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Italian Renaissance ornamental painting, (1898). Creator: Unknown
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Italian Renaissance ornamental painting, (1898). Creator: Unknown
Italian Renaissance ornamental painting, (1898). Examples of painted building facades: Figs 1-7: From the front of a house in Genoa (Via San Matteo. Nr, 10). Fig 8: Front of the court of Casa Taverna at Milan. Figs 9-11: Front of the court of Palazzo Piccolomini at Pienza...here we observe above all the vegetable ornament...We find almost everywhere delicate, beautifully curved branches in a symmetrical or at least regular arrangement, in which the antique acanthus-leaf acts the principal part, although, not without the most various transformations. Also vine, laurel, ivy etc. are frequently employed, partly copying nature directly, partly idealised. But this foliage with its branches and fruit is still enlivened by a rich variation of animals, fantastical beings, human figures as well as symbolical subjects, arms, masks, emblems, vases, candelabras etc. Most cultivated is the combination of human figures and animals with vegetable elements...Finally a not less important part of the decoration are coats of arms and escutcheons.... Plate 47 from " The Historic Styles of Ornament" translated from the German of H. Dolmetsch. [B.T. Batford, London, 1898]
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Media ID 19777854
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B T Batsford Batsford Bt Batsford Chromolithograph Columns Dolmetsch Garland Garlands Grotesque H Dolmetsch Heinrich Heinrich Dolmetsch Historic Styles Of Ornament Max Seeger Ornate Seeger Stylised Symmetrical Symmetry Virtue Winged Figure Flowered Mythical Beast Mythical Creature
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EDITORS COMMENTS
This print showcases an exquisite example of Italian Renaissance ornamental painting from 1898. The creator remains unknown, but their talent is undeniable. The image captures various painted building facades, including the front of a house in Genoa and the court of Casa Taverna at Milan, among others. What immediately catches the eye is the abundance of vegetable ornamentation present throughout these architectural masterpieces. Delicately curved branches, often featuring the iconic acanthus leaf in its many forms, create symmetrical or regular arrangements. Nature serves as both inspiration and subject matter for this art form, with vine, laurel, ivy, and other plants being either faithfully replicated or idealized. However, it is not just foliage that adorns these structures; they are also brought to life by a rich array of animals, fantastical creatures like mythical beasts and cherubs alongside human figures. Symbolic subjects such as arms, masks, emblems, vases, and candelabras further enhance this vibrant tapestry. Coats of arms and escutcheons play a significant role in completing these decorative compositions. They add another layer of sophistication to an already intricate design scheme. Plate 47 from "The Historic Styles of Ornament" translated from German author H. Dolmetsch's work published by B. T Batford in London in 1898 offers us a glimpse into this remarkable era where beauty knew no bounds when it came to embellishing architectural wonders with breathtaking detail.
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