A DECORATIVE LANGUAGE.
WHEN in olden times the warriors went around the country dressed in
suits of clothes made by a blacksmith instead of a tailor, their hats
were manufactured at the forge also, and had _iron front doors_ that
moved upon hinges. When danger was nigh these doors were closed,
locked, and barred over the poor men’s heads, leaving only a loop-hole
or two for them to peep through. At such times in meeting Mr. Brown it
was impossible to distinguish him from Mr. Smith, who was arrayed in
like manner, and it might happen that Mr. Smith was the last man in
the world that one cared to meet, not being on speaking terms or some
such reason. Well, as we were saying, there was no chance whatever of
telling one man from another unless he wore a distinguishing mark of
some kind.
So to prevent such uncomfortable mistakes and to distinguish friend
from foe, every gentleman had to be marked and labelled, like an
express package, so one might read as he ran, “I am Earl Jenkins,
of Thunderland, who married a Rhazor, of Stropshire.” These names
and addresses were not painted in words on their owners with a
marking-brush, but worked and embroidered in translatable designs on
cloaks, saddle-housings, and silken banners, or emblazoned on the
shield they carried with which to meet the advances of their neighbors.
Since that time our more recent ancestors in England have taken great
pride in preserving and handing down from generation to generation
these distinguishing marks, as a guarantee to their children that they
came of gentle birth, which is very interesting and gratifying for
European girls, but American girls need nothing of the kind; it is
sufficient that we are Americans.
Of course, some of us do take pleasure in knowing that our
great-great-grandparents came over in the Mayflower, or that the
name of an ancestor is among the signatures upon that Declaration of
Independence which made such a stir a century ago, for that proves us
to be Columbia’s daughters.
When there was no other method of distinguishing a man his label became
a very important item; so these family devices were reduced to a
science and protected by law.
The old countries’ coats of arms may remain abroad, where they belong,
but the ingenious scheme, that was gradually evolved, of picturing
ideas, mottoes, and pretty sentiments we will adopt as our inheritance,
with many thanks to our mediæval ancestors with the metallic clothes,
who bequeathed them to us.
We propose to revive enough of this neglected knowledge of chivalry to
serve our purpose in suggesting a method of designing devices which
will not only be artistic decorations, but to the initiated can be made
to portray almost any sentiment or set of principles the artist may
choose.
The many uses to which these designs can be applied will, we hope,
at once be seen by the quick-witted American girls, and we trust
will interest the reader as much as they do the writer, who in this
chapter can only give a few necessary, brief hints upon the subject,
sufficient, however, to explain the application that can be made of
this beautiful and perfect system of
=Decorative Language.=
In the following directions anyone can learn how to make a device which
will not only be a decoration, artistic in form and color, but will at
the same time express the peculiar traits, characteristics, and virtues
of the friend for whom it is intended, or the precept, code, proverb,
or creed of the designer. All technical terms, as far as practicable,
are discarded, but the rules of heraldry strictly adhered to, with such
simplifications as are necessary to render it intelligible.
=The Field.=
The surface on which the design is portrayed is called the field.
This may be of any shape; originally it was supposed to represent a
warrior’s shield, but you may use a circle, oval, square, diamond, or
any other form.
[Illustration: Fig. 256.—The Field.]
=The Points=
on the surface of the shield locate the exact spot where a design or
object in heraldry may be placed. Refer by numbers to Fig. 257.
[Illustration: Fig. 257.—Points.]
1. Fess point.
2. Honor point.
3. Nombril point.
4. Dexter chief point.
5. Middle or chief point.
6. Sinister chief point.
7. Dexter base point.
8. Middle base point.
9. Sinister base point.
If you desire to place a flower on the fess point, you find that it
means the exact centre of the shield, and so on.
The devices take significance in accordance with the more or less
importance of their position on the shield; the honor point holds the
highest grade, next to it the middle or chief point, and the right or
dexter side is of more importance than the left or sinister.
