Freetoimitettiilit Tiroidiano Porn Maturii 1 W!!!"uolirnim 'll Ditu II muliw 111 nerenverk "How SR . Some terms commonly used in ornamental design Thomas Erat Harrison, W. G. Paulson Townsend ÄRCHITtCVUnA LIBRARY i £ 10 . йза. vi PREFACE. having any absolute demarcation, are still sufficiently explicit to be easily understood. In consequence of this overlapping of kindred designs a collection of mathematically exact definitions cannot be given, but an attempt is here made to render each one as stringent as possible, and to suggest a more methodical application of terms than is customary, so that students may more easily be able to give a definition of a pattern or to realise a pattern from its definition. No reference is here made to pattern con- struction or its nomenclature, as this has already been exhaustively dealt with in the books of Messrs Crane, Day, Rhead, Ward, and others. The author's thanks are due to Messrs Morris & Co. for permission to publish Figs. 71 and 72. CONTENTS. PAGE The Scroll - I Interlacing Ornament - 7 Border Patterns 11 Stripe Patterns - 13 Diapers ----- is Sprig Patterns - 17 Counterchanges - - - - 19 Interchange - 21 All-over Continuous Patterns 23 The Trellis - 25 Self-contained Ornament 27 Foliated and Floral Ornament 29 Geometric Ornament - 31 Grotesques - 33 Arabesques - 35 X LIST OF ILLUSTRATIONS. NO. DRAWN BY PAGE 16. Scroll - T. E. H. - 51 17- ,, - ,' - - Si 18. „ - 51 19- .. „ - 53 . 20. „ - 55 21. „ - 57 22. Volute - „ - - 59 23- - 59 24- - » 59 25. Scroll-like Ornament „ - - 61 26. Scroll - - „ - - 63 27. Wave - - „ -63 28. „ „ 63 29- » „ 63 30. „ - 63 31. Interlacing - „ - - 65 32. „ „ 65 33- , „ 65 34- „ 67 35- ., 67 36. „ „ 67 37- - W. G. P. T. - 67 38. - - 67 39. „ - T. E. H. - - 69 40. - - 71 4L -, - 71 42. Strapwork - - „ - 71 43. Stripe - 73 44- » - - ,. - - 75 xii LIST OF ILLUSTRATIONS. NO. DRAWN* BY PAGE 73. Geometric - - T. E. H. - -107 74- - .. - - 107 75- » - Ю7 76. - „ - - 107 77- ». - - - 107 78. Arabesque - - „ - 109 79. - - 109 80. „ - - T. E. H. - - 109 81. - „ - - in 82. „ - - W. G. P. T. - - 111 INDEX TO ILLUSTRATIONS. All-over pattern, Figs. 48, 49, 50, 52, 53, 54, 57, 58, 60, 61,62, 63, 64, 65, 66, 67, 69, 77. All-over continuous pattern, Figs. 13, 47л, 51, 55, 70, 71, 72, 77- Arabesque, Figs. 78, 79, 80, 81, 82. Arabic, Figs. 38, 39, 39«. Assyrian, Fig. 52. Border patterns, Figs. 2, 3, 6, 15, 16, 26, 27, 28, 29, 30, 32, 33«, 33*. 34, 35, 36, 37, 38. 39«, 73, 74, 75- Byzantine, Figs. 6, 10, 33л, 33Л Celtic, Fig. 55 Conventional, Figs. i, 2, 3, 4, 5, 6, 7, 8, 12, 15, 16, 17, 18, 19, 20, 25, 29, 30,44,45,46,47a, 47¿, 57, 58,61,62,68,70,71. Corinthian, Fig. 22. Counterchange, Figs. 390, 64, 65, 66, 67, 68. Diaper, Figs. 48, 49, 50, 51, 52, 53, 54, 55, 56, 57, 58, 59, 60, 61. Durer, Fig. 79. Dutch, Fig. 78. 2 THE SCROLL. of which have apparently but slight affinity to each other. One of the most usual is a series of spirals springing from a main stem, or from each other, in succession, and this forms the basis of nearly all scroll borders, whether re- peating or merely flowing. Grotesque figures frequently terminate in scrolls, and detached animal forms, not being integral parts of the design, are often introduced as accessories. As an example of a, ¿z, in conjunction with purely abstract ornament, take Fig. i. In- numerable varieties of this treatment occur in Renaissance work. As a series of spirals growing from a common stem or from each other, see Fig. 2. Developments of this are shown in Figs. 3 and 6, which give examples of highly con- ventional foliated and floral work in repeat- ing borders. Figs. 4 and 5 are examples of flowing (not repeating) designs, and show some of the varieties of ornament included under the term "scroll." Fig. 7 shows spirals springing from a series of common stems. Fig. 8 is the filling of a panel constructed THE SCROLL. 