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Choragic Monument of Lysikrates.

HISTORIC ORNAMENT

Treatise on

DECORATIVE ART

AND

ARCHITECTURAL ORNAMENT

TREATS OF PREHISTORIC ART; ANCIENT ART AND ARCHITECTURE;

EASTERN, EARLY CHRISTIAN, BYZANTINE,

SARACENIC, ROMANESQUE, GOTHIC, AND

RENAISSANCE ARCHITECTURE

AND ORNAMENT.

BY

JAMES WARD

AUTHOR OF “THE PRINCIPLES OF ORNAMENT.”

*

With Four Hundred and Thirty-Six Illustrations

LONDON: CHAPMAN AND HALL, Limited

1909

LONDON:

PRINTED BY WILLIAM CLOWES AND SONS, LIMITED,

DUKE STREET, STAMFORD STREET, S.E., AND GREAT WINDMILL STREET, W.

PREFACE.

The comprehensive nature of the subject of this work renders it impossible to deal with its various divisions and sub-divisions, except in a very condensed manner, within the limits of a handbook for students.

I have endeavoured to present to the reader, and to the student of ornamental and decorative art, some of the salient features which characterize the historic styles of ornament, and those that seem to me to show themselves as landmarks in the wide domain of Historic Ornament.

Realistic decoration was the earliest form of all art, as we find it in the etchings on the bones drawn by the prehistoric cave-dwellers; but ornamental design or pattern drawing is a kind of invention which implies the orderly decoration of architectural forms and other objects, and is generally applied to such objects with the view of adding some enrichment that shall make them more pleasing to the sight.

The former belongs more to pictorial art, while the latter is purely decorative.

As the construction of ornament, in a great measure, ought to be based on the laws that govern the design of good architecture—this we gather from the design of the best ornament of the historic styles—it has been thought necessary to give a slight sketch of each of the principal orders and styles of architecture, placing them, as far as possible, in a chronological sequence in regard to the periods of their existence, and countries in which they flourished.

In some cases I have also thought it desirable to give a brief account of the religion of those nations that have created distinct styles of architecture and ornament; for in many cases, such as in the art of the ancient world and of the Middle Ages, we find that the art of a country was so bound up with the religion of its people, that to understand the former it is indispensable to have some knowledge of their religious ceremonies and beliefs.

I have here to express my indebtedness to various writers on ornamental art whom I have named in the pages of these volumes for some useful points of information, and to them and the publishers of this work for the use of the greater portion of the blocks of illustrations.

I have also to thank Mr. T. M. Lindsay for the use of his drawing of the monument of Lysikrates, and the Science and Art Department for permission to use many of the illustrations of their excellent handbooks on decorative art.

In a succeeding volume to this work, the various divisions of the Industrial Arts and Crafts will be treated in their historical developments of decoration and workmanship.

In conclusion, I trust that the contents of these pages will be helpful to students in art schools, and to others who may desire to have an introduction to the fascinating study of Historic Ornament.

J. Ward.

CONTENTS.

LIST OF ILLUSTRATIONS.

HISTORIC ORNAMENT.

INTRODUCTORY CHAPTER.

It can hardly be doubted that, for the education of the student in ornamental design, or in architecture, a study of the history of ornament and a knowledge of the principal historic styles of architecture is indispensable.

Historic styles of ornament remain for us, vast accumulations of tried experiments, for the most part in the character of conventional renderings of natural forms; for however remote from nature some of these may be, they can, as a general rule, be traced back without much difficulty to their natural origin, where in most cases they were used symbolically. Even the most arbitrary forms—for instance, those found in Saracenic ornament—were only developments from natural forms, and the innocent Greek key pattern, that has earned the reputation of being the ornament most unlike anything in nature, is supposed by some to be but a rectilineal development of the rippling waves; and, on the other hand, there is the hypothesis that it is developed from the fylfot, a sacred sign that is supposed to symbolize the rotary motion of the planets.

There is no ornament more common or so universal in prehistoric, savage, Egyptian, Assyrian and Mediæval decoration than the ubiquitous zigzag, or chevron, and though extremely simple in itself, at least two-thirds of all conventional ornament is based or constructed on its lines: yet this simple ornament has been used as a symbol of totally opposite and different things, by nearly all the various tribes and nations that have used it in decoration. With the Egyptians and Assyrians it has been a symbol of water, with some savage tribes it denotes lightning, with others it does duty for a serpent, with some others it represents a series of bats, birds, and butterflies; as with the original tribes of Brazil, with the magic-loving Semang tribes of East Malacca, it means a frog, and in some instances the branches of trees; and lastly, with the natives of the Hervey Islands, it symbolizes the human figure when placed in duplicate parallel rows.

(For a fuller description, and illustrations of this and cognate savage ornament, the reader is referred to Haddon’s “Evolution in Art,” 1895.) We can hardly think of an ornament more simple or more common than the zigzag, and yet how varied in different countries are the sources from which it springs.

This may be taken as a warning that it is not safe to accept the same forms as always having the same origin, when we find them in the art of different countries.

Apart from the symbolic origin of ornamental forms, students of to-day may learn, from examples of the past, how far they can go, in the converting of natural forms to conventional ornament, without absolutely adapting such examples to their present needs. The past styles in ornament have, in one sense, died out with the nations that created them, and can never be satisfactorily revived, although, as we have often seen, a new style may be built on their foundations. The tendency of to-day is to undervalue the teachings of historic art, and, as a result, we see much work in which both fitness and beauty are conspicuous by their absence.

In any notice of the historical development of ornamental art, the concurrent styles of architecture should, in their general features at least, be illustrated, for it is not always possible to divorce ornament from architecture, and it is hardly possible to design or construct good ornament otherwise than according to the laws that govern good architecture. Of course, we must admit that some very beautiful ornament, or rather decoration, has been designed otherwise than on architectural lines, but this kind of decoration has its beauty of technique and execution to recommend it, rather than its constructive qualities. Chinese and Japanese ornament will occur to the reader as examples of this kind of work, but the best ornament the world has ever seen has been constructed and is based on the laws that govern good architecture.

