Ornament of the Renaissance.

The ornament of the Renaissance period was founded on the[the] Roman. Before describing the former it will be necessary to say a few words concerning its prototype, the Roman. More than anything else the great use of the acanthus foliage characterizes the ornamental art of the Romans. The treatment of the acanthus in Roman architecture has already been noticed in the first part of this work. A fine boldness and freedom was everywhere apparent in the Roman treatment of this foliage (Figs. 28 and 29).

Large scrolls of acanthus (see Fig. 319) in which birds, reptiles, and insects are arranged to fill the unoccupied spaces are used in pilasters, friezes, and panels.

Chimeras as whole or half figures with foliage endings, griffins, and large vases well decorated, were used as symmetrical arrangements in friezes.

The well-known acanthus scroll frieze from Trajan’s Forum is a very typical example of the soft-leaved acanthus. The rosette of the scroll, as in nearly all classic ornament, is made up from acanthus-leaves arranged in a radiating manner, like a flower (Fig. 415).

Fig. 415.—Rosette from Scroll, Forum of Trajan.

Some of the ornament on the antique Roman bronze and silver work is particularly beautiful and delicate, as may be seen on the silver wine crater found at Hildesheim in Hanover, which is one object of a collection found at that place in the year 1869. These and the treasures found at Pompeii and Herculaneum, together with the wall paintings at the same places, give us a good idea of Roman art in domestic decoration and the minor arts and crafts.

Fig. 416.—Nest of Scroll, Roman Panel, Florence.

The Pompeian objects, chiefly in bronze (Fig. 417) and the wall paintings (Figs. 418-20) are as much Greek as Roman in style, as they are chiefly the work of Greek artists executed for the Romans.

Fig. 417.—Objects of Art handiwork, from Pompeii.

Fig. 418.—The Goddess Demeter enthroned. Wall painting from Pompeii. (B.)

The Baths of Titus and Diocletian and the palace of the Cæsars on the Palatine Hill, Rome, were decorated with grotesques similar to those of Pompeii, and were studied to great advantage by Raphael and his pupils and assistants when decorating the Loggia of the Vatican. Thin tendrils, festoons of fruit, animals, masks, all kinds of grotesque forms and birds flying and playing in and out of light scrolls, architectural constructions of a light and fantastic character, and panels of landscapes formed the subjects that were painted on the walls, which were often divided into friezes, panels, and dados. These decorations were executed in tempera colours of bright reds, greens, yellows, blues, and black. The antique grotesques, so called from being found on the walls of underground chambers, or “grottos,” together with the figure subjects taken from Greek gems, furnished Raphael and his celebrated pupils Giovanni da Udine (1487-1561) and Perino del Vaga (1500-47) with fanciful ideas for the decoration of the Loggia of the Vatican, and the Villa Madama, at Rome. These grottesches were painted in a kind of fresco or tempera on a white ground with a fairly bright variety of colouring. Some portions of the decorations were executed in stucco relief made of a composition of lime and marble dust, and were sometimes gilded. Giovanni da Udine, or Ricamatore, as he is also called, was especially celebrated at this stucco-work, and in the drawing of animals and birds. He, and another celebrated artist, Primaticco, assisted Raphael’s great pupil Giulio Romano (1492-1546) in a similar kind of decoration at the ducal palace of Mantua. The latter artist executed the principal figure work at Mantua, and also at the Villa Madama.

Fig. 419—Pan. Wall Painting at Herculaneum. (B.)

There is no lack of good examples of Italian ornament, especially in carved marble and wood, in the churches and palaces of Italy and France.

The Museum at South Kensington is rich in casts and in real examples of Italian ornament, has excellent copies of the Raphael pilasters and other examples of painted decorations. In addition to this the maiolica plates and vases furnish good examples of painted decoration of the Renaissance period.

It is only necessary here to illustrate and describe a few examples of the style, as they appear in architectural decoration, for under the heads of the various historic industrial arts many examples of Renaissance ornament will come under our notice in a succeeding volume.