5 The single spiral (see Figs. 22 and 23) and the double spiral (see Fig. 24), when occurring in the capitals of columns or pilasters of any kind, are called "volutes." Fig. 25 consists of fantastic foliage de- signed in a scroll-like manner, but is not, strictly speaking, a scroll. Some confusion has arisen from the border shown in Fig. 26, being commonly known as the "Greek wave pattern." It will be seen that it is really a scroll pattern, being a repeat of the curves in Figs. с, c. Wave patterns are founded on the lines shown in Figs. 27 and 28, and are not scrolls. For developed examples of the "wave," see Figs. 29 and 30. REPEATING PATTERNS. BORDERS. STRIPES. DIAPERS. SPRIG. COUNTERCHANGE. INTERCHANGE. ALL-OVER CONTINUOUS. THE TRELLIS. 11 REPEATING PATTERNS—BORDER PATTERNS. These from their nature repeat in two direc- tions only, i.e., backwards and forwards. As examples take Figs. 2, 3, 6, 15, 16, 26, 27, 28, 29, 30, 32, 330, 33¿, 34, 35, 36, 37, 38, 39«. 73. 74. and 75. 13 REPEATING PATTERNS—STRIPE PATTERN. This pattern consists of a series of parallel stripes, straight or waved, set out so as to show (a) a series of strongly marked bands, plain or decorated, or (в) so disposed that the stripe is but slightly defined, thus giving the impression of an "all-over continuous" pattern. Take as example of a Figs. 43, 44, 45, and 46. Take as example of в Fig. 47. is REPEATING PATTERNS—DIAPERS. "Diaper" is the term used to express an all-over repeating pattern in which the scale of repeat is small in comparison with the space occupied. In other words, frequency of repeat is one of its characteristics. It may or may not be continuous, the field must be evenly covered, and, no feature being specially prominent, its general effect is flat. No repeat on a large scale or loosely flowing design is a "diaper." The close arrange- ment of a number of small and varied units, without any definite repeat, is sometimes called a " random " diaper. In effect it closely resembles a repeating diaper. A diaper may be either (a) purely geo- metric, (в) a design in which the geometric construction plays an important part, (с) a series of one or more disconnected units of 18 REPEATING PATTERNS—SPRIG PATTERN. frequently used in lace work and embroidery, and known as " sprigging," would be properly defined as a " random diaper." See Fig. 61. As an example of a take Fig. 62. As an example of в take Fig. 63. As an example of с take Fig. 43. 19 REPEATING PATTERNS— COUNTERCHANGE. In a "counterchange" two colours only are used to discriminate between the ground and pattern. Both the device and the ground are identical in shape and area, and the whole is nearly always geometric in character. The simplest form and basis of this kind of de- sign consists of chequers only. As examples take Figs. 64, 65, 66, 67, and the border of Fig- 39- Sometimes an independent decoration is superimposed on the counterchange. Heraldic counterchange refers to change of tincture only, not to form. See Fig. 68. 21 REPEATING PATTERNS—INTER- CHANGE. Fig. 69 is not a genuine "counterchange," as the device and ground are not identical in form and area. It is properly an "inter- change." The toned lines merely separate the bands, and do not alter the character of the design. 23 REPEATING PATTERNS—ALL-OVER CONTINUOUS PATTERN. This pattern is one which repeats in all directions, the neighbouring parts being con- nected by stalks, bands, overlappings or con- tacts, in such a manner that these form part of the design. As examples take Figs. 13, 35, 47«, 48, 49, 50, 51. 55, 56, 66, 70, 71, and 72. Figs. 47 and 47« are given side by side to show how nearly a "stripe" may approach an "all-over continuous" repeating pattern. In this case one of the repeating branches by passing over and under another transforms a "stripe" into an "all-over continuous" pattern. 25 REPEATING PATTERNS—THE TRELLIS. This pattern usually consists of a running floral or foliated pattern interlaced with lattice-work. As example take Fig. 72. 3i GEOMETRIC ORNAMENT. A geometric device or pattern may be alto- gether composed of lines which are mechani- cally produced, such as straight lines, circles, or their segments, ellipses, &c. Hence it may consist (a) entirely of straight, or (в) entirely of curved lines, or (c) it may be formed of a combination of the two. Such curves (d) as require freehand drawing may also be used, but no direct transcript of a natural form is admissible. Flatness is essential to a geometric pattern, and as a rule it lies entirely in one plane. Absolute flatness is not possible in the case of overlapping or interlacing ornaments, but even in these the difference in planes must be exceedingly slight. Geometric is the most conventional of all patterns. As examples of a take Figs. 31, 32, 34, 38, 39-51. 