Some of these laws, such as stability, repose, variety, and proportion, are derived from nature. As all architectural styles, however, possess them more or less in common, we must look elsewhere for the sources from which the peculiar characteristics that distinguish the styles are developed and derived. The causes and forces are so subtle and the developments so gradual, that it is almost impossible to arrive at a satisfactory explanation, as religions, inventive faculty, and symbolism play an important rôle in style development. It is rather to the inventive faculties of man, than to hints supplied by nature, that we must look for the origin and development of what is called style in architecture or ornament. In every case this is arrived at by a slow process, and by the extensive and persistent use of distinguishing features selected according to the needs and requirements of the time, to satisfy the prevailing tastes. “Style” is then the something that man has invented or created; it may be called the soul of architecture, without which, a building, however pretentious, ceases to exist as an artistic conception.

Apart from the greatest or more striking features in the various divisions of historic architecture, such as the horizontal beam in Greek, the round arch in Roman and Romanesque, the pointed arch in Gothic and Mohammadan buildings, there are the mouldings that are so important in determining the period—they alone of themselves will often determine the style or date of a building—and these features, above all others, are the least derived from nature. On the other hand, the decoration of mouldings, though suggested by their contours, is generally derived from natural forms.

The “best period” in the life of historic styles and its duration corresponds with that of the highest culture and religious thought of the people, at their settled and most flourishing epochs. When a change or revolution in the order of things sets in, we find generally the style of architecture changing also to adapt itself to the new laws and new thought. This illustrates, to a certain degree, the reason why the so-called Victorian Gothic has not developed to any great extent in England, although some of our best architects sought to revive the earlier Gothic some years ago.

The Mediæval mysticism, love for symbolism, and reverence are wanting in the mass of the people of this century, which characterized the people of Europe in the palmy days of Gothic architecture.

It has always been found that whatever the people ask for the artist is generally able to give, although he may not be always willing; but he must satisfy the popular demand if he is to live by his work, otherwise he must make way for others who are willing to produce work that will reflect the taste of the period.

We are handicapped in the development of anything new in the way of an architectural style by traditions of the past. Our knowledge of what has been done in the past, paradoxical as it may appear, has proved itself a great stumbling-block to the progress of new ideas. This partly accounts for the slowness of style-development in the present century. If fashion does not step in and disturb the march of events in the immediate future, we may hope for something distinct, if not exactly new, as an architectural style, in which a mixture of Gothic and Renaissance forms will be seen, the latter perhaps predominating. It may happen that later generations will look back and be able to discern something distinct in the way of style in buildings erected in the last quarter of this century, in the midst of much that is somewhat chaotic and confused.

In a book like this, which is intended chiefly as an introduction to the study of historic ornament, one cannot pretend to criticise the various styles of ornament, either from an artistic or scientific standpoint. It will be enough to attempt to point out the principal beauties or characteristics, to trace the history and overlapping of one style with another, and to trace, where possible, some units of ornamental forms to their symbolic ancestry. It is absurd to criticise the ornament of any period or country dogmatically, for we must remember, that although certain forms of art may not conform to the critics’ idiosyncrasy, they may be quite orthodox and good art when judged by the artistic laws of their own country. The difference in race, religion, manners, and customs, must always be taken into account, before we begin to criticise the art of a nation to which we do not belong.

As already remarked, we are hampered by tradition in our attempts to produce originality in ornament, but there is very little tradition for the absolute copying of a particular style, except from nations who have had no decided art of their own. As far as we know of the history and practice in the whole field of ornamental design, from its remote beginnings it has been mostly all along a series of systems of developments, sometimes for good and sometimes for the opposite, but rarely, if ever, a system of copying. Some notable exceptions to this may be noticed, as when, for the expediencies known as “tricks of the trade,” the Phœnicians made ivory carvings in exact imitation of Egyptian designs, and sold them to the Assyrians; and likewise bronze bowls and platters in both Assyrian and Egyptian imitations, and traded with them throughout the Ægean and Mediterranean, or when the Siculo-Arabian silks were made at Palermo in imitation of Saracen designs, with mock-Saracenic inscriptions, and sold for the real articles. Other instances might be cited, but these were among the most successful.

As regards the purity of styles it may be safely said, that, with rare exceptions, it is well-nigh impossible to find a well-designed and complete scheme of decoration, or a building that will stand the test of having perfect unity in style; in fact, it may be more artistic on account of its incompleteness in this respect, for any work of art that is designed by receipt, like the Egyptian temples or Mohammadan ornament, is rather wearisome. It is pleasant to see at times a little bit showing here and there of the designer’s individuality. When the monotonous repetition of the laws peculiar to any arbitrary style are broken by a wilful and, perhaps, sinful artist, we often get a refreshing and original rendering that is not by any means displeasing.

In transitional design from one style to another, much beautiful work may be seen. In connection with this the Byzantine style may be mentioned, with its Classic and Oriental forms, Elizabethan, Jacobean, Lombard Gothic, and the French styles of Henri Deux and François 1^er, in most of which Gothic and Renaissance forms are happily blended; and in the beautiful Siculo-Arabian textiles, where Italian and Saracenic forms make an interesting union. We learn from these examples that the successful designer of ornament should have a thorough knowledge of the historic styles, not for the purpose of reproducing their forms, but in order to discover for himself the methods by which the old artists arrived at the successful treatment of nature and of former styles, so that by the application of his knowledge, derived from the study of nature and the works of former artists, he may be enabled to give to the world some original and interesting work.

CHAPTER II.
PREHISTORIC ORNAMENT—PALÆOLITHIC PERIOD OR
EARLY STONE AGE—RIVER DRIFT AND CAVE-MEN.

