In setting out spaces for decoration the chief aim should be to get them
in harmonic proportion. The Greeks were the great masters of this art,
the most subtle proportions being chosen by them, but there is not space
here to enter into refinements. Roughly speaking, the proportion of
1¾ to 1 is fairly agreeable; when the space required approaches a
double square, it looks better if it somewhat exceeds or falls short of
that figure. As a rule, a marked preponderance in the height or length
should be given to every oblong used in decoration, and with those rough
rules, an educated eye can mostly, after a few trials, obtain harmonious
proportions. Those forms about which there is an uncertainty always look
feeble and unsatisfactory, _e.g._ an oblong that approaches the square,
or an ellipse that approaches a circle. In the case of the square there
should be no doubt about its being a square, so it is necessary that the
ornamentation chosen be calculated to emphasize the shape and not give
it the appearance of an oblong, _i.e._ the ornament should be
symmetrical on both the axes, and it is often useful to accentuate the
corners as well; if the square be surrounded by a border it is
sometimes advisable to strengthen its corners by knees. If this be done
it is necessary to have them at the four corners; if they be applied to
the two upper or the two under corners, the square will be taken for an
oblong. The repetition of squares is much more endurable than a
repetition of similar oblongs. A common case of the monotonous effect of
similar oblong panels is to be seen in a four-panelled door with the
middle rail in the centre, so the middle rail is commonly put below the
centre to get variety in the panels. Even in so graceful a form as the
human figure, sculptors rarely represent it in a perfectly symmetrical
attitude, particularly in bas-relief, unless it be to express some
marked emotion, or for the sake of the composition; there are, however,
a few figures in front view, symmetrically arranged, that form the
centres of ornamental compositions: the front view of animals in
bas-relief is still less admissible. The circle is by far the most
beautiful and useful closed curve, but it is not always available, as in
the case of a central feature in a very long ceiling or in oblong
panels, and its place must be then supplied by an ellipse, which has
this merit, that its proportions are infinite, the straight line and the
circle being only extreme cases of the ellipse; but when the choice is
unfettered the long (major) axis should so far exceed the short (minor)
as to afford a contrast; an ellipse that differs but slightly from the
circle too much resembles one that is ill-drawn. When an ellipse is
placed with the long axis vertical, which is sometimes necessary in
oblong panels, looking-glasses, &c., it should be tied to the vertical
and horizontal framework to prevent an
[Illustration: FIG 90.--Vase by Stevens showing unequal divisions of the
height, and strengthening horizontal bands.]
appearance of instability, and when this cannot be done it should be
supported by foliage.
In horizontally dividing objects circular in plan and curved in section,
such as vases, with lines or bands, several things have to be
considered. The lines themselves have a strengthening effect, but the
question is where they are best applied: if the curves of the object
vary considerably, the points at which the variations begin are the
proper places, and in this case, as in all others, variety and the
predominance of one division are to be adopted; if, however, the vase
[Illustration: FIG. 91.--Vase showing unequal divisions of the height,
and strengthening horizontal bands.]
is to be decorated, the predominant space for the most important
decoration must be placed where the curve is nearly uniform, or else the
ornament will be distorted. The Greek painted vases, with a few
exceptions, are the best examples of excellence in their divisions
(Figs. 90 and 91). Due consideration must also be given to the placing
of the vase; some of the Greek vases, intended to stand on the ground,
have the main ornament confined to the shoulder.
In the division of objects in the round, it is a general rule that they
should not be divided in the middle, but that the upper or under part
should be distinctly predominant, and that the two parts should be
different. There is, however, an exception to this rule, for when
certain objects are wanted to be symmetrical on their horizontal axes,
the upper and under forms should then be identical, _e.g._ in the case
of certain vases, candlesticks, and balusters.
[Illustration: FIG. 92.--Panelling of ceilings showing at A a bad, and
at B a better arrangement.]
In the case of ornamental objects whose outline is a matter of taste,
such as finger-plates, care must be taken that they neither have a weak
outline wholly made up of curves, like A, nor one that is too angular,
like B; the design C seems to obviate both these defects (Fig. 94).
[Illustration: _Fig. 93._--Door panels illustrating an ill-proportioned
division at A, and a well-proportioned one at B.]
[Illustration: FIG. 94.--Finger-plates for a door, of different
outlines.]
Compositions wholly formed of parallel straight lines, such as
entablatures, and some door and window architraves, have a severity,
that borders upon the monotonous, that is sometimes called dryness. The
Greeks corrected this defect in their entablatures by introducing
figures in the frieze, while the Romans mostly ornamented their friezes
with festoons and foliage. In the door architrave at the Erechtheum
circular pateræ are used on the fascia for this reason (Fig. 96); modern
ornamentalists have introduced curved figures to correct the dryness.
