. Illustrations of the remains of Roman art, in Cirencester, the site of antient Corinium . 20. Portion of Samian, actual size. The ornamental details do not generally occupy the whole of the surfaceof the vase, but commence at from one to two inches from the rim, asrepresented in the largest vase in the group at the head of this chapter,at this point we have in all instances a circlet or continuous ornament allroimd the vessel, forming as it were the lower edge of a curtain, beneathwhich the different scenes are represented. The most general design for tliis upper circlet is that of tlie fest
. Illustrations of the remains of Roman art, in Cirencester, the site of antient Corinium . 20. Portion of Samian, actual size. The ornamental details do not generally occupy the whole of the surfaceof the vase, but commence at from one to two inches from the rim, asrepresented in the largest vase in the group at the head of this chapter,at this point we have in all instances a circlet or continuous ornament allroimd the vessel, forming as it were the lower edge of a curtain, beneathwhich the different scenes are represented. The most general design for tliis upper circlet is that of tlie festoon andtassel, below which we have a line of zigzag frets, 21 and 24, the twistedcord, tlie pellet 20, and others. * All t\w (li-awings of the Samian w liicli follow aro of the size of the originals. SAMIAN POTTEET, 89. 21. Samian, origmal size. The festoon and tassel, though constantly on the same plan, differs, inan extraordinary manner, in detail, scarcely two examples being alike, thiswill be observable in our ensrravinos. Another not unusual form of circlet is that of the Vitruvian scroll, aspecimen before us presents this of exactly thesame character as that generally used for deco-rating a frieze of the composite order of archi-tecture. Sometimes we have the Grecian honey-suckle, in several beautiful varieties, taking theplace of this scroll; the annexed engravingrepresents one of these from a small dish. On larger vessels the many forms of thehoneysuckle are exceedingly bold and graceful, and though confessedly a conventional form, yet the endless variation indetail, and the ever fresh and flowing manner into which its curves arethrown eminently attest the artistic skill of those by whom the stamps forthis kind of Pottery were designed.* * In the Journal of the Archasological Association, vol
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Keywords: ., bookcentury1800, bookdecade1850, booksubjectartroman, bookyear185
