"'Classical Ornament,' first published by Dover Publications, Inc., in 2016, contains all the plates from 'Classiche Ornamente,' originally published by J. Veith, Carlsruhe, Germany, ca. 186-"--Title page vers

This rare collection, originally published in Germany during the 1860s, presents a wealth of designs from temples and other buildings of ancient Greece and Rome. The seventy-one black-and-white plates include mythological creatures, floral borders, engraved columns and capitals, and many other decorative motifs, all rendered with the delicacy and precision characteristic of classical ornament. A valuable source of royalty-free illustrations, this compilation abounds in images that will provide a touch of authenticity to any graphic project related to ancient Greece or Rome. Fine art aficionados, crafters and designers, and collectors of classical art will rejoice in this inexpensive volume and its hard-to-find artwork.

This text is a wide-ranging consideration of the cultural and symbolic significance of ornament, its rejection by modernism and its subsequent reinvention. Trilling explains how ornament works, why it has to be explained and why it matters.

By analyzing this poetry - the tropes founded on the Greek terms for ornamental detail - he reconstructs a classical theory about the origin and meaning of the orders, one that links them to ancient sacrificial ritual and myth.

In a wide-ranging and richly illustrated book, the authors begin by tracing the ways ornament has been used over the last five centuries, the rules of decorum and etiquette associated with it, and the social, moral and spiritual values it has represented. They examine how architecture set the agenda for ornament in the Renaissance, and how printed images carried a common vocabulary of ornament throughout the Western world. They survey the personal side of ornament, both in dress and in the domestic interior - a private expression of the self and a public statement of social and cultural status. They look at ornament in the public domain - from the lavish decoration and symbolism of a town pageant to the logos of today's corporate industry - and show how the ever-evolving role of ornament is to invent and embody the collective spirit of communities at work and at leisure. They conclude by discussing how the Western tradition of ornament has responded to and absorbed 'exotic' African and Asian motifs: Moresque motifs of the Near East and such familiar designs as the 'Paisley' and Willow" patterns.

This well-known book was prepared a century ago by two British architects, and its reputation has grown steadily since. The Audsleys' rendering of designs from a wide variety of sources are national traditions, and their excellent sense of space and proportion and their straightforward interpretations of these ornaments have made this 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, etc. A brief text specifies sources for many of the designs, and captions identify national origin and often the original color schemes. The illustrations include ancient Egyptian patterns from painted tomb ceilings, borders from Greek vases, Celtic designs, Japanese ornaments, Moorish decorations, eleventh-century Italian textile designs, and architectural elements from the cathedral of Notre-Dame and other buildings. This partial list of contents gives an idea of the many styles of design reproduced in the book, and the applications to which the designs can be put. Commercial artists, architects, crafters, designers, scene designers, and others will find these pages a rich source of decorative designs.

Yet during the twentieth century, ornament was scorned (Adolf Loos famously called it "crime") and its study all but eliminated from art and architecture curricula. What happened - and must we live with the result? Is ornament dead?".

Over the last forty years, graffiti and street-art have become a global phenomenon within the visual arts. Whilst they have increasingly been taken seriously by the art establishment (or perhaps the art market), their academic and popular examination still remains within old debates which argue over whether these acts are vandalism or art, and which examine the role of graffiti in gang culture and in terms of visual pollution. Based on an in-depth ethnographic study working with some of the world’s most influential Independent Public Artists, this book takes a completely new approach. Placing these illicit aesthetic practices within a broader historical, political, and aesthetic context, it argues that they are in fact both intrinsically ornamental (working within a classic architectonic framework), as well as innately ordered (within a highly ritualized, performative structure). Rather than disharmonic, destructive forms, rather than ones solely working within the dynamics of the market, these insurgent images are seen to reface rather than deface the city, operating within a modality of contemporary civic ritual. The book is divided into two main sections, Ornament and Order. Ornament focuses upon the physical artifacts themselves, the various meanings these public artists ascribe to their images as well as the tensions and communicative schemata emerging out of their material form. Using two very different understandings of political action, it places these illicit icons within the wider theoretical debate over the public sphere that they materially re-present. Order is focused more closely on the ephemeral trace of these spatial acts, the explicitly performative, practice-based elements of their aesthetic production. Exploring thematics such as carnival and play, risk and creativity, it tracks how the very residue of this cultural production structures and shapes the socio-ethico guidelines of these artists’ lifeworlds.

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.