employment of half figures as starts cannot be defended; the illogical association of life, either human or animal, with foliage as employed by the designers of the later Italian Renaissance, is too incongruous to be excused on æsthetic grounds. Such were due to change in taste and desire for variety, and probably were suggested by the much earlier employment of compound animal forms as furniture supports.
No. 249. Italian Renaissance Panel, Choir Stalls, St. Pietro, Perugia. Stefano Martelli, 1535.
The Acanthus leaf prominent in Renaissance detail, was at first deliberately reproduced from Roman examples, and its architectural employment as in the capitals of the Corinthian order, has survived to modern times as the most suitable rendering for such structural features. In more decorative positions marked changes are evident in the later phases, the Cinque Cento renderings being perhaps the high water mark of the Italian designer. In these the lobes were angular in general outline, with beautifully balanced minor lobations and the surface contours delicate and subtle in modelling.