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Reproduction of the original: A Manual of Historic Ornament by Richard Glazier
Originally published in 1899. EXCERPT FROM "A MANUAL OF HISTORIC ORNAMENT" THIS manual has been prepared with the three-fold object of giving an elementary knowledge of Architecture and Historic Ornament, of awakening a responsive and sympathetic feeling for the many beautiful and interesting remains of ancient and medi�val civilization, and lastly of directing the attention of students and craftsmen to the beauty, suggestiveness and vitality of the Industrial Arts of the past, and their intimate relation to the social and religious life of the people. The advantages to be derived by students and craftsmen from such a study are manifold, for, by a careful study of these arts, we may see the capabilities and limitations of material, the appropriateness and application of ornament, the continuity of line and form-yet with a marked diversity of enrichment and treatment-the interest and significance of detail, and the customs, myths and traditions of the past with their continuity of thought and expression. The illustrations, which have been chosen expressly for this work, are typical examples of each period or style and are produced in line as being the method best suited to the requirements of students, giving definition, emphasis and the constructive qualities of design rather than pictorial effect. In the appendix will be found a list of text books and works of reference, which may be studied with considerable advantage by students desiring further information upon this important subject.
This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
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Excerpt from A Manual of Historic Ornament: Treating Upon the Evolution, Tradition, and Development of Architecture the Applied Arts The extreme range of subjects included Historic Ornament necessarily implies considerable restriction and condensation in text and illustration in one small volume, yet care has been taken in the selection of types to show the essentials and characteristics of national styles, and the evolution or development of design in various materials. The re-issue of this work has enabled the author to revise generally and also to add additional matter and illustrations in the more important sections. The subject of Architecture has received considerable amplification, as additional illustrations are given of the Greek, Romanesque, and Gothic styles, together with the Italian, French, and English Renascence, making this branch of the work more comprehensive and useful to the general reader. The section dealing with the applied arts has also been enlarged, additional plates of Gold and Silver, Bronzes, Furniture, Woodcarvings, and Bookbindings being inserted, together with a number of the beautiful initial letters of the early printed books of the latter part of the 15th and the early 16th centuries, illustrating the vitality, inventiveness, and skill of the craftsmen of the past. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
This historic book may have numerous typos and missing text. Purchasers can usually download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1906 edition. Excerpt: ...mind. This may be readily seen in the thirty colour prints by Hiroshige, and the hundred views of this mountain by Hokusai. The cherry and plum blossoms, emblems of the beauty and purity of spring, are also intimately associated with the life and the ornament of the people. It is this literal treatment of natural types, the marvellous technique, and especially the significance of the forms chosen, that constitutes the charm of the earlier Japanese art. It is singular that the materials used by the Japanese should be of little intrinsic value. Having no jewellery, they use little of the precious metals; iron, bronze, enamels, clay, wood, and lac being the chief materials utilized in the decorative arts of Japan. Bronze is one of the earliest materials used in the arts of Japan, and their large statue of Buddha at Kamakura, cast in A.D. 748, rests upon a lotus flower with fifty-six petals, 10 ft. by 6 ft., and the height from base to top of figure is 63 ft. Pottery made but little development until the 13th century, when a coloured earthenware, having but little decoration, was produced at Seto, in Owari, and it was not until 1513 that porcelain was introduced from China into Arita, by Shondzui; and at the commencement of the 17th century a fine porcelain, decorated with birds and flowers in blue, red, and gold, now known as " Old Japan " or "Old Hizen," was produced. Kioto, Seto, and Arita were also noted for the production of a fine blue-and-white porcelain. Cloisonne enamels, introduced in the 17th century, reached a high degree of technical excellence, but never quite reached the beauty, purity, and harmony of colour that characterized the old Chinese cloisonne. Lacquer, of which some fine examples are reputed to...