DOCSLIB.ORG

Guide for Drawing the Acanthus, and Every Description of Ornamental Foliage

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Guide for Drawing the Acanthus, and Every Description of Ornamental Foliage GUIDE FOR DRAWING THE ACANTHUS. GUIDE for foaming THE ACANTHUS, AND EVEKY DESCRIPTION OF OENAMENTAL FOLIAGE; BY I. PAGE, Ornamental Draftsman and Designer. ILLUSTRATED WITH UPWARDS OF TWO HUNDRED WOOD-CUTS AND FIFTY-THREE ETCHINGS ON COPPER, DESCRIPTIVE OF THE VARIOUS CHARACTERS ALLUDED TO. OF THE ITKIVERSITT Xtoitara : BERNARD QUARITCH. re-printed 188(5. OPINIONS OF THE PRESS. " WE feel an apology due to Mr. Page, for not before noticing his truly and interesting and highly useful Work, which, (at this period, when the florid ornamental style is so predominant, not only in engravings, but in cabinet work, and in the fittings- up of shops, and interior of houses) must be a valuable instructor, to all inlayers, modellers, cabinet-makers, orna- mental workers, and carvers, and also to students in every department of the fine arts to engravers on wood for designs and instructions for ornamenting capitals, and head and tail- pieces letter-founders,for new and chaste patterns for flowers; and, as the splendidly-ornamental shop-bills which shed such a brilliant lustre on the artistical talent of the last century, are now being happily revived, 'Page's Guide' will be to them of the most vital importance. " The letter-press remarks and instructions in the first part are illustrated by innumerable beautifully engraved specimens of the various schools treated of, designed and engraved by the talented author ; reflecting on him the highest credit as a writer and artist of pure taste and varied talent. " This has our heartiest commendation production ; fearlessly and earnestly recommending it to all lovers of the fine arts. Young ladies with the assistance of the above work, may, with the greatest ease, exercise their judgment by forming fanciful borders for the pages of their scrap-books. vi OPINIONS OF THE PKESS. "It is really gratifying to witness such a concentration of genius emanating from one of the British school, and in that peculiar branch of art wherein we have hitherto looked only to for it foreign countries examples ; proves, also, the truth of our oft-repeated assertion that, if patronized, our artists can rival those of any country. We again especially implore our young and fair readers to cherish and uphold, to the very uttermost of their power, let it be however insignificant, the talent of our beloved country, and not to be led astray by the present fashionable predilection for those innumerable muddy-looking and ugly productions of foreign artists, which unfortunately disgrace the shop-windows of our book and print-sellers, and are purchased and prized merely because they are the works of strangers, whilst our own artists are literally starving for want of employment." Mirror. " The producer of this Work for he is, it appears, the author, editor, designer and engraver of it is one of the masters at the of his School Design ; and object in publishing is to afford easy instruction by certain rules to enable the young draftsman to base his designs on safe and secure founda- It is a creditable tions. most production ; one that will interest all classes, and be of rare value to those whom it more especially concerns. The Author exhibits proofs of great industry as well as of patient research; and where his own inventive powers are applied he is eminently successful. The book abounds in explanatory illustrations of all the subjects con- sidered : the is clear and the style comprehensive ; merest tyro in art may study it with advantage. We rejoice to welcome a of the kind publication ; our English ornamental designers OPINIONS OF THE PRESS. Vll are nearly all of them slavish copyists, and scarcely dream of thinking for themselves, while they can beg, borrow, or steal from the wits of France. The School of Design has already done something to lessen this crying evil, and will, no doubt, ere long achieve much more; meanwhile this cheap work, issued, with upwards of a hundred engravings, and one attract hundred and fifty pages of letter-press, will, we trust, general attention, and recompense the producer of it, by forwarding the purpose for which he labours. We shall refer to it again." Art Union, April 15. " This Work is one of the best and cheapest that has been written on the subject, and from the pen and pencil of a practical man, who has had the advantage of being able to see his instructions carried into effect under his own inspection, as director of the class of ornamental drawing at the School of a further of the it is Design ; as recommendation Work, worthy of mentioning, that the illustrations proceed from the graver, as well as the pencil of Mr. PAGE." Civil