"'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?".

"Drawing on all his first-hand experience as well as his clearly-articulated theories and teaching practice, Jones set to work on a vast, near-encyclopedic reference of ornamental style, form and color that would encompass all his knowledge and ideas on decorative art, and act as a source-book and inspiration to others. The result was The Grammar of Ornament, first published in 1856. It has been described as "monumental" and a "lavish cornucopia of decorated surfaces". Certainly as a comprehensive gathering together of ornamental splendour there had never been, nor probably has been since. Here are Egyptian, Assyrian, Persian and Greek styles, Roman, Byzantine, Arabian, Turkish, Indian, Chinese, Celtic, Medieval, Renaissance. Full-page plates in superb color panels, borders, corners, columns, capitals and illuminated manuscripts."--BOOK JACKET.

Over 1,000 fine-line renderings from rare 19th-century portfolio: gods and goddesses, mythical animals, floral and foliate motifs, figures from classical mythology, and much more. Royalty-free.