DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.32867#0349
ORNAMENT
30
—the tomb of Hamrath at Suweda—are purely classic in profile; those which would
seem to represent the next period exhibit a curious mixture of classic and Oriental
profiles. In some of them the classic influence holds its own, while in others the Orien-
tal elements predominate. The moldings of the third period, dating from the end of
the first century, since examples have been found with inscriptions of Agrippa II upon
them, are devoid of classic elements. A recessed succession of cavettos, with occa-
sional splay faces, reeds, and narrow torus moldings, seems to have been the favorite
combination for these profiles, while the ovolo, the cyma recta, and the cyma reversa
of the classic style are entirely wanting. In the earlier Roman period the Oriental
profiles disappeared almost entirely, and classic moldings are universally employed in
their completeness, as we find them in the purely Roman imperial architecture of
Ba'albek, while the later period of Roman influence — the third century — is character-
ized by somewhat simpler moldings, and by the introduction of original profiles which
are, perhaps, more Greek than Roman, with free curves in place of those which may
be struck with the compass. The moldings of Christian buildings in the Hauran are
scant, and generally poor in design and weak in profile. In the earliest structures of
the Christian period, thc splay face, almost unknown to the Greeks and Romans, is
practically the only form of molding, but in the sixth century we find a few profiles
which are debased copies of the later Roman styles.
Carving. I he carving of these molded surfaces is even more characteristic of the
different periods than their profiles. In the harly classic monument at Suweda the
moldings are naturally uncarved, as the order employed is the Doric ; but when Ori-
ental profiles were mingled with the classic, Oriental designs were also introduced into
the carving of the molded surfaces. The cyma recta
and the cyma reversa were usually uncarved; but
the ovolo was treated with the classic egg and dart,
while the bead molding was often converted into a
bead and reel. But in the same set of moldings
with these Creek designs we find the bizarre carv-
ings of the Nabataean style—Tie scantily leaved vine
patterns, the curious geometrical figures, and the rope
design, which are used exclusively in the later mold-
ings. In this period, flat surfaces, either projecting
or depressed, are frequently carved with a rather
more naturalistic treatment of vegetable forms. The Classic and Onentai carvmg upon a lmtei of
. the temple at Suweda.
grape-vine and a running design of pomegranates are
introduced. They are sometimes employed separately and sometimes combined in the
same vine. Geometrical patterns become more elaborate, and the recessed fascias are
sometimes treated with the unusual feature of a narrow bead on the outer edge of the
30
—the tomb of Hamrath at Suweda—are purely classic in profile; those which would
seem to represent the next period exhibit a curious mixture of classic and Oriental
profiles. In some of them the classic influence holds its own, while in others the Orien-
tal elements predominate. The moldings of the third period, dating from the end of
the first century, since examples have been found with inscriptions of Agrippa II upon
them, are devoid of classic elements. A recessed succession of cavettos, with occa-
sional splay faces, reeds, and narrow torus moldings, seems to have been the favorite
combination for these profiles, while the ovolo, the cyma recta, and the cyma reversa
of the classic style are entirely wanting. In the earlier Roman period the Oriental
profiles disappeared almost entirely, and classic moldings are universally employed in
their completeness, as we find them in the purely Roman imperial architecture of
Ba'albek, while the later period of Roman influence — the third century — is character-
ized by somewhat simpler moldings, and by the introduction of original profiles which
are, perhaps, more Greek than Roman, with free curves in place of those which may
be struck with the compass. The moldings of Christian buildings in the Hauran are
scant, and generally poor in design and weak in profile. In the earliest structures of
the Christian period, thc splay face, almost unknown to the Greeks and Romans, is
practically the only form of molding, but in the sixth century we find a few profiles
which are debased copies of the later Roman styles.
Carving. I he carving of these molded surfaces is even more characteristic of the
different periods than their profiles. In the harly classic monument at Suweda the
moldings are naturally uncarved, as the order employed is the Doric ; but when Ori-
ental profiles were mingled with the classic, Oriental designs were also introduced into
the carving of the molded surfaces. The cyma recta
and the cyma reversa were usually uncarved; but
the ovolo was treated with the classic egg and dart,
while the bead molding was often converted into a
bead and reel. But in the same set of moldings
with these Creek designs we find the bizarre carv-
ings of the Nabataean style—Tie scantily leaved vine
patterns, the curious geometrical figures, and the rope
design, which are used exclusively in the later mold-
ings. In this period, flat surfaces, either projecting
or depressed, are frequently carved with a rather
more naturalistic treatment of vegetable forms. The Classic and Onentai carvmg upon a lmtei of
. the temple at Suweda.
grape-vine and a running design of pomegranates are
introduced. They are sometimes employed separately and sometimes combined in the
same vine. Geometrical patterns become more elaborate, and the recessed fascias are
sometimes treated with the unusual feature of a narrow bead on the outer edge of the