Engineer and Architects 1 Journal. " We hail with pleasure this Work, it has been long wanting in the Schools of Art : the rules are explicit, and the matter further on interesting and instructive ; we wish he had treated that ancients doubt the vine leaf, being much used by the ; we not but its success will repay the labours of the Author, who is the Alpha and Omega of the Work." Polytechnic Journal. " ' We have before us an entire and new Work, entitled PAGE'S GUIDE TO OKNAMENTAL DBAWING AND DESIGN,' the plans and Vlll OPINIONS OF THE PRESS. contents are such as must inevitably repair that loss usually of found in our Schools Art ; we wish the spirited and talented Author every success; the letter-press is excellent, and the plates well got up." Literary World. "This is a Work in which great spirit for the benefit of the Arts is shown ; the rules laid down are excellent ; the whole of the Work is completed by the Author, which, to praise too a boast it is illustrated much would appear ; with innumerable wood-cuts and plates. We wish the Work every success, and, in our opinion, no school or student should be without it." Weekly Dispatch. GLOSSARY OF TERMS USEFUL TO DRAFTSMEN. Abacus, the upper member of the Congee, a species of moulding. capital of a column. Corbel heads, the extremities of Acroter, a pedestal on the summit corbel stones, often carved. of a column for supporting a Corbelled, one stone projecting statue. over another to support a super- Acroteria, small pedestals placed incumbent stone. on the apex and other extremi- Corona, the crowning member of ties of a pediment, originally in- the entablature. tended to support statues. Corrugated, wavy or fluted. Antce, pilasters attached to a wall. Croivsteps, the coping stones of a Ashlar work, rough stone laid in gable rising one above another. irregular courses. Crypt, a vault. Bevelled, slopped off. Cumuda, a kind of Hindu circular Buttress, the projecting portion moulding. of a building, used generally to Curbed, contracted towards the strengthen a wall as well as give ceiling by being carried up into effect, in Gothic architecture, the roof. and when separated from the Cuspa, points formed in the upper building by an arched piece, it corners of the window by unit- is termed a flying buttress. ing the two curves. Campa, or Sell, that part of the Cyclopian walls, walls built with Corinthian cap, on which the land stones heaped on each foliage is placed, and on which other without mortar and the abacus rests. irregular. Cap of a Chimney, the upper and Dado, the flat side of a pedestal projecting part of the snaft. between the plinth and the cor- of torus nice also to Capotum, a kind Hindu ; applied the space moulding, with an ornament re- between the skirting and the sembling a pigeon's head at its chairs' back moulding in rooms. termination. Dormar windows, windows in a Cello,, the part enclosed by walls roof. of a Grecian temple. Dressings to windo^vs, mould- Check-plate, the piece of wood in ings, or rather architectural the lintel of a doorway, against lines and forms surrounding which the door shuts. windows, so as to prevent them Chevron moulding, an indented from being "mere holes in a moulding in the Anglo Norman wall." style. .us, a species of moulding. Chimney shafts,ihe part of a chim- 'ngaged columns, columns at- ney which rises above the roof. tached to a wall, and projecting Cincture, a ring or fillet serving from it half or three-quarters to divide the shaft of a column of their diameters. from its capital and base. Entablature, a horizontal mass Clere-story,the centre of a church, placed on Grecian columns : it when it rises above the two consists of three parts the architrave, frieze, and cornice. Clere-story tvindoivs, windows JVpistyliuHi, or architrave. in ditto. Facade, the principal face, front, Coins, corners. or elevation of any building. GLOSSARY OF TERMS. Fascia, the face or principal mem- Mutules, the modillions in the ber of the architrave, generally Doric order are called inutules. divided into three parts, to the Neck of a chimney, the part im- Ionic, Composite and Corinthian. mediately under the cap. Finial, a pointed ornament termi- Newel the turning-post of a stair- nating a gable, in Gothic archi- case. tecture. Octostyle, a building with eight Frets and guillochis. Frets are columns in front. ornaments composed of a series Pagoda caps, caps for ventilation. of fillets small straight ; and Palm-leaf ornaments, leaves of guillochis of a series of curved the palm, in general used by the fillets, intermixed with straight Romans. lines. Patera, an earthen cup, or vessel, Frieze, the plain surface between used by the Romans. the corona and cornice, on which Patera, an ornament something the triglyphs are placed in the like a rose, used to conceal small Doric, and ornaments in the openings.
