Various Flowers.

The Festoon. 69
2. Chrysanthemum.
3. White Lily (Lillum candidiim).
4. Hellebore (Helleborus).
5. Wild Rose (Eosa canina).
6. Blue-bell (Campanula).
7. Wild Rose, seen from the back.
Plate 37. Various Flowers.
Bouquet, carving, Louis XVI. style, (F. A. M., Cours d'ornement).
The Fruit Festoon. (Plates
38

40.)
Fruit, tied in a bunch with leaves and flowers, was a popular
decorative motive of the Roman, Renascence, and later styles. We
may mention the hanging clusters as a decoration of pilaster and
similar panels; and the clusters hanging in a curve and known as
Festoons. Li these cases: flowing ribbons fill up the empty spaces.
The plates give examples of both kinds.
Festoons of fiTiits hanging in deep curves between rosettes, can-
delabra, skulls of animals, &c., are common in the Roman style. The
origin of this style of decoration is to be sought in the circumstance
that Festoons of real fruit were hung as a decoration on the friezes
of the temples, alternating with the real Skulls of slaughtered sacri-
ficial animals, in connection with the Candelabra, Tripods, and other
sacrificial Instruments. This style of decoration was then transferred
from sacred to secular architecture, revived by the Renascence in more
or less altered forms, and has remained in use to the present time.
In the Roman style the empty space above the centre of the curve
is often filled by Rosettes, Masks, and Figures. These features weie
usually replaced by heads of Angels on the ecclesiatical building3
and tombs of the Italian Renascence.
Plate 38. The Fruit Festoon.
1. Cluster, Libreria, Cathedral, Siena, Italian Renascence.
2. Cluster, tomb of Louis XII. St. Denis, French Renascence.
3. Cluster, Modern.
4. Festoon, tomb of Cardinal della Rovere, St. Maria del Popolo,
Rome, Italian Renascence.
Plate 39. The Fruit Festoon
1. Festoon, between skulls, Roman.
2. Festoon, Roman mortuary tablet, Vatican.