The Console.

The Bracket. 241

5
6. Roman, Front and side view, temple of Jupiter Stator, Rome
Vatican.
7
8. Roman, Front and side view, Vatican.
Plate 146. The Console.
1
2. Renascence, Side views, Vatican.
3. Renascence, Hotel d'Assezat, Toulouse, (Raguenet).
4. Renascence, Wooden, French, Hotel d'Assezet, Toulouse, (Ra-
guenet).
5. Renascence, Istrian limestone, Venetian, Hamburg, Museum.
6. Renascence, Marble, Italian, Sta. Maria de' Miracoli, Venice,
(Gropius).
7
8. Modern, French, Architect Roux, Paris.
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11. Mediaeval, church, Athis, France.
Plate 147. The Console.
1. Romanesque, Noyon cathedral, 12th century, (Raguenet).
2. Gothic, St. Pierre sous Vez61ay, (Gewerbehalle).
3. Renascence, French, castle, Blois.
4.
5. Renascence, German, new Castle, Baden-Baden, (Gmelin).
6. Renascence, German, Heidelberg castle.
7. Renascence, Triglyph-console, Late French.
8. Modern, French, library, Louvre, Architect Lefuel, (Raguenet).
9. Modem, French, (Raguenet).
10. Modem, French, New casino, Lyons, Architect Porte, (Raguenet).
The Bracket. (Plate
148.)
A special class of Supports is formed by those wrought-iron
bearers which the Middle Ages, the Renascence, and Modern times,
have produced in the shape of Brackets. The uses of Brackets are
veiy various, e.
g.
in supporting Shop-signs, Conduit-pipes, Gargoyles,
Candles, Lamps, Hats, Coats, &c.
In form, they vary with the style and richness of the work-
manship. Square, flat and round iron, enriched by chasing and other
methods of decoration, are used. They are frequently fastened to the
wall by the aid of ribbon-like strips of metal, which may themselves
be decorated with scrolls and curls.
The plate shows a number of such supports, of ancient and mo-
dem date, destined for a variety of purposes.
Meyer, Handbook of Omament.
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