Load more

Recommended publications
  • Discover the Styles and Techniques of French Master Carvers and Gilders
    LOUIS STYLE rench rames F 1610–1792F SEPTEMBER 15, 2015–JANUARY 3, 2016 What makes a frame French? Discover the styles and techniques of French master carvers and gilders. This magnificent frame, a work of art in its own right, weighing 297 pounds, exemplifies French style under Louis XV (reigned 1723–1774). Fashioned by an unknown designer, perhaps after designs by Juste-Aurèle Meissonnier (French, 1695–1750), and several specialist craftsmen in Paris about 1740, it was commissioned by Gabriel Bernard de Rieux, a powerful French legal official, to accentuate his exceptionally large pastel portrait and its heavy sheet of protective glass. On this grand scale, the sweeping contours and luxuriously carved ornaments in the corners and at the center of each side achieve the thrilling effect of sculpture. At the top, a spectacular cartouche between festoons of flowers surmounted by a plume of foliage contains attributes symbolizing the fair judgment of the sitter: justice (represented by a scale and a book of laws) and prudence (a snake and a mirror). PA.205 The J. Paul Getty Museum © 2015 J. Paul Getty Trust LOUIS STYLE rench rames F 1610–1792F Frames are essential to the presentation of paintings. They protect the image and permit its attachment to the wall. Through the powerful combination of form and finish, frames profoundly enhance (or detract) from a painting’s visual impact. The early 1600s through the 1700s was a golden age for frame making in Paris during which functional surrounds for paintings became expressions of artistry, innovation, taste, and wealth. The primary stylistic trendsetter was the sovereign, whose desire for increas- ingly opulent forms of display spurred the creative Fig.
    [Show full text]
  • The Two-Piece Corinthian Capital and the Working Practice of Greek and Roman Masons
    The two-piece Corinthian capital and the working practice of Greek and Roman masons Seth G. Bernard This paper is a first attempt to understand a particular feature of the Corinthian order: the fashioning of a single capital out of two separate blocks of stone (fig. 1).1 This is a detail of a detail, a single element of one of the most richly decorated of all Classical architec- tural orders. Indeed, the Corinthian order and the capitals in particular have been a mod- ern topic of interest since Palladio, which is to say, for a very long time. Already prior to the Second World War, Luigi Crema (1938) sug- gested the utility of the creation of a scholarly corpus of capitals in the Greco-Roman Mediter- ranean, and especially since the 1970s, the out- flow of scholarly articles and monographs on the subject has continued without pause. The basis for the majority of this work has beenformal criteria: discussion of the Corinthian capital has restedabove all onstyle and carving technique, on the mathematical proportional relationships of the capital’s design, and on analysis of the various carved components. Much of this work carries on the tradition of the Italian art critic Giovanni Morelli whereby a class of object may be reduced to an aggregation of details and elements of Fig. 1: A two-piece Corinthian capital. which, once collected and sorted, can help to de- Flavian period repairs to structures related to termine workshop attributions, regional varia- it on the west side of the Forum in Rome, tions,and ultimatelychronological progressions.2 second half of the first century CE (photo by author).
