This historic book may have numerous typos and missing text. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1899 Excerpt: ...rise in scale of importance as they get higher; but this method does not seem to have been adhered to by the Romans or Renaissance artists. In the latter we sometimes meet with cupids or children at the very base of the panel. The fourth division.--Ornament in panels, &c. Ceil size and weight of the centres be preserved; circular and oval panels in moulded frames should be avoided in woodwork on account of the chances of the mouldings splitting. In Saracenic and Moresque work the FlG. 121.--Pilaster designed by Donatello. ings have been treated in Chapter IV., and floors cannot have real panels, so upright rectangular panels may be taken first. Their simplest ornamentation is by moulding; if the mouldings have stopped ends, they are known as linen panels. When narrow and unmoulded they may be filled with symmetrical ornament Fig. 126.--Venetian panel illustrating " balance" without symmetry. on either side of an upright stem, either purely floral (Figs. 148 and 120), or after the manner of pilaster panels, or the ornament may spring from vases at the bottom (Fig. 127), or they may have central medallions circular or oval, paterae or bosses; and in cases where these narrow panels are in a long succession, each one may be varied, or the centres alone may be varied, if the pmels are mostly filled by diapers, and in late European work it was common to enrich the corners, and sometimes to form a centre, leaving the rest of the panel plain, spotted, powdered, or filled with interlaced work. In ornamental panels the mouldings of the frame must never be wholly ornamented (see Fig. 128); sometimes they may be wholly plain, but if there be seveial mouldings, it is well to slightly enrich one member to connect the frame with the panel and detach it from ...