Principles of Decorative Design / Fourth Edition

by Christopher Dresser

As an illustration of my meaning, let us take the ornament produced by the Egyptians. In order to see this it may be necessary that we visit a museum—say the British Museum—where we search out the mummy-cases; but as most provincial museums boast one or more mummy-cases, we are almost certain to find in the leading country towns illustrations that will serve our present purpose. On a mummy-case you may find a singular ornament, which is a conventional drawing of the Egyptian lotus, or blue water-lily [2] [(see Figs. 1, 2, 3)], and in all probability you will find this ornamental device repeated over and over again on the one mummy-case. Notice this peculiarity of the drawing of the lotus—a peculiarity common to Egyptian ornaments—that there is a severity, a rigidity of line, a sort of sternness about it. This rigidity or severity of drawing is a great peculiarity or characteristic of Egyptian drawing. But mark! with this severity there is always coupled an amount of dignity, and in some cases this dignity is very apparent. Length of line, firmness of drawing, severity of form, and subtlety of curve are the great characteristics of Egyptian ornamentation.

What does all this express? It expresses the character of the people who created the ornaments. The ornaments of the ancient Egyptians were all ordered by the priesthood, amongst whom the learning of this people was stored. The priests were the dictators to the people not only of religion, but of the forms which their ornaments were to assume. Mark, then, the expression of the severity of character and dignified bearing of the priesthood: in the very drawing of a simple flower we have presented to us the character of the men who brought about its production. But this is only what we are in the constant habit of witnessing. A man of knowledge writes with power and force; while the man of wavering opinions writes timidly and with feebleness. The force of the one character (which character has been made forcible by knowledge) and the weakness of the other is manifested by his written words. So it is with ornaments: power or feebleness of character is manifest by the forms produced.

The Egyptians were a severe people; they were hard task-masters. When a great work had to be performed, a number of slaves were selected for the work, and a portion of food allotted to each, which was to last till the work was completed; and if the work was not finished when the food was consumed, the slaves perished. We do not wonder at the severity of Egyptian drawing. But the Egyptians were a noble people—noble in knowledge of the arts, noble in the erection of vast and massive buildings, noble in the greatness of their power. Hence we have nobility of drawing—power and dignity mingled with severity in every ornamental form which they produced.

We have thus noticed the general utterance or expression of Egyptian drawing; but what specific communication does this particular lotus make? Most of the ornaments of the Egyptians—whether the adornments of sarcophagi, of water-vessels, or mere charms to be worn pendent from the neck—were symbols of some truth or dogma inculcated by the priests. Hence Egyptian ornament is said to be symbolic.

The fertility of the Nile valley was chiefly due to the river annually overflowing its banks. In spreading over the land, the water carried with it a quantity of rich alluvial earth, which gave fecundity to the country on which it was deposited. When the water which had overspread the surrounding land had nearly subsided, the corn which was to produce the harvest was set by being cast upon the retiring water, through which it sank into the rich alluvial earth. The water being now well-nigh within the river-banks, the first flower that sprang up was the lotus. This flower was to the Egyptians the harbinger of coming plenty, for it symbolised the springing forth of the wheat. It was the first flower of spring, or their primrose (first rose). The priesthood, perceiving the interest with which this flower was viewed, and the watchfulness manifested for its appearance, taught that in it abode a god, and that it must be worshipped. The acknowledgment of this flower as a fit and primary object of worship caused it to be delineated on the mummy-cases, and sarcophagi, and on all sacred edifices.

We shall have frequent occasion, while considering decorative art, to notice symbolic forms; but we must not forget the fact that all good ornaments make utterance. Let us in all cases, when beholding them, give ear to their teachings!

Egyptian ornament is so full of forms which have interesting significance that I cannot forbear giving one other illustration; and of this I am sure, that not only does a knowledge of the intention of each form employed in a decorative scheme cause the beholder to receive a special amount of pleasure when viewing it, but also that without such knowledge no one can rightly judge of the nature of any ornamental work.

There is a device in Egyptian ornament which the most casual observer cannot have failed to notice; it is what is termed the "winged globe," and consists of a small ball or globe, immediately at the sides of which are two asps, and from which extend two wings, each wing being in length about five to eight times that of the diameter of the ball (Fig. 4). The drawing of this device is very grand. The force with which the wings are delineated well represents the powerful character of the protection which the kingdom of Egypt afforded, and which was symbolised by the extended and overshadowing pinions.