The field may be divided, if desired, in any of the following
=Divisions,=
each of which has a significance, suggested generally by the form:
Fig. 258, the Chief, occupying the top or head of the shield, indicates
pre-eminence, main object, intelligence, first principle.
[Illustration: Fig. 258.—Chief.]
[Illustration: Fig. 259.—Fess.]
[Illustration: Fig. 260.—Parted per Fess.]
Fig. 259, the Fess, denotes cause and effect, the central band
containing the means by which the ends, in the other spaces, are
accomplished.
[Illustration: Fig. 261.—Pale.]
[Illustration: Fig. 262.—Parted per Pale.]
[Illustration: Fig. 263.—Bend.]
Fig. 260 is a partition, and partakes of the meaning of the division,
it is denoted by the term, parted per fess.
Fig. 261, the Pale, represents rectitude, uprightness; also union, the
object in the central division uniting whatever occupies the dexter and
sinister sides.
Fig. 262 is parted per pale.
[Illustration: Fig. 264.—Parted per Bend.]
[Illustration: Fig. 265.—Chevron.]
[Illustration: Fig. 266.—Cross.]
Fig. 263, the Bend, is auspicious, meaning prosperity, success.
Fig. 264 is parted per bend.
Fig. 265, the Chevron, is indicative of aid, assistance, support.
Fig. 266, the Cross, suggests humility, devotion, patience,
perseverance.
[Illustration: Fig. 267.—Saltire.]
[Illustration: Fig. 268.—Pile.]
[Illustration: Fig. 269.—Canton.]
Fig. 267, the Saltire, a variation of the cross, is recognized as
order, discipline.
Fig. 268, the Pile, being in the form of a wedge, means penetration,
incision, entering to divide or distribute.
Fig. 269, the Canton, denotes an additional, separate idea or
principle; also some characteristic that is added to the original
design.
=Colors.=
These also have symbolical meanings.
Fig. 270.—Gold or yellow is expressed in black and white by means of
dots, and is used in the sense of wealth, ability, or knowledge.
[Illustration: Fig. 270.—Gold.]
[Illustration: Fig. 271.—Silver.]
[Illustration: Fig. 272.—Red.]
Fig. 271.—Silver or white is represented by a plain white surface,
and being the color of light, signifies brightness, purity, virtue,
innocence.
Fig. 272.—Red, represented by perpendicular lines, means ardent
affection, love.
Fig. 273.—Blue is represented by horizontal lines; like the color in
the heavens, it is truth, freedom, eternity.
[Illustration: Fig. 273.—Blue.]
[Illustration: Fig. 274.—Purple.]
[Illustration: Fig. 275.—Green.]
Fig. 274.—Purple, represented by diagonal lines from sinister chief to
dexter base, being the royal color, is understood as authority, power,
grandeur.
Fig. 275.—Green is represented by lines running diagonally across the
shield from dexter chief to sinister base. Like spring foliage, it
suggests hope, life, vitality, youth, freshness.
Fig. 276.—Orange is represented by horizontal lines crossed by diagonal
lines from dexter base to sinister chief. It is the color of the king
of beasts and signifies strength, honor, generosity.
[Illustration: Fig. 276.—Orange.]
[Illustration: Fig. 277.—Crimson.]
[Illustration: Fig. 278.—Black.]
Fig. 277.—Crimson, or blood-color, is represented by diagonal lines
from dexter chief and sinister chief, crossing each other. It denotes
boldness, enthusiasm, impetuosity.
Fig. 278.—Black is represented by horizontal and perpendicular lines
crossed. It means darkness, doubt, ignorance, uncertainty.
To the principal design portrayed on the shield can be added such
appendages as are appropriate—crest over the top and a scroll with a
motto beneath the shield—but they are supplementary, and not of great
importance; their colors should be those of the shield.
Thus far our plans have followed the exact science of heraldry, but
at this point comes a departure, for in the place of other armorial
devices we shall place Dame Nature’s sweetest thoughts—flowers.
If we now add to the significance of the forms and colors already
given the accepted and authentic language of flowers, we shall have a
possibility of combinations practically inexhaustible, and with such
a dictionary of symbols to draw upon, we can successfully translate
almost any terse sentiment into a unique decorative design.
