The _elementary forms_ used in ornament form the next division. It is
assumed that the space is given that we are required to ornament; for
example, a ceiling, a wall, a frieze, a panel, or a carpet. The
boundary-lines are the enclosing lines of our space or field, which may
be subdivided. This subdividing is called the _setting-out_. We have now
to think of the forms and character of the ornament we propose to adopt.
It is now advisable to give illustrations of the various elementary
forms used in ornament. As lines, either straight or curved, are the
basis of all ornament, we begin with the straight line. It would be
difficult to overrate the value of the straight line in ornament. The
qualities of stability, firmness, and repose given by upright and
horizontal lines are well illustrated by the mouldings round rectilinear
panels, by cornices and pilasters, and by reeded and fluted ornaments.
All frets are composed of straight lines. The illustrations from Fig. 3
to Fig. 23 are specimens of straight-lined ornaments. Taking the band or
two horizontal parallel lines in Fig. 3, and marking off equidistant
points on the upper and on the lower one, only alternating, and drawing
vertical lines from these points, we obtain the basis of a large class
of frets. Figs. 4, 6, 7, and 8 show further developments of the fret.
Figs. 5 and 18 show the elements of some Saracenic or Moresque frets, of
which Figs. 11, 21, and 22 are developments. Figs. 6, 8, 12, 13, and 14
[Illustration: FIGS. 3 to 7.--Straight-lined ornaments.]
are Greek frets; 7 and 20 are Chinese. Fig. 9 is a Gothic nail-head
ornament; 10 is of German origin; 19 is a Japanese key pattern; and Fig.
23 is derived from the plaiting of rushes, ribbons, straws, or from
herring-bone brick-work, and is common to prehistoric and Byzantine
work.
Frets are more appropriate to flat surfaces than to concave or convex
ones; they may, however, be used on slightly concave surfaces, such as
the inside bevels of plates or dishes; then their vertical lines will
compose well, by radiating from the centre of the plate. The square
within square, and double and single frets, shown at Figs. 8 and 15,
were often
[Illustration: FIGS. 8 to 11.--Straight-lined ornaments.]
used in conjunction by the Greeks, and earlier by the Egyptians, on the
ceilings of their tombs (Fig. 16), both singly, and alternating with
spirals and circular ornaments. (See Fig. 43.)
The zigzag is another straight-lined form largely used as ornament; it
was used by the Egyptians and Early Greeks as the symbol of water (Figs.
28, 165).
Lozenges and diamonds are other elements of straight-lined ornament,
and form the basis of many repeating patterns in woven stuffs,
paper-hangings, and tiles. Triangles, squares, hexagons, octagons,
[Illustration: FIGS. 12 to 14.--Greek frets.]
[Illustration: FIG. 15.--Fret and panel border, Greek.]
and other polygons are also used largely as constructive bases in
pattern-designing.
After the straight line, the curved is the other element in ornament. It
is pre-eminently the type of grace, and the “line of beauty.” Whether
seen in the outline of the cloud, the wave, or the rounded limb of the
human figure, the eye takes a delight in
[Illustration: FIG. 16.--Egyptian ceiling fret.]
tracing out the flowing curve. We have closed curves in such figures as
the circle, ellipse, oval, figure of eight, and in the vesica piscis, or
fish-shape, the latter being composed of two arcs of a circle of the
same radius, touching each other at their opposite extremities. The
parabola, hyperbola, &c., are open curves; such figures as the meander
(Fig. 29), the spiral (Fig. 24), the scroll (Fig. 25), and the swag or
festoon (Fig. 27), are also open curves. When the festoon is formed of
links and hangs like a chain from two points, it is called a catenary,
and is practically identical with the lines of festoons and the loopings
of drapery.
[Illustration: 17
18
19
20
FIGS. 17 TO 20.--Straight-lined ornaments]
In the illustrations, we have at Fig. 30 circles touching each other;
this is the framework of some diapers and repeating forms. Next we come
to circles intersecting each other. Fig. 31 is a pattern common alike
to Saracenic, Egyptian, and Japanese diapers. Fig. 32 is a border
ornament of the same pattern with a centre.
[Illustration: FIGS. 21 to 23.--Straight-lined ornaments.]
An effective disc border, like that made by savage tribes from cut
shells, is shown at Fig. 33, and a development of the latter is that of
Fig. 34, taken
[Illustration: FIGS. 24. 25.--Spiral and Scroll.]
from Assyrian tesseræ, small oblong pieces of stone or metal, on which
the pattern was incised, and often alternating with the _guilloche_
(Figs. 37, 38, 39, and 40). The guilloche was an important pattern in
Assyrian work, in Greek moulding decoration, and in their flat painted
ornament.
[Illustration: FIG. 26. A, B, C, D, E.--Scale-work (imbricated).]
[Illustration: FIG. 27.--Festoon (catenary).]
[Illustration: FIG. 28.--Zigzag.]
[Illustration: FIG. 29.--Meander.]
Figs. 35 and 36 are further examples of ornament obtained from the
circle and its segments; the former being the Gothic ball-flower.
Imbricated or scale ornament was much used for roofs, to ornament small
columns and circular mouldings. Examples are given at Fig. 26, A, B, and
C.
[Illustration: FIGS. 30 to 36.--Ornaments mostly derived from the
circle.]
We now pass from the circle to the spiral,[5] from which a great part of
ornamental forms are derived.
Fig. 41 is an Egyptian wave scroll, and 42 is the familiar Greek wave.
Fig. 43 is from an Egyptian ceiling; all these contain the spiral as
their chief characteristic. Fig. 44 shows two intersecting meanders,
[Illustration: FIGS. 37 to 40.--Ornaments mostly derived from the
circle.]
47 is a scroll intersected by a meander, 46 is an eccentric meander, 45
is the scroll or antispiral of the cyma recta, and 48 is the double
spiral of the cavetto decoration. Fig. 70 is the ornament on the Greek
cyma reversa or ogee, called by the French _rais de cœur_; 71 is a Roman
variety.
[Illustration: FIGS. 41 to 48.--Ornaments chiefly based on spiral
curves.]
Fig. 50 shows the anatomy or centre lines of the purely æsthetic Greek
pattern developed at Fig. 49. Figs. 51 and 52 are additional examples.
Fig. 53 is one of the scrolls, and in Fig. 54 is shown the irregular
meanders and spiral curves forming the stand for the tripod on the roof
of the choragic monument of Lysikrates.
[Illustration: FIGS. 49 to 52.--Greek borders from vases.]
[Illustration: FIG. 53.--Scroll ornament on the slope of the roof of the
choragic monument of Lysikrates.]
[Illustration: FIG. 54.--Portion of the tripod stand on top of the roof
of the monument of Lysikrates.]