Image from page 176 of "Handbook of ornament; a grammar of art, industrial and architectural designing in all its branches, for practical as well as theoretical use" (1900)
Authors: Meyer, Franz Sales, 1849-
Publisher: New York, B. Hessling
Contributing Library: Wellesley College Library
Digitizing Sponsor: Wellesley College Library
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ater-leaves peep-ing out between them (fig. 4) are also used. The Middle Ages used both systems, especially the latter, with thelatter, with the modifications required by the chang-ed forms of theleaves, (figs. 7 and 8). Both the Renascence and Modern art follow the tradition ofthe Antique; but give the Palmette ornament a richer form, (figs.8—12). Plate 103. The Link-border Enrichment of Mouldings. 1—4. Antique, (Botticher). 5. Roman altar. 6. Graeco-Italic terracotta ornament, (Li5vre). 7. Romanesque cornice, house, Metz, 12th century, (Raguenet). 8. Cornice, Notre Dame, Paris, 13th century, (Musterornamente).9—10. Cornice, Louvre, Paris, French Renascence. 11. Marble frieze, tomb in Sta. Maria sopra Minerva, Rome, ItalianRenascence. 12. Modem, (Arch. Skizzenbuch). The Cresting Border. (Plate 104.) Crestings are intended to ornament the ridge or top of the roof.Such ornaments have been especially popular in France from Gothic Meyer, Handbook of Ornament. 11 162 FREE ORNAMENTS.
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Plate 101. The Link Border. FREE ORNAMENTS. 163
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