. Handbook of ornament; a grammar of art, industrial and architectural designing in all its branches, for practical as well as theoretical use. , Siena, Italian Renascence,by Barile. 4—5. Parts of ornamental columns, Palazzo Guadagni, Florence,(Schutz). 6. Italian majolica pavement, Siena, Italian Renascence, (Lartpour tous). 7. Stall in San Severino, Naples, Italian Renascence, by Barto-lommeo Chiarini and Bernadino Torelli da Brescia, (Schvitz). 8. Stall, San Agostino, Perugia, Italian Renascence. The Half-Figure. (Plates 67—68.) From Antique times up to the present day, Half-figures havebee
. Handbook of ornament; a grammar of art, industrial and architectural designing in all its branches, for practical as well as theoretical use. , Siena, Italian Renascence,by Barile. 4—5. Parts of ornamental columns, Palazzo Guadagni, Florence,(Schutz). 6. Italian majolica pavement, Siena, Italian Renascence, (Lartpour tous). 7. Stall in San Severino, Naples, Italian Renascence, by Barto-lommeo Chiarini and Bernadino Torelli da Brescia, (Schvitz). 8. Stall, San Agostino, Perugia, Italian Renascence. The Half-Figure. (Plates 67—68.) From Antique times up to the present day, Half-figures havebeen popular as startings for ornaments. The upper part of thehuman body undergoes little variation from its natural the breast or the stomach, often defined by a girdle, there isdeveloped a sort of inverted foliage-cup, from which the scroll orna-ment grows. Half-figures are found not only in the fiat and in bas-relief, but also in round plastic art, in this latter case as brackets forlamps, torchholders, doorknockers, &c. Plate 67. The —2. Panels, Roman Part of a Roman relief. 102 NATURAL Plate 65. The Medusa Head. NATUEAL FORMS. 103
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