. Handbook of ornament; a grammar of art, industrial and architectural designing in all its branches, for practical as well as theoretical use. ently symbolic, and In-scriptions are also used. The Romanesque and Gothic Censers oftenexhibit an architectonic design of domes and towers (figs. 2, 4, 6).The Renascence prefers the strict form of a vessel (figs. 8, and 9).Modern art avails itself of Ancient models, without having anythingindependent to show. An appendage of the Censer, in a certain sense,is the Censer-boat, or incense-holder, usually an elliptical dish witha partition and two hinged
. Handbook of ornament; a grammar of art, industrial and architectural designing in all its branches, for practical as well as theoretical use. ently symbolic, and In-scriptions are also used. The Romanesque and Gothic Censers oftenexhibit an architectonic design of domes and towers (figs. 2, 4, 6).The Renascence prefers the strict form of a vessel (figs. 8, and 9).Modern art avails itself of Ancient models, without having anythingindependent to show. An appendage of the Censer, in a certain sense,is the Censer-boat, or incense-holder, usually an elliptical dish witha partition and two hinged covers. The incense is conveyed fromthe Incense-boat to the Censer by means of a Spoon. Plate 223. The Censer. 1—2. Romanesque, bronze, 6th and 12th centuiies, each 7 7-2 i°s. high. Collection of antiquities. Grand-ducal Court, Romanesque, bronze, French, beginning of the 13th century, 5^/4 ins. high, (Viollet-le-Duc).4—5. Gothic, from stone statues. Cathedral, Chartres, 13th century, (Lart pour tous). 8. Gothic, with tower shaped —8. Renascence. 9. Renascence, South Kensington Museum, London. METAL OBJECTS. 383. The Cenaer. Plate 223. 384 The Censer. — The Crucifix. The Crucifix. (Plate 224.) The Crucifix (from crucifixus = nailed to the cross) does not appearin Christian ritual until after the abolition of the shameful punish-ment of Crucifixion. The oldest Cnicifixes may be dated about the6th century. In the course of the following styles: it underwent a,variety of transformations. The older examples often represent thecrucified Christ as clothed (fig. 3), while in later times the body ismore frequently nude, with the clothing restricted to the cloth roundthe loins. The older renderings of Christ show a straight stiff atti-tude, and a calm expression; while later periods exhibit a more life-like conception, and the expression of pain. At first: each foot ispierced by a separate nail, later the two feet by one nail only; sathat the four nails are r
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Keywords: ., bookcentury1900, bookdecade1900, booksubjectdecorationandornamen