Fig. 420.—Mural Painting. Pompeii.

Fig. 421.—Pilaster by Donatello.

Fig. 422.—Ornament from Baptistery Gates, Florence.

Belonging to the ornament of the fifteenth century, or as it is called the “Quattrocento” (1400), we have a beautiful little pilaster (Fig. 421), designed by Donatello (1386-1438). The portion of the ornament of the architecture from Ghiberti’s bronze gates of the Baptistery of Florence (Fig. 422) shows the use of natural forms ornamentally arranged, which was one of the characteristics of the Quattrocento style; and the tabernacle (Fig. 423) shows the transition between the use of the natural forms and the more severe conventional ornament of the Cinquecento period. Luca della Robbia (1400-81) was one of the ablest masters of the Quattrocento, and Riccio, called Briosco, was also an artist of this period who was engaged on the decorative work of the ducal palace at Venice.

The Cinquecento (1500) is the name given to the style of the sixteenth century. So many brilliant names belong to this period that it becomes a difficulty to give in our space an adequate selection of this work. It was towards the end of the fifteenth century that many of the ancient monuments had been excavated; and the Italian artists from Michelangelo and his great contemporaries down to the artists of lesser powers, followed the strong inclination of the times in their deep study of the antique, and sought more and more to invest their creations with the spirit of ancient art. The lingering traditions of Byzantine forms that were in some degree a part of the Quattrocento style were now entirely excluded from the purer art of the Cinquecento, and anything that had a precedent for existence in the antique was copied or imitated in a modified manner, and improved upon in point of delicacy in the treatment.

Fig. 423.—Tabernacle. End of Fifteenth Century. Italian. (P.)

Though the arabesques of Raphael and his pupils in the Loggia of the Vatican (1515) have been severely criticised as being full of coarse absurdities and designed with questionable taste, still, taking them as a whole, they were a decided improvement on the grosser absurdities of the Pompeian school of grotesque decoration, and they are certainly distinguished by good drawing and clever execution. Doubtless the later achievements in painted decoration at the Villa Madama and the ducal palace of Mantua had less incongruities of design and were more refined than the Vatican pilasters, but they lack the freshness, the boldness, and virility of the latter. It is not always a good argument, for instance, to say—which has often been said of the decoration in question—that a thick stem should be used to support heavy masses, for it can be said with equal truth that a thick stem may be painted to look like a weak vegetable flabby stalk—like that of a cabbage—and so have really a weaker appearance than one painted to represent the fibrous stem of a woody tree; and besides, if a thin stem supporting a heavy mass is vigorously drawn, it will look strong enough, and be useful also in giving the necessary amount of contrast that is wanted in decoration. Such a thing may be quite admissible in painted ornament that would be out of place in sculptured work or in architectural forms.

Fig. 424.—Cinquecento Floral Ornament. Acanthus, Oak, Convolvulus, &c.

Fig. 425.—Venetian Panel. Sixteenth Century.

The Cinquecento artists were better craftsmen than the Romans. The design and delicacy of finish on some of the sculptured ornament of the sixteenth century have never been excelled in any period of the world’s art history. It is strange that many of our would-be teachers in design of the present day are not in sympathy with it; perhaps however, it is not to be wondered at, for they may have tried, and found how difficult it really is to get within measurable distance of its excellence. It is cheap and plausible to say that a style is dead with the people who created it; but this is not what the artists of the sixteenth century said, and we know what they produced out of a dead style. By all means let us have originality, if it is good art, but let us have the good art first.

In the Cinquecento ornament we find that a greater variety of plants, animals, and designed objects, such as vases, candelabra, and armour, were made use of than is generally found in antique ornament. The acanthus, vine, oak, and poppy foliage have all been simplified to a general type of acanthoid leafage (Fig. 425). Such animals as the lion, goat, and the dolphin fish form occur frequently, sometimes almost naturally, but more often with foliated endings (Figs. 425 and 426). Some compositions are made up entirely with well-chosen vase and candelabra forms (Fig. 427).

