The decorative periods . e leaves became rounderand broader. The Byzantine and Roman-esque styles again returned to stiffer,less delicate forms, and the Gothic gave theleaf large, round bulbous forms. Theacanthus as illustrated here is Grecian instyle. We hear of Grecian borders, Grecian friezes, and there initself lies much of the dominant characteristic of Grecian decora-tion. Designs very seldom in Grecian were of an all-over char-acter. The mural character was undertaken usually in bordersor friezes. The work was of a character to suggest nowadays astencil form. They were lines little shad
The decorative periods . e leaves became rounderand broader. The Byzantine and Roman-esque styles again returned to stiffer,less delicate forms, and the Gothic gave theleaf large, round bulbous forms. Theacanthus as illustrated here is Grecian instyle. We hear of Grecian borders, Grecian friezes, and there initself lies much of the dominant characteristic of Grecian decora-tion. Designs very seldom in Grecian were of an all-over char-acter. The mural character was undertaken usually in bordersor friezes. The work was of a character to suggest nowadays astencil form. They were lines little shaded. The Grecians tooksquares and built within them. They never indulged in broadsweeps. Thus the Greek fret was a design of squares, a lastingfeature modified and elaborated by innumerable touches. The Greek school is purely classical. In fact, the termClassical in a strict sense is applied to the best periods of ancientGreek art, and to the Roman arts where the Roman work is theresult of a direct following of Greek
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Keywords: ., bookcentury1900, bookdecade1900, booksubjectdecorationandornamen