In order to give all the assistance in our power we have culled from
the most generally accepted authorities and authentic sources a short
floral vocabulary, and now that we have the material at hand let us
test the system and learn
=How to Make a Design in Decorative Language.=
Suppose our Natural History Society desires an appropriate pin or badge.
First we turn to the floral vocabulary and there find that the magnolia
means love of nature. The flower has a good decorative form, its
sentiment is exactly appropriate, and we unhesitatingly adopt it.
[Illustration: Fig. 279. TRUE LOVE OF NATURE]
After trying various forms for the shield, we select a very plain one
that the effect of the decorative form of the magnolia may not be
lessened by too ornate surroundings, and to show the large size of the
blossom we must have it occupy the entire field without any divisions.
Next, as to color; let us think. White, meaning brightness, purity,
etc.? No. Yellow or gold, signifying wealth, ability, or—ah! here we
have it—_knowledge?_ Yes, that will do nicely—a love of nature on a
field of knowledge; that certainly is appropriate. But the top of
the shield being so square and plain gives the device an unfinished
appearance. Suppose we try a bar over it, and something not a flower.
As we wish this design to remain simple, a leaf of some kind would be
best; so we return to the floral vocabulary, and after trying many and
almost taking several, finally decide that the oak leaf is just the
form needed to give a finish to the top, and its meaning, strength,
will be an excellent element in the society. There, our insignia is
complete, good in form, attractive in color, and appropriate in its
meaning; but some of us prefer having the motto written out in plain
English, so we will add a decorative scroll, with the meaning of the
design inscribed “True Love of Nature.” (See Fig. 279.)
To familiarize ourselves with the working of the method let us try
another experiment, and take the sentiment, “Wealth is the Reward of
Industry,” to illustrate.
After deciding on the form of the shield, we turn to the divisions, and
running them slowly over for something suitable, stop at Fig. 259, the
Fess, meaning cause and effect. That sounds promising. Industry is the
means by which the end, wealth, is accomplished. Good so far. We can
now see that a floral emblem to represent industry should be placed in
the central division, and whatever signifies wealth on the other two
spaces. Among our legends of flowers we find industry portrayed by the
bee orchid, and wealth and prosperity are symbolized by wheat. That
is plain and easy. Now we have only to decide upon appropriate colors
for the field to complete the design. Gold would mean wealth, but that
we have in the wheat; besides the yellow of the wheat would not show
well on the gold background, while on white or silver the contrast
is strong and the appearance agreeable. Silver denotes innocence and
virtue, which are so necessary that without them wealth would be
undesirable. Therefore silver or virtue shall be the groundwork for
our wealth, and for industry we will select purple as meaning power.
Industry possesses the power to acquire wealth. Thus we complete the
emblematical design, as seen in Fig. 280.
[Illustration: Fig. 280. Wealth is the Reward of INDUSTRY]
The following is a problem given to us for solution: On a gold chevron
in a black field is a scarlet lily, to which is added as a crest a
sunflower, and under all a blank scroll. On this we must write a motto
that will be appropriately symbolized by the design.
It would be excellent practice for the student in this new motif in
decorative art to try, by application of the foregoing instructions, to
decipher the meaning of this design before reading the analysis.
SOLUTION OF FIG. 281. —We do not think this is put together as
scientifically as the system would admit of, but still it can be
deciphered.
[Illustration: Fig. 281.]
The scarlet lily (high-souled aspirations) on a gold (knowledge)
chevron, which is aid, assistance, in a field of black (ignorance),
surmounted by the sunflower (pure and lofty thoughts), freely
translated, might be read: Aspirations after knowledge help to illumine
the darkness of ignorance with pure and lofty thoughts. Aspirations
(lily) after knowledge (gold) help (chevron) to illumine (the gold
chevron and lily brighten up the dulness of the black field) the
darkness of ignorance (black) with pure and lofty thoughts (sunflower).
[Illustration: Fig. 282.]