    [Show full text]
  • October 1893
    ENTRANCE TO THE CITY HALL, COLOGNE. TTbe VOL. III. OCTOBER-DECEMBER, 1893. NO. 2. THE PROBLEM OF NATIONAL AMERICAN ARCHITECTURE. I. THE QUESTION STATED. HAT is to be the must in due time be developed, in the character of the peculiar circumstances of American style of artistic progress, a particular variety of that architectural de- artistic treatment of building which is sign which sooner one of the instincts of mankind, is a or later is to be- proposition that is scarcely open to come established debate. The question before us there- in the United fore is simply this: Considering what States as a national style ? Of course these peculiar circumstances are, and this is a to to those natural speculative question ; but, having regard laws, American architects and connoisseurs, how far can we foresee the outcome? it is not merely an extremely interest- Is this American originality likely to be ing one, it is a highly important one, great or small; essential or not; good, and indeed a practical problem for bad, or indifferent; of speedy achieve- daily consideration. ment or slow; permanent or evanescent? Americans may ask whether it is not for themselves to solve this problem, II. A PECULIAR CONTROVERSY IN without any help from friends, however ENGLAND. friendly, in the Old World a world, moreover, which to many persons in It may be well to premise that there these days seems somewhat effete in is at the present moment a very pecul- many ways, and confessedly, amongst iar and somewhat acrimonious contro- the rest, not up to the mark in archi- versy agitating the architectural profes- tecture.
    [Show full text]
  • Sinopsis De La Familia Acanthaceae En El Perú
    Revista Forestal del Perú, 34 (1): 21 - 40, (2019) ISSN 0556-6592 (Versión impresa) / ISSN 2523-1855 (Versión electrónica) © Facultad de Ciencias Forestales, Universidad Nacional Agraria La Molina, Lima-Perú DOI: http://dx.doi.org/10.21704/rfp.v34i1.1282 Sinopsis de la familia Acanthaceae en el Perú A synopsis of the family Acanthaceae in Peru Rosa M. Villanueva-Espinoza1, * y Florangel M. Condo1 Recibido: 03 marzo 2019 | Aceptado: 28 abril 2019 | Publicado en línea: 30 junio 2019 Citación: Villanueva-Espinoza, RM; Condo, FM. 2019. Sinopsis de la familia Acanthaceae en el Perú. Revista Forestal del Perú 34(1): 21-40. DOI: http://dx.doi.org/10.21704/rfp.v34i1.1282 Resumen La familia Acanthaceae en el Perú solo ha sido revisada por Brako y Zarucchi en 1993, desde en- tonces, se ha generado nueva información sobre esta familia. El presente trabajo es una sinopsis de la familia Acanthaceae donde cuatro subfamilias (incluyendo Avicennioideae) y 38 géneros son reconocidos. El tratamiento de cada género incluye su distribución geográfica, número de especies, endemismo y carácteres diagnósticos. Un total de ocho nombres (Juruasia Lindau, Lo­ phostachys Pohl, Teliostachya Nees, Streblacanthus Kuntze, Blechum P. Browne, Habracanthus Nees, Cylindrosolenium Lindau, Hansteinia Oerst.) son subordinados como sinónimos y, tres especies endémicas son adicionadas para el país. Palabras clave: Acanthaceae, actualización, morfología, Perú, taxonomía Abstract The family Acanthaceae in Peru has just been reviewed by Brako and Zarruchi in 1993, since then, new information about this family has been generated. The present work is a synopsis of family Acanthaceae where four subfamilies (includying Avicennioideae) and 38 genera are recognized.
