File:The grammar of ornament (1868) (14587632199).jpg

Identifier: gri_c00033125008700094 (find matches)
Title: The grammar of ornament
Year: 1868 (1860s)
Authors: Jones, Owen, 1809-1874 Waring, J. B. (John Burley), 1823-1875 Westwood, J. O. (John Obadiah), 1805-1893 Wyatt, M. Digby (Matthew Digby), Sir, 1820-1877 Bernard Quaritch (Firm), publisher
Subjects: Decoration and ornament Decoration and ornament Decorative arts
Publisher: London : Bernard Quaritch, 15 Piccadilly
Contributing Library: Getty Research Institute
Digitizing Sponsor: Getty Research Institute

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9. The statues and bas-reliefs on the monument 139 I il!:i; mi m ■ ITALIAN ORNAMENT. of Francis I. are by Pilon and Pierre Bontemps. After 1590 no works of his are known, and Kuglergives it as the date of his death. The length of limb and artificial grace peculiar to the school of Fontainebleau, was pushed to thefarthest point of extravagance by Francavilla, or Pierre Francheville, of Cambray (born 1548), whointroduced into France the even greater wiriness of the style of John of Bologna, whose pupil he hadbeen during many years. The general characteristics of the style of ornament prevalent during thefirst half of the seventeenth century, and which served as an induction into what is generally knownas Louis XIV. work, cannot be better studied than in the apartments of Marie de Medici, executedfor her in the Palace of the Luxembourg, Paris, about 1620. This manner was succeeded by that of Le Pautre, an artist of great cleverness and fertility. Ourwoodcut gives an idea of his style.
Text Appearing After Image:
Panel for a Ceiling, from a Design by Le Pautre. Leaving for awhile the subject of sculptured Italian and French Ornament, it may be well toadvert to that of painted; the more especially as for a short time, during which a great degree of zealfor the preservation of old Eoman vestiges of polychromatic decoration was exercised, a very high andremarkable degree of perfection and beauty was attained. It is ever to be borne in mind that avery wide difference existed between the painted and carved arabesques of the ancients. The latterduring the period of the Early Eenaissance were almost entirely neglected, whilst the former wereimitated with great success, as may be seen from the interesting pilaster panels, designed by BaccioPintelli for the Church of Sant Agostino at Rome, and which form the subject of our woodcuts onthe next page. The study of ancient Eoman and Greek sculptures was naturally followed by that of the antiquedecorations in marble and stone which throughout Italy abounded

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