File:The grammar of ornament (1868) (14771740524).jpg

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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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. 29. Painted Ornament from the Cymatium of the raking Cornice of the Parthenon.—L. Vulliamy, the blue and redsupplied.30-33. Various Frets, the traces of which exist on all the Temples at Athens. The colours supplied. We have seen that Egyptian Ornament was derived direct from natural inspiration, that it wasfounded on a few types, and that it remained unchanged during the whole course of Egyptiancivilization, except in the more or less perfection of the execution, the more ancient monuments beingthe moat perfect. We have further expressed our belief that the Assyrian was a borrowed style,possessing none of the characteristics of original inspiration, but rather appearing to have beensuggested by the Art of Egypt, already in its decline, which decline was carried still farther. GreekArt, on the contrary, though borrowed partly from the Egyptian and partly from the Assyrian, was thedevelopment of an old idea in a new direction; and, unrestrained by religious laws, as would appear 31
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! i GREEK ORNAMENT, to have been both the Assyrian and the Egyptian, Greek Art rose rapidly to a high state of perfection,from which it was itself able to give forth the elements of future greatness to other styles. It carried

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29 July 2014
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