By Charles Cahier
Relying on historic wall and ground tiles, cloth styles, tapestries, wall hangings, and different designs originating within the center a long time, the Renaissance, and later eu and Islamic cultures, Charles Cahier (1807–1882) and Arthur Martin (1802–1856) produced a piece of real creative contrast. integrated are a wealth of most suitable floral, animal, chicken, and geometric styles, conscientiously researched and meticulously redrawn to be used in a myriad of image and creative initiatives. the various motifs are followed via complementary border designs, a frequently crucial accent.
This variation faithfully reproduces the variation released in 1868, titled Suite aux mélanges d'archéologie. It represents a useful copyright-free source embodying the best designs from historical assets, prepared to be used via artists, illustrators, craftspeople, and architects operating with textiles, wallpapers, inside ornament, and different projects.
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Additional info for 376 decorative allover patterns : from historic tilework and textiles
Martin, Arthur, 1801—1856. II. Title. III. Title: Three hundred seventy-six decorative allover patterns from historic tilework and textiles. IV. Series. 4’42—dc20 89-36970 CIP Table of Contents Title Page Copyright Page Publisher’s Note Publisher’s Note THE QUALITY OF DESIGN in crafted and manufactured products of all types-and in the packaging and advertising of those products—was a primary concern of the great industrial nations in the nineteenth century. Rivalry between France and England for design leadership in Europe was increased by each of the great world’s fairs held periodically in London and Paris, beginning with the Crystal Palace Exhibition of 1851.
Numerous publications were devoted to visual examples of design masterpieces—often drawing upon all periods of history, since the era was eclectic, making creative use of material from many times and places. The present volume contains all the illustrations from just such a set of portfolios, but a set that is particularly rare and unusual. The two authors were French Jesuit priests. From its inception in the sixteenth century, the Society of Jesus has had an important educational mission. In the case of Fathers Cahier and Martin, this took the form of art-historical investigations of motifs and patterns from Christian lands, chiefly of the medieval period.
Between 1847 and 1856, Cahier and Martin were responsible for four installments of an ongoing project they called Mélanges d’archéologie, d’histoire et de littérature (Miscellany of Archaeology, History and Literature). In the latter year, shortly after receiving the Cross of the Legion of Honor for his services to his country (he had also designed actual art projects, including church buildings), Martin died. Father Martin left behind him not only numerous drawings on paper to be worked up into further publications, but also over 800 drawings that he had made directly on woodblocks, all ready for engraving and subsequent printing.