Cantor lectures on the arts of tapestry making and embroidery ..delivered before the Society, April 5th, 12th and 19th, 1886 . from the earlier iron age, which for convenienceone may roughly date between the 4th and nthcenturies of the Christian era. Here is a speci-men of ornament (Fig. 10) from Scandinavia,the grotesqueness of which is not very remote from that of the New Zealanders. The subjecthere is animal form ; two figures with goggleeyes, pointed snout, and almost human paws,are figured opposite to one another. The tailof each curls up towards the back of the shape of the spac
Cantor lectures on the arts of tapestry making and embroidery ..delivered before the Society, April 5th, 12th and 19th, 1886 . from the earlier iron age, which for convenienceone may roughly date between the 4th and nthcenturies of the Christian era. Here is a speci-men of ornament (Fig. 10) from Scandinavia,the grotesqueness of which is not very remote from that of the New Zealanders. The subjecthere is animal form ; two figures with goggleeyes, pointed snout, and almost human paws,are figured opposite to one another. The tailof each curls up towards the back of the shape of the space into which these detailshave been grouped has affected their generalarrangement. The idea of animals placedvis-a-vis is very ancient in its connection withpattern, and long before this grotesque render-ing (Fig. 10, p. 8) of that idea was made, othermore perfect renderings had been produced. Itmay not, therefore, surprise you to hear that Hildebrand, Royal Antiquary of Sweden, Fig. considers this pattern to represent two lionscouchants. Lions coicchants and vis-a-visoften appear in Roman ornament, as well,indeed, as in many other types of ornament,and this motive has been adopted by Teutonictribes, who have remodelled it according tothe exigencies of their taste, or as far as theirlimited skill permitted them. A further transformation of the lion motive,gives us the so-called lion shapes intersectingone another, and, as it were, squeezed up to fita square space (Fig. 11). The corrupted repre-sentation of the animals has become still more Fig. 12.
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Keywords: ., bookautho, bookcentury1800, bookdecade1880, booksubjectembroidery