The first indications of the presence of man in Britain was brought to light in the shape of a flint flake found by the Rev. O. Fisher, in the presence of Professor W. Boyd Dawkins, in the lower brick earth of the Stoneham pit at Crayford, in Kent, in the year 1872. In the year 1876 a second flake was found in a similar situation at Erith, in Kent, considerably worn by use. This form of implement was used in the late Pleistocene age, and also in the Neolithic (Newer Stone age) and Bronze ages. It was employed in the historic ages by the Egyptians, and by the Romanized Britons of Sussex, in whose tombs it has been found. This implement is the latest survival of the Palæolithic age. Geologists have proved that Ireland, England and Europe were united in the Palæolithic age, and this accounts for the similarity of stone implements and other remains found in the river-drift deposits, in caves, and other situations in the river valley over this vast area. The roughly chipped flint implements are termed Palæolithic, or of the Old Stone age, in contradistinction to the smoother, finer chipped, or polished implements of the Neolithic or Newer Stone age.

It seems highly probable that the Asiatic Palæolithic man first swarmed off the great plateau of Central Asia, which in later times was the home of all those tribes that invaded Europe, India, and China, and certainly were of a race that is now as extinct as the prehistoric Mammoth itself. The relation between the River-drift men of Asia and Europe is doubtful. We may not be able to refer the Palæolithic Cave-men to any present branch of the human race, but as regards their artistic abilities, the only savage people that bear any analogy to them in the present day is the South African tribe of Bushmen. These people, however, are much inferior as artists to the early Cave-men, which may be seen by comparing the work of both (Figs. [7A] and [7B]).

Fig. 1.—Horse, Upper Cave Earth, Robin Hood Cave.

Fig. 2.—Ibex Carved on Antler.

From the drawings of animals which have been found etched and carved on bone, horn, and stones, we can judge of the high qualifications of the Cave-men as artists. Their work in animal drawing ranks higher than that of any historic savage race, and as artists they were infinitely of a higher order than their more scientific successors, the Neolithic men, or the men of the Bronze age.

Fig. 3.—Prehistoric Carving.

Fig. 4.—Esquimaux Carving.

It was owing to the discovery of these bone and ivory etchings that geologists were able to definitely connect the Cave-men of the Thames Valley with those of France, Belgium, and Switzerland. At Cresswell Crags, in Derbyshire, in the caves, caverns, and fissures known as the Pin Hole, Robin Hood’s Cave, Mother Grundy’s Parlour, a great quantity of bones have been found, some of which were broken by the hand of man, and amongst these some flint implements in the lower cave earth. Above this in the stalagmatic breccia more bones were found and implements made of quartzite and flint, together with fragments of charcoal. Lance heads, flint borers, a bone awl, and a fragment of bone ornamented with a zigzag or chevron pattern—probably the oldest bit of ornament known—were found together with the most important find of all, namely, a piece of rib bone with an etching of a horse’s head and neck with a hogged mane (Fig. 1), the first instance of an animal form found in England. These objects may be seen in the British Museum.

Fig. 5.—Etching of Reindeer on Bone, Kesslerloch Cavern.

Evidences of the Palæolithic men have been found in the Mendip Hill caves in Somerset, and at Kent’s Hole, near Torquay, Devon. Harpoons of deers’ antlers, barbed on one or both sides, also hammer stones, half spherical in shape, have been brought to light from these places.

Fig. 6.—Etching of Reindeer on Slate.

Fig. 7.—Etching of Mammoth on a piece of Mammoth Ivory.

The River-drift men preceded the Cave-men, as two different sets of implements found at different depths testify. Those found at the greatest depths are rougher, rounder, and more massive in character, with the outer surface of flint or quartzite nodule still remaining, as seen in some wedge-shaped hâches and hammer stones, they consequently belong to the Older Drift period; while the oval carefully chipped all round, and occasionally polished implements, belong to a much later and higher cultured state of the Palæolithic period. Both the River-drift men and the Cave-men lived in caverns in this country and in France, as some savages do now. Implements of the Palæolithic age have been found in Europe, North Africa, Asia Minor and India. The earlier River-drift man was a savage and lived by hunting, as no evidence of culture has been found that can be ascribed to him. After unknown ages perhaps had elapsed the Cave-men appear with more perfect instruments, and at least cultured in the knowledge of drawing and carving, which they did, as can be judged by the illustration given, with astonishing ability. The accurate forms of animals, as horses, mammoths, bears, aurochs, elks, reindeers, fish, seals, &c., and even attempts at the human figure, are evidences of this.

Fig. 7A.—Human and Animal Form, drawn by Bushmen of South Africa.

Some authors see a certain analogy between the Cave-men and the Esquimaux of the present day. In artistic culture, however, the Cave-men are immeasurably superior to the latter, as may be seen by comparing their respective efforts (Figs. 2, 3, 4, 5).

The Cave-men disappeared from Britain after it became an island. Similar discoveries of implements and other remains in Europe and Britain prove that the Cave-men of both countries were in the same stage of culture. Pottery has never been found in connection with the remains of these people.

In France many important finds have been brought to light illustrating the art work of the European Cave-men. In the caves at Perigord, at Bruniquel on the Aveyron, at Le Moustier, at La Madelaine in the Dordogne, and in the Duruthy cave at Laugerie Basse, in the Western Pyrenees, have been found many engravings of animals, and carvings on bone, smooth teeth, and antlers, also on sandstone, slate, and schist. Evidences of the Cave-men using skins for clothing is inferred from the engraving of skin-gloves and other things found incised on the teeth of the great cave-bear in the Duruthy caves. Hunting scenes were often engraved with great fidelity, and carved dagger-handles made from the antlers of deer, with the animal itself sometimes carved on them. One of the highest art examples yet found is that of a reindeer grazing, and is the only object on which an attempt is made to represent herbage, and perhaps water (Fig. 5). This interesting relic was found in the Kesslerloch Cavern.

Fig. 7B.—Animal Forms, drawn by Bushmen.

CHAPTER III.
NEOLITHIC STONE PERIOD.

This period is divided from the Palæolithic Stone age by a great unknown gap. It is sometimes called the Later or Newer Stone age. In this period the flint implements were better shaped, many of them were ground and polished (Figs. [17], [18]). Some of the flint and other stone implements were very like in form to those of the Bronze period, and as these implements were made, and continued to be used, in Northern Europe after the Bronze periods of the East had developed, it is quite possible that they were copied from the bronze objects (Figs. 10, 11, 17, 18).

