Her auburn curls were drawn up into a decorative band at the side of her head.
Art was still by no means extinct, and its forms and decorative elements are simply later derivatives of the great palace style.
The manufacture, modelling and painting of faience objects, and the making of inlays in many materials were also familiar to Aegean craftsmen, who show in all their best work a strong sense of natural form and an appreciation of ideal balance and decorative effect, such as are seen in the best products of later Hellenic art.
135), a beautiful inner court, and notable decorative features and embellishments, including bronze doors by D.
C. French, a statue of Sir Henry Vane by Macmonnies, a fine staircase in Siena marble, some characteristic decorative panels by Puvis de Chavannes (illustrating the history of science and literature), and other notable decorative paintings by John S.
It forms one of the most decorative features of the synagogue, and of ten takes an architectural design, with columns, arches and a dome.
Cutting and engraving are mechanical processes for producing decorative effects by abrading the surface of the glass when cold.
They, at any rate, seem to have been the first to grasp the idea that a wine-glass is not merely a bowl, a stem and a foot, but that, whilst retaining simplicity of form, it may nevertheless possess decorative effect.
It must be remembered that the Romans possessed no fine procelain decorated with lively colours and a beautiful glaze; Samian ware was the most decorative kind of pottery which was then made.
Their decorative cutting (Plate I.
The same process was used in producing large tablets, employed, no doubt, for various decorative purposes.
Engraved flowers, views and devices are often combined with decorative cutting.
Injurious as the excise duty undoubtedly was to the glass trade generally, and especially to the flint-glass industry, it is possible that it may have helped to develop the art of decorative glass-cutting.
Most Japanese decorative designs consist of natural objects, treated sometimes in a more 1~hi0 or less conventional manner, but always distinguished by delicacy of touch, graceful freedom of conception and delightfully harmonized tints.
The same free spirit is the secret of much of the originality and the excellence of the decorative art of Japan.
The Buddhist style was probably even more ancient than the Chinese, for the scheme of coloring distinctive of the Buddhist picture was almost certainly of Indian origin; brilliant fi ddhi and decorative, and heightened by a lavish use of S~ t.
The qualities of the new Chinese schools were essentially those of the older dynasties: breadth, simplicity, a daringly calligraphic play of brush that strongly recalled the accomplishments of the famous scribes, anti a coloring that varied between sparing washes of flat local tints and a strength and brilliancy of decorative effort that rivalled even that of the Buddhist pictures.
He was an artist of eccentric originality, who achieved wonders in bold decorative effects in spite of a studied contempt for detail.
It was in the middle of the 18th century that the decorative, but relatively feeble, Chinese art of the later Ming period found favor in Japan and a clever exponent in a painter named Ryurikyo It must be regarded as a sad decadence from the old Chinese ideals, which was further hastened, from about 1765, by the popularity of the southern Chinese style.
The final manifestation of popular glyptic art was the okimono, an ornament pure and simple, in which utility was altogether seco.ndary in intention to decorative effect.
He is nearly as thorough as his forefathers, and maintains the same love of all things beautiful; and if he cannot show any epoch-making novelty, he is at any rate doing his best to support unsurpassed the decorative traditions of the past.
With very rare exceptions, the decorative motives of Japanese sword furniture were always supplied by painters.
Hence it is that the Japanese connoisseur draws a clear distinction between the decorative design and its technical execution, crediting the former to the pictorial artist and the latter to the sculptor~ He detects in the stroke of a chisel and the lines of a gravin~ tool subjective beauties which appear to be hidden from th great majority of Western dilettanti.
Namako is obtained by punching the whole surfaceexcept the portion carrying the decorative designinto a texture of microscopic dots.
The decorative design having been completely chiselled in the round, is then fixed in a field of a different metal, in which a design of exactly similar outline has been cut out.
The charm of these methods is that certain parts of the decorative design seem to float, not on the surface of the metal, but actually within it, an admirable effect of depth and atmosphere being thus produced.