    [Show full text]
  • The Rinceau Design, the Minor Arts and the St. Louis Psalter
    The Rinceau Design, the Minor Arts and the St. Louis Psalter Suzanne C. Walsh A thesis submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Master of Arts in the Department of Art History. Chapel Hill 2011 Approved by: Dr. Jaroslav Folda Dr. Eduardo Douglas Dr. Dorothy Verkerk Abstract Suzanne C. Walsh: The Rinceau Design, the Minor Arts and the St. Louis Psalter (Under the direction of Dr. Jaroslav Folda) The Saint Louis Psalter (Bibliothèque National MS Lat. 10525) is an unusual and intriguing manuscript. Created between 1250 and 1270, it is a prayer book designed for the private devotions of King Louis IX of France and features 78 illustrations of Old Testament scenes set in an ornate architectural setting. Surrounding these elements is a heavy, multicolored border that uses a repeating pattern of a leaf encircled by vines, called a rinceau. When compared to the complete corpus of mid-13th century art, the Saint Louis Psalter's rinceau design has its origin outside the manuscript tradition, from architectural decoration and metalwork and not other manuscripts. This research aims to enhance our understanding of Gothic art and the interrelationship between various media of art and the creation of the complete artistic experience in the High Gothic period. ii For my parents. iii Table of Contents List of Illustrations....................................................................................................v Chapter I. Introduction.................................................................................................1
    [Show full text]
  • The Grottesche Part 1. Fragment to Field
    CHAPTER 11 The Grottesche Part 1. Fragment to Field We touched on the grottesche as a mode of aggregating decorative fragments into structures which could display the artist’s mastery of design and imagi- native invention.1 The grottesche show the far-reaching transformation which had occurred in the conception and handling of ornament, with the exaltation of antiquity and the growth of ideas of artistic style, fed by a confluence of rhe- torical and Aristotelian thought.2 They exhibit a decorative style which spreads through painted façades, church and palace decoration, frames, furnishings, intermediary spaces and areas of ‘licence’ such as gardens.3 Such proliferation shows the flexibility of candelabra, peopled acanthus or arabesque ornament, which can be readily adapted to various shapes and registers; the grottesche also illustrate the kind of ornament which flourished under printing. With their lack of narrative, end or occasion, they can be used throughout a context, and so achieve a unifying decorative mode. In this ease of application lies a reason for their prolific success as the characteristic form of Renaissance ornament, and their centrality to later historicist readings of ornament as period style. This appears in their success in Neo-Renaissance style and nineteenth century 1 The extant drawings of antique ornament by Giuliano da Sangallo, Amico Aspertini, Jacopo Ripanda, Bambaia and the artists of the Codex Escurialensis are contemporary with—or reflect—the exploration of the Domus Aurea. On the influence of the Domus Aurea in the formation of the grottesche, see Nicole Dacos, La Découverte de la Domus Aurea et la Formation des grotesques à la Renaissance (London: Warburg Institute, Leiden: Brill, 1969); idem, “Ghirlandaio et l’antique”, Bulletin de l’Institut Historique Belge de Rome 39 (1962), 419– 55; idem, Le Logge di Raffaello: Maestro e bottega di fronte all’antica (Rome: Istituto Poligrafico e Zecca dello Stato, 1977, 2nd ed.
    [Show full text]
  • Acanthus a Stylized Leaf Pattern Used to Decorate Corinthian Or
    Historical and Architectural Elements Represented in the Weld County Court House The Weld County Court House blends a wide variety of historical and architectural elements. Words such as metope, dentil or frieze might only be familiar to those in the architectural field; however, this glossary will assist the rest of us to more fully comprehend the design components used throughout the building and where examples can be found. Without Mr. Bowman’s records, we can only guess at the interpretations of the more interesting symbols used at the entrances of the courtrooms and surrounding each of the clocks in Divisions 3 and 1. A stylized leaf pattern used to decorate Acanthus Corinthian or Composite capitals. They also are used in friezes and modillions and can be found in classical Greek and Roman architecture. Amphora A form of Greek pottery that appears on pediments above doorways. Examples of the use of amphora in the Court House are in Division 1 on the fourth floor. Atrium Inner court of a Roman-style building. A top-lit covered opening rising through all stories of a building. Arcade A series of arches on pillars. In the Middle Ages, the arches were ornamentally applied to walls. Arcades would have housed statues in Roman or Greek buildings. A row of small posts that support the upper Balustrade railing, joined by a handrail, serving as an enclosure for balconies, terraces, etc. Examples in the Court House include the area over the staircase leading to the second floor and surrounding the atria on the third and fourth floors.