A remarkable sickle or knife fourteen inches long is seen at Fig. 11; a flint saw (Fig. 12), semicircular knives or saws at Figs. 15, 16, and a bone and flint harpoon at Fig. 9. Some of the stone hammers or axes are of great beauty in shape and in workmanship (Figs. 17, 18); also pottery slightly burnt, but well decorated by incised straight lines and zigzags (Figs. [21] to [24]).

Fig. 8.

Fig. 9.

Fig. 10.

Fig. 11.

Figs. 8 to 11.—Flint Implements of the Neolithic Period (From Danish Arts.)

Fig. 12.

Fig. 13.

Fig. 14.

Figs. 12, 13, 14.—Flint Implements of the Neolithic Period. (From Danish Arts.)

Fig. 15.

Fig. 16.

Figs. 15, 16.—Flint Implements of the Neolithic Period. (From Danish Arts.)

Fig. 17.

Fig. 18.

Fig. 19.

Fig. 20.

Figs. 17 to 20.—Polished Stone Hammers and Celts, Neolithic Period. (From Danish Arts.)

Fig. 21.

Fig. 22.

Fig. 23.

Fig. 24.

Figs. 21 to 24.—Pottery of the Neolithic Age. (From Danish Arts.)

The cultivation of land, the breeding and rearing of domestic animals, plaiting, and weaving was known and practised by these people. Amber, bone beads, and shells were used as personal adornments. Their burials were with or without cremation. The burial-places of these people are found all over the world, in Europe, Japan, India, and other parts of Asia, and in North America. They are named “Cromlechs” (stone circles), “Dolmen” (stone tables) (Fig. 25), “Menhir” (long stone). The burial-place, called a “Tumulus,” is a great mound of earth, usually containing a burial chamber constructed in stone in the centre of the mound. The illustrations of the “Menhir” (long stones) (Fig. 26), and of the so-called Giants’ Tombs (Fig. 27) belong to the Stone age, and are found in the island of Sardinia.

Fig. 25.—Dolmen at Hesbon (P. & C.).

Fig. 26.—Menhirs, Sardinia (P. & C.).

We have seen that the Palæolithic men were hunters, and evidently had a lot of leisure time on their hands, which they turned to good account by devoting some of it to their artistic culture; while the Neolithic men were more of a race of mechanics and farmers, who had neither time nor inclination for the cultivation of art, but were altogether more scientific and mechanical than the men of the Palæolithic period.

Fig. 27.—Giants’ Tomb, Sardinia (P. & C.).

CHAPTER IV.
THE BRONZE AGE.

The people of the Bronze age introduced a higher civilisation into the world than their predecessors of the Stone ages. There appears to be a great overlap between the Neolithic, Bronze, and Iron ages of Central and Northern Europe, and the historic periods of the Eastern countries bordering on the Mediterranean. We have evidence that great periods of time must have marked the epochs of the prehistoric ages, and that the Bronze age, like the Stone and Iron ages, began at different times in different countries. The tribes who brought with them the age of Bronze into Europe composed the Celtic van of the Aryan race. The earliest productions of this period were the simple wedges resembling flat stone axes, the sides of which are slightly thickened to form ridges or flanges; the centres are also raised, which produces a ridge to prevent the head from going in too far in the handle; in some the flanges are much developed, and have also a loop cast on the side for the purpose of tying it on to the haft. Some are made with a socket and loop; these have been called “Paalstabs,” and have a flat chisel-like shape (Figs. 28, 30).

Fig. 28.

Fig. 29.

Fig. 30.

Figs. 28 to 30.—Bronze and Paalstabs. (From Danish Arts.)

Fig. 31.

Fig. 32.

Fig. 33.

Fig. 34.

Figs. 31 to 34.—Bronze Axes, Paalstabs, and Moulds. (From Danish Arts.)

Fig. 35.

Fig. 36.

Fig. 37.

Fig. 38.

Figs. 35 to 38.—Bronze Swords and Spear-Head. (From Danish Arts.)

Figs. 39 and 40.—Bronze Button for Sword Belt.
(From Danish Arts.)

These earlier implements are often made of pure copper. Bronze is a mixture of copper and tin, generally from two to four per cent. of tin, and is consequently harder than copper. Knives, hammers, gouges, sickles, daggers, spears, swords, shields, many kinds of vessels, and articles of personal adornment made in bronze, belong to the earlier time of the Bronze period, and similar articles were made in this material in the prehistoric Bronze ages all over the known world (Figs. 35 to 40).

An interesting object is a breast-plate, belonging to this early Bronze period; it is decorated with zigzags in bands, and a well-arranged scheme of spiral ornamentation (Fig. 41). Urns of earthenware, sometimes decorated with zigzags and sacred signs, have been found in graves. These urns contained ashes of the dead (Figs. 43, 44).

Fig. 41.—Breast-plate, with Spiral Ornaments. (From Danish Arts.)

Many of the bronze implements and other articles have been found in tombs, in caves in great quantities, both finished and unfinished, in “Kitchen Middens,” or refuse heaps, in river-beds, and in bogs.

Fig. 42.

Fig. 43.

Fig. 44.

Figs. 42, 43, and 44.—Urns of the Bronze Age (From Danish Arts.)

Fig. 45.—Bronze Bowl found in Sweden. (Scand. Arts.)

Fig. 46.—Urn of the Stone Age found in Swedish Dolmen. (Scand. Arts.)

