. Handbook of ornament; a grammar of art, industrial and architectural designing in all its branches, for practical as well as theoretical use. the points where the eightarcs will meet. 13—14. Construction of Ovals or egg-shaped figures. The construction ofsuch figures usually consists in combining a semi-circle with asemi-ellipse. 13. Draw in a circle two diameters at right angles to each other,and two intersecting chords of a quadrant; these when producedwill determine the points where the various arcs meet. Thecentres of these latter lie on the ends of the diameters. 14. The construction of
. Handbook of ornament; a grammar of art, industrial and architectural designing in all its branches, for practical as well as theoretical use. the points where the eightarcs will meet. 13—14. Construction of Ovals or egg-shaped figures. The construction ofsuch figures usually consists in combining a semi-circle with asemi-ellipse. 13. Draw in a circle two diameters at right angles to each other,and two intersecting chords of a quadrant; these when producedwill determine the points where the various arcs meet. Thecentres of these latter lie on the ends of the diameters. 14. The construction of the lower half is the same as in fig. 7. Thecentre of the upper lies in the intersection of tangents to thelower and upper circles. 15. Example of the subdivision and decoration of an ellipse, (Storcka Zeichenvorlagen). The Three-centred Arch. Tlie Three-centred arch, which was often used in the Transitionperiod between the Gothic and the Renascence, may be considered as asemi-ellipsoid; and it may be described by one of the methods shovmon Plate 20 (see also the Head-piece to this Section, on page 3). Meyer, Handbook of Ornament. 34. B. NATURAL FORMS. a. The Organisms of Plants (Flora of Ornameni). In nearly every style the plant-world has been used in , sprays, flowers, and fruits, either singly or combined, havebeen adapted in ornament. The direct imitation of nature, retainingform and color as much as possible, leads to the naturalistic con-ception; tiie construction of an ornament according to the rules ofrhythm and symmetry, with a stricter observance of regularity — isknown as the artificial method. The selection of the comparatively few plants from the luxuiiantfield of the plant-world was partly determined by beauty of form (theoutline of the leaf, the delicacy of the spray, &c.) and partly by thefact that they possess (or did at some time possess) a symbolicmeaning. The plates which illustrate this section will first exhibit theAkanthos; and then s
Size: 3330px × 750px
Photo credit: © The Reading Room / Alamy / Afripics
License: Licensed
Model Released: No
Keywords: ., bookcentury1900, bookdecade1900, booksubjectdecorationandornamen