For younger girls the plain shield of one color with an appropriate
flower had best be used, which they may vary _ad infinitum_. A simple
yet pretty shield can be made by placing a four-leaved clover,
symbolical of good-luck, on a shield of one color, silver, meaning
purity, innocence, showing that innocence, combined with the language
of the clover, expresses good-fortune.
[Illustration: Fig. 283.]
[Illustration: Fig. 284]
We might go on forming innumerable designs, each more beautiful than
the last, but enough hints have been given to enable the young people
to make any style of design in this decorative language which may
best suit their purpose. Young girls can decorate menu cards, having
each motto exactly suited to every separate guest, the sentiment
being indicative of some feeling or quality peculiar to each person.
Invitations for parties, also orders of dances or games, may be
designed in the same way.
[Illustration: Fig. 285.]
This beautiful combination of flowers and heraldry is appropriate for
ornamental needlework, to be embroidered on chairs, worked on screens,
painted on velvet, wrought on scarfs, and adapted in innumerable ways
to add to the refinement and attractiveness of home.
[Illustration: Fig. 286.]
The idea can be utilized in stained-glass effects and in china
[Illustration: Fig. 287.]
[Illustration: Fig. 288.]
The chosen motto may be a decoration in marking personal possessions,
such as table china (Figs. 282, 283, 284), fan (Fig. 285), chair-back
(Fig. 286), travelling satchel (Fig. 287), tidy (Fig. 288),
handkerchief (Fig. 289), and sofa-cushion (Fig. 290).
[Illustration: Fig. 289.]
[Illustration: Fig. 290.]
These are only a few examples of the many articles which can be
beautified and stamped with your individual mark. Portières offer a
good ground for applique or embroidery in decorative language.
=Book-Plates=
seem to be regaining their popularity and usefulness. These book-plates
are tablets in any style, which, when gummed inside on the front covers
of books, have been used for many years to designate to whom the books
belong.
There is a certain book-plate more interesting to us than all others.
To the design on it we are indebted for our national shield and our
Stars and Stripes. It was used by the Father of our Country, and we are
glad to be able to give a print of the original in Fig. 291.
[Illustration: Fig. 291.]
In the decorative language any style of book-plate can be designed,
which, when pasted in a favorite book, will add to the value of the
already treasured volume.
=Floral Vocabulary.=
Apple-blossom Preference.
Almond Hope.
Acanthus Art.
Arbor vitæ Unchanging friendship.
Bulrush Docility.
Balm Social intercourse.
Balsamine Impatience.
Blue violet Faithfulness.
Bay wreath Glory.
Box Constancy.
Broom Humility.
Buttercup Riches.
Camellia japonica Unpretending excellence.
Cherry A good education.
Canterbury-bell Gratitude.
Chestnut Do me justice.
China aster Love of variety.
Cabbage Profit.
Coreopsis Always cheerful.
Clover, red Industry.
Cowslip Winning grace.
Clover, white I promise.
Daffodil Uncertainty.
Dahlia Elegance and dignity.
Dandelion Coquetry.
Fennel Strength.
Geranium Gentility.
Grass Submission.
Heliotrope Devotion.
House-leek Domestic economy.
Hollyhock Ambition.
Ivy Dependence.
Laurestine A token.
Lichen Solitude.
Lettuce Cold-hearted.
Lemon-blossom Discretion.
Lilac, purple Fastidiousness.
Lily, white Purity.
Mullein Good-nature.
Mignonette Worth.
May-flower Welcome.
Nasturtium Patriotism.
Oats Music.
Olive Peace.
Ox-eye Patience.
Poppy, white Dreams.
Snowdrop Consolation.
Straw United.
Sensitive-plant Sensitiveness.
Star of Bethlehem Reconciliation.
Sweetbrier Simplicity.
Thyme Thriftiness.
Thorn-apple Disguise.
Tulip-tree Fame.
Witch-hazel A spell.
Winged seeds of all kinds Messengers.
White violet Modesty.
White rose Silence.
[Illustration]