Greeks did to horizontal band-work. Figs. [121], [122], and [123] show some examples of pilaster decoration. When the main ornamental effect is obtained, the next problem to be solved is to get the greatest possible variation in the planes of the carving, so that the ornament may not have the air of being cut out with a fret-saw, with the face slightly carved and pinned on. It is sometimes well to accentuate certain portions if care be taken to avoid spottiness; occasionally the main piece of ornament that has the greatest projection may be echoed up the pilaster with a sort of ebb and flow, only the greatest subsidiary projection should be less than the main one. Modern ornamentalists have insisted, that if animal forms are introduced they should be repeated, and rise in scale of importance as they get higher; but this method does not seem to have been adhered to by the Romans or Renaissance artists. In the latter we sometimes meet with cupids or children at the very base of the panel.
The fourth division.—Ornament in panels, &c. Ceilings
Fig. 122.—Italian Cinque-cento pilaster panel. Fig. 123.—Italian pilaster decoration.
Fig. 124.—German book cover, date 1572, in four enamel colours and gold.