    [Show full text]
  • The Monopteros in the Athenian Agora
    THE MONOPTEROS IN THE ATHENIAN AGORA (PLATE 88) O SCAR Broneerhas a monopterosat Ancient Isthmia. So do we at the Athenian Agora.' His is middle Roman in date with few architectural remains. So is ours. He, however, has coins which depict his building and he knows, from Pau- sanias, that it was built for the hero Palaimon.2 We, unfortunately, have no such coins and are not even certain of the function of our building. We must be content merely to label it a monopteros, a term defined by Vitruvius in The Ten Books on Architecture, IV, 8, 1: Fiunt autem aedes rotundae, e quibus caliaemonopteroe sine cella columnatae constituuntur.,aliae peripteroe dicuntur. The round building at the Athenian Agora was unearthed during excavations in 1936 to the west of the northern end of the Stoa of Attalos (Fig. 1). Further excavations were carried on in the campaigns of 1951-1954. The structure has been dated to the Antonine period, mid-second century after Christ,' and was apparently built some twenty years later than the large Hadrianic Basilica which was recently found to its north.4 The lifespan of the building was comparatively short in that it was demolished either during or soon after the Herulian invasion of A.D. 267.5 1 I want to thank Professor Homer A. Thompson for his interest, suggestions and generous help in doing this study and for his permission to publish the material from the Athenian Agora which is used in this article. Anastasia N. Dinsmoor helped greatly in correcting the manuscript and in the library work.
    [Show full text]
  • Plant Motifs on Jewish Ossuaries and Sarcophagi in Palestine in the Late Second Temple Period: Their Identification, Sociology and Significance
    PLANT MOTIFS ON JEWISH OSSUARIES AND SARCOPHAGI IN PALESTINE IN THE LATE SECOND TEMPLE PERIOD: THEIR IDENTIFICATION, SOCIOLOGY AND SIGNIFICANCE A paper submitted to the University of Manchester as part of the Degree of Master of Arts in the Faculty of Humanities 2005 by Cynthia M. Crewe (cynthony.crewe@ntlword.com) Biblical Studies Melilah 2009/1, p.1 Cynthia M. Crewe CONTENTS Abbreviations ..............................................................................................................................................4 INTRODUCTION ......................................................................................................................................5 CHAPTER 1 Plant Species 1. Phoenix dactylifera (Date palm) ....................................................................................................6 2. Olea europea (Olive) .....................................................................................................................11 3. Lilium candidum (Madonna lily) ................................................................................................17 4. Acanthus sp. ..................................................................................................................................20 5. Pinus halepensis (Aleppo/Jerusalem pine) .................................................................................24 6. Hedera helix (Ivy) .........................................................................................................................26 7. Vitis vinifera
    [Show full text]
  • The Bear in Eurasian Plant Names
    Kolosova et al. Journal of Ethnobiology and Ethnomedicine (2017) 13:14 DOI 10.1186/s13002-016-0132-9 REVIEW Open Access The bear in Eurasian plant names: motivations and models Valeria Kolosova1*, Ingvar Svanberg2, Raivo Kalle3, Lisa Strecker4,Ayşe Mine Gençler Özkan5, Andrea Pieroni6, Kevin Cianfaglione7, Zsolt Molnár8, Nora Papp9, Łukasz Łuczaj10, Dessislava Dimitrova11, Daiva Šeškauskaitė12, Jonathan Roper13, Avni Hajdari14 and Renata Sõukand3 Abstract Ethnolinguistic studies are important for understanding an ethnic group’s ideas on the world, expressed in its language. Comparing corresponding aspects of such knowledge might help clarify problems of origin for certain concepts and words, e.g. whether they form common heritage, have an independent origin, are borrowings, or calques. The current study was conducted on the material in Slavonic, Baltic, Germanic, Romance, Finno-Ugrian, Turkic and Albanian languages. The bear was chosen as being a large, dangerous animal, important in traditional culture, whose name is widely reflected in folk plant names. The phytonyms for comparison were mostly obtained from dictionaries and other publications, and supplemented with data from databases, the co-authors’ field data, and archival sources (dialect and folklore materials). More than 1200 phytonym use records (combinations of a local name and a meaning) for 364 plant and fungal taxa were recorded to help find out the reasoning behind bear-nomination in various languages, as well as differences and similarities between the patterns among them. Among the most common taxa with bear-related phytonyms were Arctostaphylos uva-ursi (L.) Spreng., Heracleum sphondylium L., Acanthus mollis L., and Allium ursinum L., with Latin loan translation contributing a high proportion of the phytonyms.
