Fig. 39.
With regard to the proportions of number on which these figures are based, we shall find them almost all deficient in the maintenance of a ratio, water crystallizing at an angle of 60°, a fact exemplified in the radial arms and the secondary and tertiary additions, which, always produced at the same angle, are characteristic of the greater number of these crystals. Thus they can be considered suggestive only of more complete designs—the centre, in fact, of a bordering or pattern-work, to be completed round them according to the intended application, and with due reference to those ratios of number which are found most acceptable in composition.
Fig. 40.
Founded upon a strictly geometric base, and a uniform repetition of a certain concordant irregularity of parts, bound together in one harmonious unity by the laws of circular composition, which serve to lend beauty to their constructive details, and constitute the archeus of the figure, we are impressed with a conviction of their truth and conformity to the natural principles of beauty.
The impulse created in their favour is thus subsequently confirmed on rational and acknowledged grounds of admiration. This is the more satisfactory that, belonging to no school of architecture or design, they may be considered as originating a new order of forms for the further supply or extension of those so long acknowledged and admired. We do not, however, consider that they will equally well assimilate with all or any of the orders of decorative art. It appears to us, according to the means placed at our disposal for arriving at a conclusion, that they are analogous in many respects to the numerous specimens of angular composition which belong to the mediæval period of Byzantine art.
Fig. 41.