Some of the objects found in North Germany, and particularly in Denmark, Sweden, and Norway, are exceedingly beautiful in their shape and decoration. From nowhere else in the world come so many objects, and so much that is characteristic of the prehistoric Bronze age. This period has been ably treated, and at great length, by Mr. J. J. A. Worsaae, in his “Danish Arts,” and by Mr. Hans Hildebrand, in his “Arts of Scandinavia,” to which books we are indebted for the accompanying illustrations. It may be noticed that much of the decoration on these objects consists of a few simple elements with much geometric repetition. The varied forms are chiefly spirals interlocking at regulated distances, concentric rings, triangles, zigzag lines, and bands formed of lines which are reminiscences of the earlier withy lashings, with which the stone celts were fastened to their hafts. The raised, as well as the flat twisted-like bands, are derivatives from the twisted strings that would naturally be tied around the pottery of an early date to carry it by (Fig. 45).

Fig. 47.—Bronze Hatchet found in Sweden. (Scand. Arts.)

The spirals, zigzags, ring-crosses, wheels, triskeles, reciprocal meanders, semicircles, &c., are geometrical developments of sun-snake, lightning, the sun itself, cloud-forms, moon-forms, star-forms, and the sacred fylfot or swastika, all of which had their origin in Egypt, India, Central Asia, or Greece. At first they were used as isolated signs, or pictographs, to represent physical phenomena, that were objects of Nature-worship with almost all the nations of the world after the dawn of civilisation, and when these signs migrated into the art of other nations or later peoples, who were either ignorant of their meaning or understood them in an imperfect way, they ceased to be employed as isolated signs of the various divinities they originally represented, and were copied, and repeated, as required, to fill in a geometrical way the space at hand to be ornamented.

Fig. 48.—Sun Signs.
A, Wheel Cross or Wheel; B, Sun God Signs; C, Fylfot, or Swastika; D, Triskele; E, Stars or Sun Signs.

A beautiful piece of workmanship is the bronze horn (Fig. 50). Worsaae thinks that this horn was used in the worship of the gods in the early Bronze age, owing to the great number of sacred signs engraved on it. Sun-wheels, sun-snakes, and sun-boats, developed into spiral ornament, may be seen on it.

Fig. 49.—Sun Signs. (From Danish Arts.)
F, Sun-snakes; G. Swastika; H, Triskele; I, Star or Sun.
N.B.—The Swastika here is evidently a double Sun-snake.

Fig. 50.—Bronze Horn or Trumpet, found at Wismar, in Mecklenburg. (From Danish Arts.)

There is one ornament that plays an important part in the Bronze and Iron periods, of which much has been written, the “fylfot” or “swastika.” It has been found in nearly every quarter of the ancient world, except Egypt and Assyria, both in savage ornament and in the art of cultured races. The “fylfot” or “many” or “full-footed” cross in Anglo-Saxon, it is also known by the names of “gammadion,” “croix gammée,” “croix cramponée,” “tetraskele,” &c. The Indian name for it is the “swastika” or “svastika,” which means “good luck,” or “it is well.” The fylfot, according to the opinion of many archæologists, was originally the sign of the sun, and used as a sacred symbol in the worship of the sun; others think it was a sign used to symbolize the rotatory motion of the planets; it is quite likely it has been used by different early peoples for both. It has been associated with other sun signs, as the circle, concentric circles, with the S-shaped sun-snakes, as on the prehistoric whorls from Hissarlik, and very frequently with the solar divinities, as the horse, boar, ram, lion, ibex, and goose, &c. It is found on Cyprian and Rhodian pottery and on the “geometric” pottery of Greece. Its appearance on many objects of early Christian art can be accounted for. In these cases the Christian missionaries permitted the continued use of it to their pagan converts, but they themselves attached a new meaning to it, regarding it as merely a substitute for the symbol of the cross.

Fig. 51.—Pinak or Plate, Archaic Period, from Camiros, Rhodes, showing Fylfot, and Sun Signs, and Sacred Boar. (British Museum.)

Some writers have argued, with a good deal of plausibility, that the Greek fret pattern, Chinese and Japanese frets, were only developments from the fylfot. This is purely conjectural, for as regards the Greek fret, it is more likely that it had an Egyptian source, as so many of the Greek ornaments are but developments of Egyptian and Assyrian forms. The fret used by the Greeks has been found in Egypt in the ceiling ornament of tombs more than a thousand years before it appeared in Greece. The Chinese frets may have in some instances a fylfot origin, but at present this is doubtful, as it has not yet been proved. The drawing of the archaic Greek plate (pinak), in the British Museum, given at Fig. 51, from the Greek colony of Rhodes, is very interesting, as it shows a well-developed fylfot between the legs of the boar, and an early Greek fret band; the fret here may only be a water-sign, or a river-edge representation. The spaces around the boar (animal sacred to the sun) are filled up with sun-signs and star-signs; even the large segment of radiating lines, and the form over the animal’s back may typify the sun. The whole decoration has a high religious meaning in reference to sun-worship, and is evidently a copy by a Greek artist of an oriental embroidery motive.

Fig. 52.—Silver Brooch, Plated with Gold, in the form of a Double Sun-snake or Swastika; found in Iceland. (Danish Arts.)

Fig. 53.—Gold Bowl, with Bronze Handle and Sacred Horse’s Head. (Danish Arts.)

Fig. 54.—Bronze Horn found in Denmark. (Danish Arts.)

The fylfot has been found stamped on the pottery of the lake dwellings of the Zuni, Yucatan, and other American pottery, and on objects from Iceland, Ireland, and Scandinavia. A circular form of it is seen on the gold Scandinavian ornament (Fig. 52).

Whether it originally was a pure sun-sign, or whether it signified the axial rotation of the earth round the North Pole, it is full of remarkable interest, and enters more than any other symbolic sign into historic ornament generally. In India, China, and Japan, it has been much used; this was owing to the spread of the Buddhist religion in these countries. It is found on the toes of the “Footprint” of Buddha, at the Amarávati Tope, India; and owing to its great religious significance in China, Japan, and Ceylon, we find it stamped on the account books, coins and dresses of both the living and the dead, as a universal sign of good luck.

Fig. 55.—Collar of Bronze found in Sweden. (Scand. Arts.)

Fig. 56.—Danish Bronze Knives, decorated with Sun-ships and other Sacred Figures. (Danish Arts.)

Fig. 57.