    [Show full text]
  • The Grotesque in El Greco
    Konstvetenskapliga institutionen THE GROTESQUE IN EL GRECO BETWEEN FORM - BEYOND LANGUAGE - BESIDE THE SUBLIME © Författare: Lena Beckman Påbyggnadskurs (C) i konstvetenskap Höstterminen 2019 Handledare: Johan Eriksson ABSTRACT Institution/Ämne Uppsala Universitet. Konstvetenskapliga institutionen, Konstvetenskap Författare Lena Beckman Titel och Undertitel THE GROTESQUE IN EL GRECO -BETWEEN FORM - BEYOND LANGUAGE - BESIDE THE SUBLIME Engelsk titel THE GROTESQUE IN EL GRECO -BETWEEN FORM - BEYOND LANGUAGE - BESIDE THE SUBLIME Handledare Johan Eriksson Ventileringstermin: Hösttermin (år) Vårtermin (år) Sommartermin (år) 2019 2019 Content: This study attempts to investigate the grotesque in four paintings of the artist Domenikos Theotokopoulos or El Greco as he is most commonly called. The concept of the grotesque originated from the finding of Domus Aurea in the 1480s. These grottoes had once been part of Nero’s palace, and the images and paintings that were found on its walls were to result in a break with the formal and naturalistic ideals of the Quattrocento and the mid-renaissance. By the end of the Cinquecento, artists were working in the mannerist style that had developed from these new ideas of innovativeness, where excess and artificiality were praised, and artists like El Greco worked from the standpoint of creating art that were more perfect than perfect. The grotesque became an end to reach this goal. While Mannerism is a style, the grotesque is rather an effect of the ‘fantastic’.By searching for common denominators from earlier and contemporary studies of the grotesque, and by investigating the grotesque origin and its development through history, I have summarized the grotesque concept into three categories: between form, beyond language and beside the sublime.
    [Show full text]
  • The Pomegranate Pattern in Italian Renaissance Textiles
    University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Textile Society of America Symposium Proceedings Textile Society of America 1994 The omegP ranate Pattern in Italian Renaissance Textiles: Origins and Influence Rosalia Bonito Fanelli Museo del Tessuto, Firenze, Italy Follow this and additional works at: https://digitalcommons.unl.edu/tsaconf Part of the Art and Materials Conservation Commons, Art Practice Commons, Fashion Design Commons, Fiber, Textile, and Weaving Arts Commons, Fine Arts Commons, and the Museum Studies Commons Fanelli, Rosalia Bonito, "The omeP granate Pattern in Italian Renaissance Textiles: Origins and Influence" (1994). Textile Society of America Symposium Proceedings. 1042. https://digitalcommons.unl.edu/tsaconf/1042 This Article is brought to you for free and open access by the Textile Society of America at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Textile Society of America Symposium Proceedings by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. Fanelli, Rosalia Bonito. “The Pomegranate Pattern in Italian Renaissance Textiles: Origins and Influence.” Contact, Crossover, Continuity: Proceedings of the Fourth Biennial Symposium of the Textile Society of America, September 22–24, 1994 (Los Angeles, CA: Textile Society of America, Inc., 1995). THE POMEGRANATE PATTERN IN ITALIAN RENAISSANCE TEXTILES: ORIGINS AND INFLUENCE 1 ROSALIA BONITO FANELLI Museo del Tessuto. Prato: Via Puccinotti 105. 50129 Firenze. Italy THE NINETEENTH CENTURY TRADITION The term 11 pomegranate mot-if 11 includes a series of vegetal patterns - the pine cone. the artichoke. the thistle. variants of the tree-of-life motif. and. in particular. the lotus and the palmette. These last two patterns were closely studied by Alois Riegl in his 1893 work.
    [Show full text]