Archivolts to circular openings without imposts, and not enclosed by
straight lines, lack firmness and rigidity, which may be imparted by
inserting frets or flutes radiating from the centre, on the fascia of
the archivolt (Fig. 95). Similar devices may be employed to correct
weakness in planes of varied outline. In the shield of the savage (Fig.
97), made of black and yellow cane ornamented with cut shells, the two
horizontal bands, just below the junction of the semicircles with the
straight lines, strengthen the composition; there is a fair amount of
contrast between the oblique lines of the ornaments, and the circular,
slanting, and horizontal lines; though the circular cut shell-work of
the ends is excessive and monotonous. Extreme repetition is a common
fault of savage art.
When a surface requires ornament and yet to be kept flat, the painted or
inlaid ornament upon it should not be shaded nor have cast shadows, or
when carved it should be sunk: what beauty can be got by flat colours
may be seen in the tiles from Rhodes, Cairo, and Damascus. On large
surfaces the best forms of applying ornaments is within lines of
checkers, network (Figs. 98 and 99), or diapers, and except in the case
of very large surfaces, where striking variety may be introduced at set
intervals, the ornament should be uniform in general
[Illustration: FIG. 95.--Contrasting decoration on rectangular and
circular borders.]
effect, leaving the varieties to be discovered by closer inspection. One
of the best examples of this, though it is not in diapers, is in the
Medici Chapel at Florence. Michael Angelo enriched a string there with
copies of antique masks; in looking at the sides of the chapel the
masks seem all alike, but on going near them, each one is seen to be
different. Innumerable examples of ornament within network, checkers,
and diapers, maybe found in Saracenic, Moresque, Gothic, and Renaissance
work.
[Illustration: FIG. 96.--Door case at the Erechtheum showing the pateræ
on the fascia.]
To adopt forms directly from nature for the shape of any article of use
is rarely successful, though the best shapes have mostly been suggested
by natural forms. The Orientals, especially those of the extreme East,
have been very fond of this direct imitation, as in vessels made in
imitation of a piece of bamboo, of gourds with both single and double
bulbs, of eggs, cocoanuts, the horns and hoofs of animals including the
horn of the rhinoceros, of shells, flowers, &c., but they mostly want
stands or feet, which partly removes them from pure realism, except in
the case of the bamboo, the form of which too is not particularly
beautiful. When the ancient traditions had died out in England, and the
proper application of ornament
[Illustration: FIG. 97.--Shield made of cane and ornamented with cut
shells and zigzags.]
to articles of use was unknown, it occurred to many that such objects
might be directly imitated from nature. Sprays of fuchsia with a large
flower on each were used for curtain hooks; branches of plants were
used for gas brackets with the flame coming from the flower; and vases
made in imitation of the blossom of the arum. Sometimes nature itself
was not vast enough for imitation; earthenware bowls and wine-coolers
were made in imitation of wickerwork, gold brooches in imitation of
twisted bread, and other adaptations were made that were equally
incongruous. It is true that the Japanese sometimes protect their
porcelain with an outer covering of woven cane, and wicker-covered
bottles are not unknown here. The Kafirs, too, carry their milk in woven
baskets; yet in spite of these cases, there is an apparent absurdity in
such designs, not to speak of the poverty of invention they betray.
FIGS. 98 and 99.--Carved checkers.
Such vagaries are happily disappearing, since the creation of museums
and schools of ornamental art, but they are by no means extinct.
Every article, whether for use or ornament, should first be constructed
as elegantly as possible for its purpose, or supposed purpose; and only
be ornamented when the ornament does not appear incongruous, and does
not interfere with its use, but only emphasizes its form or relieves it
from monotony. Although this chapter is mainly confined to outlines and
divisions of surfaces, something has been said about the application of
ornament, so it may be remarked that the lower part of a wall should be
treated with more severity and sobriety than the upper part; for the
lower part is partly hidden by furniture, and is most liable to injury.
The Romans and Byzantines mostly used marble for the lower parts of
walls in magnificent buildings, though in houses of less magnificence
marble was either imitated by painting, or else simple floral decoration
was used. The Saracens also employed marble, but when that was not easy
to obtain, tiles took its place. The Mediævals used marble, wood
panelling, or tapestry, and when the walls were wholly painted, they
often imitated the more costly materials. Geometrical figures or diapers
are most appropriate for this part, when it is painted or papered. The
part of the wall above this may be treated with greater freedom and
elaboration. The part of the wall on a level with the eye should have
greater finish bestowed on it, unless there be a frieze with figures or
a higher class of ornament to a larger scale.