. The grammar of ornament . uishedin the same way from the Early Gothic, which is itself much broaderin effect than the later Gothic, where the surface at last became so laboxired that all repose wasdestroyed. With the exception of the pine-apple on the sacred trees, Plate XII., and in the painted ornaments,and a species of lotus, Nos. 4 and 5, the ornaments do not appear to be formed on any natural type,which still farther strengthens the idea that the Assyrian is not an original style. The natural lawsof radiation and tangential curvature, which we find in Egyptian ornament, are equally obse
. The grammar of ornament . uishedin the same way from the Early Gothic, which is itself much broaderin effect than the later Gothic, where the surface at last became so laboxired that all repose wasdestroyed. With the exception of the pine-apple on the sacred trees, Plate XII., and in the painted ornaments,and a species of lotus, Nos. 4 and 5, the ornaments do not appear to be formed on any natural type,which still farther strengthens the idea that the Assyrian is not an original style. The natural lawsof radiation and tangential curvature, which we find in Egyptian ornament, are equally observedhere, but much less truly,—rather, as it were, traditionally than instinctively. Nature is not followedso closely as by the Egyptians, nor so exquisitely conventionalised as by the Greeks. Nos. 2 and 3,Plate XIII., are generally supposed to be the types from which the Greeks derived some of theirpainted ornaments, but how inferior they are to the Greek in purity of form and in the distributionof the masses ! Assyrian. 29
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Keywords: ., bookcentury1800, booksubjectde, booksubjectdecorationandornament
