Acanthus #5- Roll me over and do it again!

All right! If you've been doing the homework, you have now drawn out a flat acanthus leaf with all of the necessary components of its design. Way to go! However, acanthus ornament is very rarely depicted as flat. ("You mean I did all this work and I'm not even going to use it?!") You will use it, but we will now modify the leaf shape to fit different purposes.

Probably the first thing most people will associate with the acanthus is the decorative foliage of a Corinthian style capital, as seen in this beautiful Beaux-Arts print from Camillo Boito's book, Gli Stili dell'Ornamento (1882). As you can see, the leaves of the capital lean out and bend over, which is the norm for a Corinthian capital. Look also at the stylization of the eyelets on this leaf; they look almost like the metal-ringed eyelets on a workboot. This is again a stylization: it would not occur in nature, but it looks clean, and it attracts the eye by creating a highlight around the dark of the eye, making a clear punctuation of the leaf's rhythm.

Top capital is from the Temple of Apollo at Didyma (present day Turkey), the bottom acanthus leaf is from the Temple of the Winds in Athens.

Below is an acanthus leaf applied to the bottom side of a modillion, or soffit bracket, from the Temple of Castor and Pollux in the Roman Forum. Again the top is bent forward. Also look at the eyelets on this one; cut very squarely with tiny leaflets hanging down, and the deep grooving of the leaflets, a characteristic that is seen in many examples from Greece and Asia Minor.

Modillion from the Temple of Castor and Pollux in the Roman Forum. From Hector d'Espouy's Fragments Antiques (1905)

So here's a quick run down on how to do this bending, taken from James Page's Guide for Drawing the Acanthus, (1840). I won't go into too much detail, as I think the drawings are pretty self-explanatory. 

Step one- fold over the general form of the leaf with the eyelets drawn in.

Step two- elaboration of the lobes and leaflets. Observe carefully the reversing of the curves of the lobes that are folded over. 

Step three- the leaf rendered

Corinthian Capital from the Temple of Mars Ultor. From Hector d'Espouy's Fragments Antiques (1905)

Corinthian Capital from the Temple of Castor and Pollux in the Roman Forum. From Hector d'Espouy's Fragments Antiques (1905)

All of the examples of capitals that I have shown here are in the more "olivine" style (leaves that look like an olive tree's), another variant on the acanthus leaf which can be found in many places. Look at it carefully, and draw a section, so that you can recognize it and be ready to design with it, noting the cleaner, more linear, more geometric style by comparison to the frillier, more organic style that we have been using for the lessons. Each has its purpose, in accordance with the architecture it enhances.

Next up: Twisting the Night Away!

Pic 'o the Day #1330- All in the details!

One of the rarely acknowledged benefits of the erosion of the monuments of ancient sites is the revelation of the sculptural substructures that support the ornamented surfaces. As the incredibly articulated and often quite delicate leaves, flowers, wings, etc. are worn away by the abrasions of time, we get to see what was hidden in the finished work: the work that went into sculpting the undercut parts.

A plaster cast of a large section of the entablature of the Temple of Vespasian, seen in the Tabularium, (part of the Capitoline Museums, beneath the Palazzo Senatorio), was the first piece that really drew my attention to this. The multiple moldings of this florid Corinthian ornament seem almost to be assembled from separate bits of stone rather than sculpted from a single massive block. The eggs of the egg and dart molding can be seen to be smoothly rounded as deeply as one can see, with no visible marks from the stone drills and chisels. This despite the fact that, apart from about thirty percent of the front face of the egg, the largest portion would have been hidden behind the surrounding molding. This not only makes that area invisible, it also makes it extremely difficult to carve and smooth. Yet there it is, clearly seen in the photo below. While this is a plaster cast piece in the museum, it is accurate to what is there, and the same type of carving can be seen elsewhere on similar original pieces.

Section of the entablature of the Temple of Vespasian in the Roman Forum, built in the first century AD. This temple was relatively small (for the forum), so there would only have been around 250 feet of this! It was also carved on its inner aspect.

The lower egg and leaf molding is equally stunning, with almost free standing leaves surrounding each egg, and tiny flowers and vines carved on the face of each one (Click on the photo for a closer view.) Incredible when you consider the overall number of these on the exterior of the temple, and that  (to my knowledge) they had no glue for fixing a broken bit, again quite incredible considering the delicacy of many of the parts. These obviously were carved in place, as it would have been quite impossible to get them into place without some damage to the ornament. 

With the overall amount of ornament on the building, there must have been hundreds of craftsmen who were capable of this technical work banging away up on the scaffold every day; the sound must have been deafening! While it is almost certain that a good portion of these sculptors would have been slaves, skilled work was often paid for, and in some cases, might have bought the slave's freedom. The flip side being that mistakes were most likely paid for in some not so pleasant ways. 

Detail of a Corinthian capital on the Temple of Mars Ultor, built by Caesar Augustus around 20 BC. You can see here the level of detail on the wings, which would have been virtually invisible at their height.

The top of the bell of a Corinthian capital and the point where the volutes attached, showing how the underside of the corona is carved flat and the bell curve continues around smoothly, despite the fact that these parts were largely hidden by the volutes themselves. From the museum at the Market of Trajan.

Rosette from the soffit of Temple of Mars Ultor. Each layer of the flowers is almost entirely distinct from the other. The egg and dart molding is similarly separated

Closeup of a molding with acanthus leaves showing how deeply carved the spaces behind  the leaves went, to the point that they were almost entirely freestanding. You can also see traces of where the rock drills were used to make the registration points of the leaves

An added benefit of a well crafted classical ornamental scheme is that even in its eroded state, it still presents a fascinating pattern of light and shadow, unlike modern ornament, which generally just looks dirty and dull after a few years of weathering.

The question must arise then of why would they expend so much effort on something that was largely invisible. Partly it IS visual, as can be seen by contrasting it to the modern reproduction moldings in the image below. While reproduction moldings might be well modeled and cast, the drama of the deep shadows in the Roman originals is lacking, making the copies look flatter (and this is actually some of the better pre-cast work available.)

Capital and entablature from a modern pre-cast company shows that the depth of shadows in the Roman originals is much more dramatic.

The Roman examples I have shown are from the early Imperial age (27 BC to 50 AD) corresponding to the 2nd and 3rd styles of painted decoration, which were the most painstaking and detailed, so partly it may have just been a cultural zeitgeist that briefly valued highly the attention to detail shown here, and had the resources in both the funds and the highly skilled artists available to make it happen. Other pieces from around the empire are certainly impressive, but rarely quite as detailed as what was found in the capitol city at this time.

There may also be some credence to the idea that because these ornaments were going on major new temples, that they had better be pleasing to both the clients and the gods they honored, with no shortcuts. It would be equivalent to the work done for St Peter's Basilica, or the Pyramids and monuments of Egypt, where they looked at the work as something sacred.

It will be interesting to see if new methods of creating moldings, such as the 3D printers that are increasingly being used industrially, will be used to create deeper versions of these patterns. It would seem to make sense, as this complex undercutting does not add time to the printing, and in fact it lessens the materials used, a benefit to both the cost of production and the weight of building. Artist Michael Hansmeyer has already created full size highly perforated columns using computer aided cutting, though his design module is uses mathematically generated modules rather than traditional structures. It will be up to a new generation that is familiar with computational modeling AND values the traditional design process to take the next step.