Fig. 426.—Cinquecento; from the Martinengo Tomb, Brescia.

Fig. 427.—Candelabra and Vase Panel.

In the Cinquecento, the Greek guilloche pattern with rosettes is used, and an Italian rendering of the anthemion, and also of the Greek honeysuckle band pattern (Fig. 428).

The Lombardi family of Venice were celebrated as sculptors in ornament. Pietro the elder (1481) was the architect of Dante’s tomb in San Francesco at Ravenna, but his greatest work was the Church of Santa Maria de’ Miracoli at Venice, in which he was assisted by his sons Tullio and Antonio in the sculptured decorations. Tullio was the most gifted as a sculptor, and his ornament is the best of the Cinquecento period at Venice (Fig. 429).

Martino Lombardo was the architect of the Scuda di San Marco at Venice, in the decorations of which he was aided by Tullio. Some of the best specimens of the ornament of this period are to be found on the Martinengo tomb, in the Church of the Corpo di Cristo (1530). The ornament bears a strong resemblance to the Lombardi, but the sculptor is not known (Fig. 426).

Fig. 428.—From a Marble Fountain in the Louvre. (1508.)

The ceilings from Serlio’s book of architecture, and from San Spirito, by Sansovino, are good examples of the Renaissance panelling and decorative filling (Figs. 431 and 432).

Fig. 429.—Panel from Santa Maria de’ Miracoli, Brescia. By Tullio Lombardo. (1500.)

Fig. 430.—Panel from the Facade of Santa Maria de’ Miracoli, Brescia. (1530.)

Fig. 431.—Renaissance Ceiling. (From Serlio’s Architecture.)

One of the purest examples of the Cinquecento in France is the ornament found on the pilasters of the monument erected to Louis XII. at St. Denis, Paris (Fig. 433). The sculptors are said to have been Jean Just and François Gentil. The figure work on this monument was executed by Trebatti, a Florentine sculptor. Another phase of the Renaissance in France is the Henry Deux style. It is illustrated in the carved door-panels from the Château d’Anet (Figs. 434 and 435) (1548), where the tracery, interlaced work, and shields are combined to form the features of this ornament. The initial letter H of the king and the crescent arms of Diana of Poitiers are seen very often on the shields.

Fig. 432.—Ceiling Decoration, from San Spirito, Florence. By Sansovino.

Jean Goujon and Jean Cousin were employed on the decoration of this castle.

Fig. 433.—Pilasters, from the Monument to Louis XII., St. Denis, Paris.

An extremely rich example of French carved wood is the panel from the Château Gaillon, in Normandy (1515) (Fig. 436).

Fig. 434.—Carved Panel, Henry II. style, from the Château d’Anet.

Fig. 435.—Carved Panel, Henry II. style, from the Château d’Anet.

Fig. 436.—Carved Wood; Château Gaillon. (1505.)

The above examples, and the chimney-piece panel by Germain Pilon (1560) (Fig. 437), another sculptor employed by Catherine de’ Medici, are a few of the best specimens of the Cinquecento period in France.

Elizabethan ornament, or that of the Renaissance in England, is characterized by a preponderance of strap-work, and has animals, masks, rosettes, half-lion or half-human terminals, debased class of mouldings, and very little foliage. The example given—the panelling from the Old Guard Chamber, Westminster (1600), exhibits a strong influence of Saracenic tracery that was prevalent in much of the later furniture and textiles of the Renaissance (Fig. 438).

Fig. 437.—Panel from Chimneypiece; Louvre. By Germain Pilon.

Fig. 438.—Elizabethan Panelling, from the Old Guard Chamber, Westminster.