Fig. 58.

Figs. 57 and 58.—Bronze and Gold Buttons found in Women’s Graves, with the Triskele, Moon-Signs, and Sun Snakes. (Danish Arts.)

The swastika, both straight and curved-armed variety, was used indiscriminately in the decoration of objects of the Iron age, whether in bronze, iron, gold, silver, wood, or stone. It was the sign among the Romans of Jupiter Tonans, who wielded the thunder and lightning; was the sign used for Thor, the god of thunder and lightning, with the early German peoples, and the curved variety of it was used as a symbol of their highest divinity by the northern nations of Scandinavia. From this widespread use of the swastika it is conjectured that it is an Aryan symbol, brought by the people of the Bronze age from their primitive home in the plateau of Central Asia.

CHAPTER V.
THE IRON AGE.

The age of Iron, like the Bronze ages, varies very much in point of time in Europe as compared with Asia, and also there is a great overlapping between the times of the Iron age in the northern, middle, and southern parts of Europe. It is safe to say that the early part of this age belongs to prehistoric times as far as Central and Northern Europe is concerned, and although the Grecian Archipelago and Western Asia were in a high state of civilised culture five or six centuries before the Christian era, and were acquainted with the use of iron, it is clear that the extensive employment and decoration of iron implements and arms were chiefly in Switzerland, Northern Italy, and in the Valley of the Danube. This iron culture soon spread over to Gaul and Spain, and to the British Islands in the West, and Scandinavia in the North. The Romans, under their first emperors, imported their swords and other arms from Spain and the West on account of their good workmanship. From the many “finds” that have been brought to light in the above countries it is evident that, for five or six centuries before the commencement of the Christian era, there was a great activity going on in the manufacture of iron objects in these countries, principally swords and other warlike arms. The two most important “finds” are the “Halstaat” in Austria, and the La Têne “finds” near Marin, Lake Neuchâtel. The Halstaat find was composed of many gold and bronze articles, pottery, and a few iron weapons. The place where these things were found was a Celtic tomb, and the iron articles found in it are among the earliest known in Europe, which proves them to have been made at the transition period from the Bronze to the Iron ages. Besides the purely geometric work the decoration on these articles consists of sun and moon signs, wheel crosses, half moons, the sacred ship, the swastika, triskele, &c.; crude representations of men and animals, as horses, oxen, stags, he-goats, and geese, all of which have a religious and symbolic meaning. All these forms were used in the Bronze and Iron ages alike. The find at La Têne, near Marin, Lake Neuchâtel, belongs to a later period and is more important from an art point of view, for besides the usual sacred decorations engraved on the objects, some of the sword handles and sheaths are beautifully sculptured or chiselled in iron, with well-designed ornament and animal forms. (See Fig. [81], D, of Gaulish or late Celtic workmanship.)

The shapes and materials of the weapons found at La Têne, or of what is called the “La Têne Period,” do not bear much resemblance to the weapons of the Bronze age, and the sheaths of the swords and daggers are sometimes bronze and sometimes iron, but the blades are of iron.

Communication with the Etruscans and the Greeks by the people of Central Europe is proved by the coins, vases, and objects of personal ornament, and by the imitations of Greek and Macedonian coins found in great quantities in Middle and Western Europe and in Britain, that belong to this late Celtic period. This accounts for the more “advanced” nature of the decoration on the Marin swords and daggers of the “La Têne Period,” and this particular culture-wave brought with it the beginnings of that ornament which, in later centuries, developed into the peculiar Celtic and Runic twistings and interlacings that are so common to Danish, Norwegian, Swedish, Anglo-Saxon and Irish phases of decorative art, that was practised so largely from the first to the twelfth centuries of our era. This Celtic interlacing, though often more distressing than a Chinese puzzle, and in some instances barbarous in the extreme, yet is often very interesting and beautiful in execution. Most of it can be traced to its origin in sacred signs and animal forms in classical ornament.

It will be interesting to trace briefly some of these developments of the Northern Runic and Celtic art of the Iron age. In the development of nearly all historic art, we find that the religious aspirations of man were the chief factors. In Egypt, Asia, Europe, or America, wherever art had an individuality, the greatest monuments were erected, and the finest works of art were created for the honour of the nation’s gods. We have seen how the forms of ornament were generally derived from the figurative signs of sacred animals, plants, and other mystic symbols of a religious meaning, and were in the end converted in meaningless but æsthetic ornament. This is the history of nine-tenths of historic ornament that has survived the decay of nations. The ancient religion and beliefs of the pre-Christian peoples were those which they had brought with them when they first migrated from their Asiatic home, namely, the worship of the sun, moon, and lightning. Cæsar mentions in his “De Bello Gallico,” VI., 21, that the “Germani people worshipped the visible helping gods, the sun, moon, and fire, and knew nothing whatever of other divinities.” The symbolic signs and animal forms sacred to these phenomena, already mentioned, are found more or less on the utensils and weapons of the Gallic-German peoples of the Iron age, and in addition to these we see the representation of the Northern gods, the Trinity of the North, Thor, Odin and Frey, with and without the sacred animals peculiar to each. In the earlier times close intercourse with the Romans brought about a high degree of culture to the barbarian people of the Rhine Valley and more northern places; many statuettes of bronze inlaid with gold and silver, representing Roman gods, have been dug up in Denmark and other places in the north.

Fig. 59.—Gold-plated Ornament found at Thorsberg. (Danish Arts.)

These statuettes were transformations of the Roman and Etruscan gods that served for the Gallo-Germanic gods. An illustration of the Roman influence is seen in a round ornament of this period plated with gold, found at Thorsberg, Slesvig. It is the decoration of an iron coat of mail. The illustration of this (Fig. 59) is taken from Worsaae’s “Danish Arts,” and is thus described by him:

“Five suns are placed crosswise, and between two of the outer ones is seen a barbarised figure of Jupiter with horns on his helmet; the sun in the centre is surrounded by a circle of helmeted heads. Just as this recalls to our minds the Germanic and Scandinavian god of thunder, Thor, who, later, was often represented with a helmet on his head, so the thin barbaric golden figures of horses, geese, and fish, riveted on the ornament or brooch itself, remind us of the sun-god Frey.” The Figs. 60 and 61 are metal mountings decorated with the triskele formed of sun-snakes, the swastika with straight arms, and the compound variety of the fylfot on the larger mounting. These illustrate a transition of the sacred sun form to more purely ornamental designs.

