Meyer Franz. A Handbook of Ornament
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A.
GEOMETRICAL
ELEMENTS AND
MOTIVES.
Geometrical
Ornament is the primordial
or oldest of
the
Elements
of
Decoration.
The
implements of
savages, and
the tattooing of the
Indians, prove
this.
The
seam,
with
the thread
running slant-wise
from one
piece to
the other, may have
been the
original for the
Zigzag line;
and
woven-work,
of
vyarp
and woof
of every kind,
the
original for
Reticulated patterns; and the plaited
hair
that
of the
Plaited
band.
The revolutions
of a
fork-like
instrument
led
to
the dis-
covery of
the Circle; the combination of
dots, at regular
intervals,
to
the
Polygon or
Pointed -star. The gradual
developement
of these
original
geometrical forms, rising from stage
to stage with the growth
of
culture and
knowledge, led finally
to geometrical
artistic forms
such as we see
in Moorish panelled ceilings,
in Gothic tracery,
in
guilloche-work,
and the like. The
developement of geometry into
a
science,
with its theorems and proofs, also came
to the
assistance
of
art. As
evidence of this, we
need
only refer
to the construction
of
the
ellipse from given lengths
of axes.
The majority
of
all geometrical ornaments may
be
divided
into
three
groups. They are either continuous
and
ribbon-like (bands),
or
in enclosed
spaces (panels),
or in unlimited flat patterns. In
every
case the foundation
of the geometrical ornament will
be.
a
certain
division,
a
subsidiary
construction,
or a
network. We
will begin
with
the last; and
pass
in
turn
to
the ribbon motives,
the flat
patterns,
and the figure motives.
1*
4
Network.
—
Band Motives.
Network.
(Plate
1.)
The
systems
of
subsidiary
lines
required
in geometrical
patterns,
e. g.:
parquets,
mosaics, window-glazing,
&c.,
are termed Nets.
The
name
explains
itself. They
may
be of very various kinds.
The most
frequent
are
quadrangular and triangular reticulations, combined
of
single
squares
or
equilateral triangles. A special network,
resembling
the
plait of a
cane
chair, is required for some
Moorish
patterns.
Plate
1.
Network.
1.
Ordinary
quadrangular.
Equal divisions are
set
off
in one
direc-
tion,
parallels
are
drawn through the points
of
division,
and
the
former
cut
by
a
line at an angle of
45".
The
points,
where
these diagonals cut the parallels, mark the
divisions
in
the
Qpposite
direction.
2.
Oblique
quadrangular. The divisions are set-off
on a
vertical
line
and
the
parallels
are
then
drawn at
an angle of
45"
on
each side
of the
points of division.
3.
Straight,
with
alternate divisions. Construction
similar to No. 1.
4.
Oblique
quadrangular, with alternate divisions.
Construction
similar
to
No. 2.
5.
Moorish
Diapers.
6.
Enlarged
detail to No. 5.
7.
Triangular net. It is
based
on the construction of the equi-
lateral
triangle; and may be
arranged in two attitudes,
as
shown
in figs. 8
and
9.
8
and 9.
Enlarged details to
fig.
7.
Band
Motives.
(Plates
2
—
4.)
Plates
2,
3 and 4
contain a
number
of
band
motives. These
are made by
the
joining
of regularly-placed
points: those in Plate 2
are joine'd
by
straight
lines; those in
Plate
3
by arcs; and those
in
Plate
4 by a
combination
of
both.
Each
of
the
plates
contains,
beneath the motives, specimens of
their
application,
taken from
different styles.
Plate
2. Band
Motives,
in
Straight
lines.
1,
7,
8
and 14.
Greek.
2.
Zigzag lines.
15.
Moorish
plaited
band.
6 and 16.
These
examples may
be
illustrated by
folded
strips
of
paper.
GEOMETRICAL
ELEMENTS.
Network. Plate
1.
GEOMETRICAL
ELEMENTS.
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GEOMETRICAL
ELEMENTS
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GEOMETRICAL ELEMENTS.
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1
Baud
Motives.
—
Diaper
Patterns.
9
71
and
19.
Carvings
in
basrelief from the
implements of savages.
18.
Greek
vase
painting, Motive: the
seam.
20.
Waves
with lotus, Egyptian
wall-painting,
(Qwen Jones).
E*LATE
3. Band
Motives, m
Arcs.
5
and 13.
Undulate
lines.
10.
Motive of the
"strung coin"
pattern (coins
threaded on a cord).
17.
Romanesque ornament from an evangeliarium
written
for
Charle-
magne, 8th
cebtury,
Library of the Louvre, Paris.
18.
Romanesque mural painting, Swedish church.
19.
Chinese
damaskeened
ornament
from a vase, (Racinet).
Plate
4. Band
Moti\'es, Mixed.
13.
Romanesque
glass
painting, church
of S.
Urban,
Troyes.
15. Frieze, house,
Beaune, 17th century,
(Racinet).
N. B. Where two area
are joined: it
is necessary, in order
to
avoid a
break,
that the
two
centres and the point of
junction should be in
the
same
straight
line.
Diaper Patterns. (Plates
5
—
7.)
Plates
5,
6 and
7
give a
selection for
flat patterns. Almost
all
the
constructions may
be
referred to
the quadrangular
or
the
trian-
gular Net.
The examples in Plate 5
show junctions in a straight
line;
those
in
Plate
6 are
composed
of arcs; and in
Plate 7
the
regularly-placed
points are
joined
by
mixed lines.
The designs
may
be used
as patterns
for parquet flooring, window
glazing, and similar work,
without
further enrichment. They are at
the same time
available
as
construction-lines
for the further develope-
ment of richer
patterns
for
mural and
glass painting,
caijiets,
tapestry,
ceilings,
&c.,
as shown by the
examples of
application appended
to
the
simple
motives.
Plate 5. Diaper Patterns, ac,
avitii Straight
li.ves.
4
and
6. Roof-covering may be
considered
as the
motive.
10.
The
natural motive is
the cell
of the
honey
bee.
13
—
15. Designs for cofi'er ceiling, by
Sebastian Serlio.
IGth
century,
fPormenschatz).
Plate
6.
Diaper
Patterns, with
Arcs.
1,
4
and
7. Scale motives.
10. Romanesque
glass painting, Cathedml,
Bonrges,
(Racinet).
10
GEOMETRICAL
ELEMENTS.
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