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Architect and theorist Eugene-Emmanuel Viollet-le-Duc (1814–79), a prominent leader in the French Gothic Revival, was active in the restoration of medieval buildings. In 1845 he undertook one of the greatest projects in the history of restoration: the cleansing and restoration of the Cathedral of Notre-Dame in Paris. For the next twenty-three years he labored at his task, returning the cathedral to its original beauty and charm. This volume is based on a faithful reproduction of the restored mural paintings of the chapels, notable for their originality of design and the soft and subtle harmony of their coloring. The 60 full-page plates lend themselves to numerous graphic arts applications.
Inspired by authentic Korean arts and crafts dating from the 1st through the 19th centuries, these 142 bold black-and-white line drawings include abstract forms, costumed figures, birds, flowers, and landscapes in many sizes and shapes, all royalty-free.
A treasury of hard-to-find Inca artwork, this compilation features hundreds of striking designs. The images are drawn from the collections of a 19th-century anthropologist whose expeditions to Peru yielded a remarkable store of artifacts that reside today in museums throughout Germany. Designs, paintings, and relief representations depict ancient people, animals, and rituals. Reprint of selections from Ancient Peruvian Art, Dodd, Mead & Co., New York, 1902–03.
This well-known book was prepared more than 75 years ago by two British architects, and its reputation has grown steadily since. The Audsleys' clear rendering of ornaments and designs from a wide variety of sources and national traditions, their excellent sense of space and proportion, and their straightforward execution of these ornaments in line have made the collection among the most valuable of its kind. The 60 plates contain over 250 large-scale line drawings, mostly executed by the authors. The designs and patterns shown are derived from architectural decorative motifs, textile designs, patterns from ceramics and tiles, and more from Egypt, Greece, Italy, Japan, Persia, Medieval Europe, and other places. A brief text specifies sources for many of the designs, and captions identify national origin and often the original color scheme.
Abounding in cherubs, nymphs, soldiers, kings, dragons, and other flamboyant motifs, this compilation of ornamental designs was originally published in Paris during the 1840s. The extravagant images are based on a wide variety of historical examples that date back as far as the 1500s and include imaginative renderings by Watteau and Durer. Created as embellishments for walls, arms and armor, and everyday objects, these designs remain eminently useful for graphic and decorative purposes. Professional and amateur artists and designers as well as cardmakers and scrapbookers will find this compilation a practical resource of versatile and royalty-free art. This volume is the successor to Dover Publications' "Fantastic Ornament, "another modern reprint of a rare nineteenth-century publication. Dover (2013) new selection of material from "Portefeuille Historique de l'Ornement/Ornaments of the Classical Masters: Comprising Ornamental Borders, Decorations, Shields, Vases, Alphabet of Letters, Grotesque Designs, Patterns for Gold and Silver-Smiths, " A. Hauser, Paris, 1841. See every Dover book in print at www.doverpublications.com
Comprehensive volume contains all the essentials for creating ads with a retro look and feel. Contents include borders, frames, images, and typographic elements for re-creating authentic styles of the 1890s–1920s.
A complete and unabridged full-color edition of the classic sourcebook on ornamental design First published in 1856, The Grammar of Ornament remains a design classic. Its inspiration came from pioneering British architect and designer Owen Jones (1809–1874), who produced a comprehensive design treatise for the machine age, lavishly illustrated in vivid chromolithographic color. Jones made detailed observations of decorative arts on his travels in Europe, the Middle East, and in his native London, where he studied objects on display at the Great Exhibition of the Works of Industry of All Nations in 1851 and at local museums. His aim was to improve the quality of Western design by changing the habits of Victorian designers, who indiscriminately mixed elements from a wide variety of sources. Jones's resulting study is a comprehensive analysis of styles of ornamental design, presenting key examples ranging from Maori tattoos, Egyptian columns, and Greek borders to Byzantine mosaic, Indian embroidery, and Elizabethan carvings. At once splendidly Victorian and insistently modern, The Grammar of Ornament celebrates objects of beauty from across time periods and continents, and remains an indispensable sourcebook today.
Among architects and preservationists, the writings of Viollet-le-Duc (1814-1879) have long been considered major resources. They inspired a generation of American architects, including Frank Furness, John Wellborn Root, Louis Sullivan, and Frank Lloyd Wright. In 1894, the critic Montgomery Schuyler observed that Viollet-le-Duc's books "have had the strongest influence on this generation of readers." But for the past century, all but one of his works have been out of print in English. These readings carefully selected from the entire range of Viollet-le-Duc's work make available the historical insights and practical principles of one of the most imaginative, and inspiring architectural theorists of the modern era. M.F. Hearn has culled from Viollet-le-Duc's books on architecture the passages in which his major ideas about the theory of architecture are most cogently expressed.Hearn has arranged and interplated the readings in a sequence of topics covering Viollet-le-Duc's views on the architecture of the past, his convictions about the education of architects, his philosophy of method, principles of design, and his guidelines for restoration. The selections are introduced by a biographical essay connected by interpretive commentaries, and followed by a biographical note.