Fig. 60

Fig.61

Figs. 60 and 61.—Metal Mountings from Thorsberg. (Danish Arts.)

The imitation of Roman coins and medallions of the time of Constantine to ornaments that have been called “bracteates” was extensively carried on by the Germanic people. These bracteates have the design on one side only, with a loop or ring at the top to suspend them around the neck as an amulet. These golden bracteates have been found in great numbers in Scandinavia and Denmark, and scarcely anywhere else, which proves they were indigenous to these countries.

It is interesting to notice how they have been transformed from their Roman and Byzantine originals to purely sacred Celtic amulets of a new national type of ornament. Fig. 62, from Hildebrand’s “Scandinavian Arts,” is a barbaric copy of a Roman medallion. It is a poor attempt to copy the Imperial head, and the inscription is badly and meaninglessly copied. On the reverse is a figure of Victory, with signs of the cross, surrounded by a wreath and legend.

Fig. 62.—Barbarian Copy of a Roman Medallion found in Sweden.
(Scand. Arts.)

It appears that after the age of the Constantines, the intercourse of the Germanic people with the Romans was broken, owing to the invasion of the Huns, and for a long time afterwards they were left to themselves without foreign influence, and were enabled to develop their national art on the foundation of Roman culture, at the same time substituting their own emblems of their national gods in place of the classic ones in their decorative work. We can safely gather from this that the Hunnic invasion of the Roman Empire was the indirect means of giving to Northern Europe a distinct national style of art.

Fig. 63.—Golden Bracteate from Scandinavia. (Danish Arts.)

The illustrations of the golden bracteates here given (Figs. 63, 64) partly show how this development began. On Fig. 63 is Thor’s head with his tiara or helmet, the he-goat sacred to Thor, the triad three dots, and the swastika. On the border is the triskele (Odin’s sign), Frey’s cross, and the zigzag or lightning.

Fig. 64.—Golden Bracteate from Scandinavia. (Danish Arts.)

The larger bracteate (Fig. 64) has Thor with the he-goat surrounded by the swastika, triskele, and the cross (four suns forming the cross), the signs for Thor, Odin, and Frey. The inner border has the three dots, or triad; next border, Thor’s head; and the outer border is composed of he-goats. On the loop are signs of the sun and moon, and under it sun-snakes (developed into spirals). The above descriptions of the bracteates are chiefly taken from the “Danish Arts.”

Fig. 65.—Parts of Harness in Gilt Bronze, Gotland. (Scand. Arts.)

Characteristic ornament of this period is shown at Fig. 65, which are parts of a harness in gilt bronze from a tomb in Gotland; the patterns are composed of corrupted animal and bird forms.

Fig. 66.—Fibula in Gilt Bronze, Gotland. (Scand. Arts.)

Fig. 67.—Fibula in Gilt Bronze, Gotland. (Scand. Arts.)

Figs. 66 to 68 are fibula decorations of the interlacing animal forms, which are characteristic of the more attenuated and later development of Scandinavian art.

Fig. 68.—Part of Rim of Fig. 67.

The series of designs, Figs. 69 to 73, are of great interest in showing the development of patterns from lion forms to the twisted snake ornament. The figures are taken from Hildebrand’s “Scandinavian Arts.” According to that author, Fig. 69 is a Scandinavian copy or adaptation of a Roman design, which consists of two lions couchant. The other patterns (Figs. 70 to 73) are further developments of corrupted lion forms. It is quite possible that the peculiar interlacings of Scandinavian ornament may have been the result of imperfect copying of lion and bird forms. They were never intended for snake forms, as many of these have legs and feet, and serpents and snakes were unknown in the north. Many stranger derivatives of ornament have existed in the ornament of savage tribes.[^[A]] When the Gotlandic artist had reduced his lion forms to snakes he carried his work to the verge of monotony with interminable interlacings.

[A]. See Haddon’s “Evolution of Ornamental Art,” 1895.

Fig. 69.

Fig. 70.

Figs. 69 and 70.—Corrupted Figures of Lions. (Scand. Arts.)

Fig. 71.

Fig. 72.

Fig. 73.

Figs. 71, 72, 73.—Animal Ornamental Patterns, Corrupted Figures of Lions. (Scand. Arts.)

Fig. 74.—Silver Goblet, with Gold-plated Decoration, found in Zeeland.
(Danish Arts.)

Fig. 75.—Under Side of a Fibula. (Scand. Arts.)

The decoration on the goblet (Fig. 74) is the sun-god Frey, with his horse and geese; the masks are intended for those of Thor; his he-goat and sun signs are also seen. This goblet was evidently used in the sun-worship festivals.

Fig. 76.—Pottery of the Iron Age. (Danish Arts.)

Fig. 77.—Piece of Woollen Cloth with Gold and Silver Threads, Viking Period.
(Danish Arts.)

A restrained and agreeable design is seen on the under side of a fibula (Fig. 75); a well-shaped earthen pot is decorated with zigzag work, and has the symbolical triad mark impressed on it (Fig. 76); and a remnant of woollen cloth, woven with silver and gold threads, has the swastika and the hammer of Thor as decoration. This was found in a grave at Randers of the tenth century. It belongs to the Viking period of the Iron age (Fig. 77).

CHAPTER VI.
THE LAKE DWELLINGS OF SWITZERLAND AND OTHER PARTS OF EUROPE.