Shield-work was not so prominent in the pure Elizabethan as in the Jacobean (James I.) style; the carved stone escutcheon-like work from Crewe Hall, Cheshire, attributed to Inigo Jones (Fig. 439), shows the beginning of the Jacobean shield-work. This style is best seen in the carved-wood furniture of the period, and both it and the Elizabethan are generally speaking offshoots of the Flemish and German phases of the Renaissance. Elizabethan ornament is of great variety, the panelling and other arrangements are sometimes composed purely of strap-work of a rectangular flat perforated appearance, sometimes seen in the doorways and chimney fronts, as at Hardwick Hall, Haddon Hall, Speke and Crewe Halls. Another kind is of a more curved variety, with figures and animals, as seen in the illustration from an old house at Exeter now in Kensington Museum (Fig. 440); another kind is carved in rectangular or curved and notched frames of cartouche work with the smaller spaces and little panels carved in imitation of jewels with oval or lozenge-shaped facets. Columns of Ionic or Corinthian orders, and classic mouldings, dentils, and the egg and tongue were frequently used. The ceilings were often panelled and moulded, inclining in this respect more to the Gothic than classic. A bizarre kind of Renaissance architectural feature was prevalent in Holland and in some parts of Germany, which seems to have been the model for much of the “bolt and lock” style of some Elizabethan gateways. The architect Dietterlin, of Strassburg (1550-1599), was an extraordinary exponent of this twisted and bolted form of fantastic architecture, which had become only too fashionable at this period. The illustration (Fig. 441) shows an example of what might be called a mild specimen of the style of Dietterlin. The popularity of the Dietterlin craze was owing to the circulation of several volumes he had published of his impossible designs, some of which designs were evidently adapted by the Elizabethan architects, but in a much more reticent spirit.

Fig. 439.—Doorway, Crewe Hall. Inigo Jones.

Fig. 440.—Elizabethan Carved Ornament, from an old house at Exeter. (1590.)

Fig. 441.—Example of Dietterlin’s Architecture; German, Sixteenth Century.

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Transcriber’s Note

Some inconsistencies in formatting conventions have been corrected, without further mention. Occasionally, diacritical marks are used (or not used) inconsistently as well, and been been made regular to facilitate searches.

A quoted passage on p. [326], begins with “It was built probably...”, and apparently continues into the following paragraph (without the conventional opening quotation mark) and ends with “... total height is 33 feet 6 inches.” It is unclear how much of this passage is a direct quotation, since it includes a reference to an illustration in the current text. In any case, it is given here as printed.

Any errors deemed most likely to be the printer’s have been corrected, and are noted here. The references are to the page and line in the original. The following issues should be noted, along with the resolutions.

[xiv.2][2]75. Dionysus and the LionAdded.
[xv.15]1[0/6]7. Fragment of Border of Fig. 166Replaced.
[xvi.35]Lake Dwellings, Objects fro[m]Added.
[xvii.18]Mosque of K[aī/āi]t Bey, CairoCorrected.
[xvii.33]Ornament on an Arch of the Wekāla K[a/ā]it BeyReplaced.
[xviii.46]Pulpit of the Sultan K[aī/āi]t BeyCorrected.
[135.4]there is [none] endSic King James version
[79.12]appearance of the whole building[.]Restored.
[90.f121]Nymph[œ/æ]a nelumbo; Flower, Leaf, and Fruit.Corrected.
[144.f192]drawn by Gautier. [(]P. & C.[)]Added.
[163.18]their sculptured figures in the round[.]Restored.
[170.23]but the hiero[lyg]gly]phics are not to be reliedTransposed.
[223.22]his favourite animal attributes[.]Restored.
[225.21]the mass of the Greek people[.]Added.
[241.13]They show marks of injury by fire[.]Restored.
[276.6]a[a/n]d the Indo-AryanCorrected.
[342.27]are also examples of early work ex[e]cuted in EnglandInserted.
[349.10]The Church of N[o/ô]tre-DameCorrected.
[353.18]in many interiors of German churches[.]Added.
[356.15]battlemented cornices, and stepped gables[.]Added.
[365.2]with fifteenth and sixteenth [ ] Venetian or Renaissance formssic: century?
[376.5]San Michele, of Verona (1484-[1588])sic d. 1559.
[379.16]What is known as the Henri Deux [(]Henry II.) styleAdded.
[383.24]built about this time in England[.]Added.
[386.27]was founded on [t]he RomanRestored.