54, 64, 66, 73, and 74. 32 GEOMETRIC ORNAMENT. As examples of в take Figs. 26, 27, 28, 33¿. 35. 4ot> and d, 52, 53, 55, 56, and 76. As examples of с take Figs. 31, 33«, 36, 37, 41, 65, 67, 75, and 77. As examples of d take Fig. 76. Spot diaper, Fig. 48, is also "geometric." 33 GROTESQUE. "Grotesque" is a word generally applied to fantastic and extravagant animal forms designed with a certain humour and used in conjunction^ with other ornament. In some Gothic examples the grotesque has but little beauty, and is occasionally ugly or even repulsive, and often grimly satirical. See Figs. 14, 20, 21, 80, 81, 82. с 35 ARABESQUE. Arabesque usually denotes a flowing orna- ment of more or less capricious design, con- taining vase shapes, grotesques, trophies, realistic or imaginary floral, animal, and human forms. The Raffaello (Raphael) pilaster decorations are well-known types. It will be seen that "arabesques," though more elegant, are closely connected with "grotesques." The word, which was origi- nally used to specify Arabian ornament, is now seldom so used. As examples take Figs. 78, 79, 80, 81, 82. These devices may be considered border decorations, but are not border "patterns" as they do not repeat. ILLUSTRATIONS. SCROLLS. 41 . Scroll, Repeating Border Pattern, Conventional. Ancient Greek. 3. Scroll, Repeating Border Pattern, Conventional. Indian. 6. Scroll, Border, Repeating, Conventional. Byzantine, I Ith Cent. SCROLLS. 45 9. Scroll, Flowing, Foliated. Italian, Early 16th Cent. SCROLLS. 49 SCROLLS. 51 18. Scroll, Self-Contained, Interlacing, 16. Scroll, Border, Foliated, Conventional. German, Repeating, Con- 15th Cent. ventional, Foli- : : ...... ated. German, : :: A.D. 1506. SCROLL. 19. Scroll, Interlacing, Conventional, Self- Contained. English, 12th Cent. 2i. Scroll, Conventional, Foliated, Grotesque. Early i6th Cent. VOLUTES. 59 Lu "S'-.r Si* 23. Volutes. Italian, Late 15th Cent. 24. Volutes. Ro- man Ionic, 2nd Cent. A.D. Volutes. Roman Cor- inthian, 2nd Cent. A.D. innnnnnnnñnr Scroll-like. Ornament. ?Foliated, Flowing, Self-Contained, Conventional. German, 16th Cent. INTERLACING. 65 Interlacing Pattern, Bor- 33. Interlacing Patterns, Borders, der, Repeating, Con- Repeating, Continuous. tinuous, Geometric. Byzantine, nth Cent. INTERLACING. 39. Interlacing Pattern, Geometric. Arabic, 14th Cent. INTERLACING. 40. Interlacing, Self-Contained, 42. Strapwork, Self-Contained. b and d Geometric. Italian, French, 16th Cent. i Ith Cent. 43- Stripe Pattern, Repeating, Continuous, Sprig, Floral and Foliated. French, 18th Cent. STRIPE. 77 45. Stripe Pattern, Repeating, Continuous, Conventional, Foliated and Floral. 15th to 16th Cent. 46. Stripe Pattern, Repeating, Continuous, Conventional. Sicilian, 13th Cent. STRIPE AND ALL-OVER CONTINUOUS. 81 F DIAPER. 89 57. Diaper, Repeating, All-Over (in heraldry called "semée "). French, 17th Cent. 58. Diaper, Repeating, All-Over. Modern. RANDOM DIAPER. 91 61. Diaper, Random, Sprig, Limerick Lfic£..-, jotr}".<5ent. SPRIG. 93 63. Sprig, Repeating, Ail-Over, Floral and Foliated. French, 18th Cent. COUNTERCHANGE. 97 INTERCHANGE. 99 ALL-OVER CONTINUOUS. ioi 70. All-Over Continuous Pattern, Conventional. Founded on Persian, 14th to 15th Cent. GEOMETRIC. 73. Border, Repeating, Continuous, Geometric. Ancient Greek. gggggggggggg 74. Border, Repeating, Continuous, Geometric. ЖШЖШ. 75. Border, Repeating. Ancient Greek. -ML 76. Self-Contained, Geo- metric, Japanese. 77. Repeating, АН-Over Continuous, Geometric. ARABESQUE. 109 79 Arabesque, Flowing. 78. Scroll, develop- Albert Durer. Ger- ing into Arab- man, 16th Cent. esque, Flowing. Dutch, A.D. i486. ARABESQUE. 111 8 i. Arabesque, Grotesque, 82. Arabesque, Grotesque and Human Flowing. Raffaello Pil- Forms. Raffaello Çil^steç..- l-tajian, aster. Italian, 16th Cent. 16th Cent. * *"*