In Switzerland and in Upper Italy evidences have been found of numerous lake dwellings, and in Ireland and Scotland analogous dwellings on islands in lakes and morasses have been found, to which the name of “crannoges” (“wooden islands”) has been given. The exact age of these dwellings has not been accurately defined, but an approximate date has been assigned to them. From the nature, kind, and decoration of the numerous articles that have been dug up from the foundation relic beds in the lakes of Switzerland, it appears that the duration of the “lake dwellings” period was from about the time of the later Stone age to the early Iron age; it therefore embraces portions of the Stone age, the Bronze age, and early Iron ages of Europe.

The lake dwellings were erected by certain tribes of the early inhabitants of Europe, for the better security of themselves and their property from the savage animals of the mainland, and from their enemies, the still more savage fellow-men. As far as can be made out from the remains found in the lakes, the lake dwellers were more civilised and less warlike than their neighbours that lived on land. The lake dwellings are the most ancient evidences of man’s first constructive capabilities in the art of building. Herodotus tells us of a settlement on Lake Prasias (Tachyus), in Rumelia, where “men live on platforms supported by tall piles.” Some tribes of the Papuans of New Guinea still live on pile dwellings. The lacustrine habitation (Fig. 78), from “Les Races Sauvages,” by M. Bertillon, is a representation of a pile dwelling on the Lake Mohrya, in Central Africa, of the present day.

Fig. 78.—Lacustrine Habitation in Lake Mohrya, Central Africa. (From Les Races Sauvages, by M. Bertillon.)

The substructures, Fig. 79, A, B, and C, taken from Keller’s “Lake Dwellings,” will give general ideas of the foundations of the dwellings in Switzerland and Upper Italy. At A is seen the earliest type, which reveals the section of the piles, upper flooring, water-line, and sloping bank of the lake. The piles were sometimes composed of split trees or stems, but more often of stems with the bark on, and were of various kinds of wood; they were sharpened at the end by stone hatchets, and in later times by bronze or iron axes, and were driven into the sand or mud at a short distance from the shore. The heads of the piles were brought to a level, and planks or whole trees were fastened on them as beams; sometimes they were fastened on by wooden pins, and sometimes were “notched” into the heads of the piles. Cross-beams were often forced in between the uprights under the platform to steady the structure, and outside there was often fastened a clothing of wattle-work to act as a fender from various accidents. If it were found difficult to drive the piles into the bed of the lake to any great depth, artificial raising of the bottom was resorted to, by bringing cargoes of stones in boats and dropping them between the piles, thereby securing a perfectly secure substructure (Fig. 79, B). These artificial risings are called “stein-bergs.”

Fig. 79.—Section and Plans, Lake Dwelling Substructures from Keller.

A, General idea of arrangement of Piles; B, shows the Piles driven into the mud, with stones thrown between them; C, Section of Fascine Dwelling; D, Diagram of Floor Fascine Construction from Niederwyl; E, Section of Irish Crannoge in Ardakillin Lough; F, Construction of Wooden Form (Niederwyl); G, Section of Lake Dwelling Beds at Robenhausen.

Another and later variety of substructure is known as “fascine-work” (Fig. 79, C). Probably this fascine construction was the safest when the water of the lake rose in height. It consisted of layers of small trees or stems laid lengthwise, built from the bottom of the lake; these sticks or trees were interwoven, and at intervals upright piles were driven in to keep them in position, and on the top of this structure, above high-water mark, the flooring platform was laid.

Fig. 80.—An Ideal Lake Settlement or Town. (From Keller’s Lake Dwellings.)

The “crannoges” or “wooden islands,” of Ireland and Scotland, resemble very much the Swiss fascine dwellings. The Irish “crannoges” were often placed on natural islands, or on shallows or loughs, but sometimes were built up, like those in Switzerland, from the bottom of the lake. These “crannoges” were used as chieftains’ fastnesses or places of retreat. They were built chiefly in the Stone age, and were used long after the age of Iron. At Fig. 79, E, may be seen a section of an Irish “crannoge” in Ardakillin Lough. At Fig. 79, F and D, are shown diagrams of platform and floor construction respectively of a lake dwelling at Niederwyl, Switzerland. On the top of this floor a plaster made of mud, loam, and gravel, was laid and beaten firmly down. As far as can be ascertained from the remains of upright corner posts that have been found in position, the houses were rectangular, though some may have been round like the huts of the contemporary people on the mainland. The walls of the houses are supposed to have been built of wattle-work plastered over with mud and thatched, as evidences of this are seen in the large pieces of burnt clay with wattle impression on it that have been found; this also points out the fact of the houses or settlements being burnt down. In some cases the walls were of fascine construction. Every hut was provided with its hearth, which consisted of three or four large flat stones. Clay weights used for the loom have been found in great quantities, which proves, together with many fragments of flax cloth and woven “bast” which have come to light, that weaving was known and practised by the lake dwellers (Fig. 81, K). Pottery has been found in the relic beds, but is usually of a very coarse description. Many broken bits of pottery have been found ornamented with lines, chevrons, or zigzags, and often with the “rope” ornament, raised or impressed by a twisted string or rope; this kind of decoration is evidently suggested by the band of string tied around the primitive vessels of clay to keep them together, or for carrying purposes. See Fig. 81, B, F, G, H, I, and J.

Fig. 81.—Objects from the Lake Dwellings (from Keller).

A, Bronze Knife (Lake of Bienne); B, Ornamented Pottery; C, Moon Image of earthenware; D, Part of an Iron Sword (Gaulish work); E, Moon Image of bronze; F, G, H, I, J, Earthenware Vessels; K, Embroidered Cloth.

The builders of the lake dwellings are supposed to have been a branch of the Celtic population of Switzerland, belonging to prehistoric times, and was in its last stage of decadence before the Celts took their place in the history of Europe. Although many remains of bronze and iron implements have been brought to light from the relic beds of the lake dwellings, this does not prove that the inhabitants were acquainted with their manufacture, for most of the articles were probably obtained by barter from the people of the mainland.

A beautiful bronze knife is seen at Fig. 81, A, found in the lake of Bienne, and part of a sword in iron, of Gaulish, or “late Celtic” workmanship, from Marin, Lake Neuchâtel (Fig. 81, D).