It is now advisable to give illustrations of the various elementary forms used in ornament. As lines, either straight or curved, are the basis of all ornament, we begin with the straight line. It would be difficult to overrate the value of the straight line in ornament. The qualities of stability, firmness, and repose given by upright and horizontal lines are well illustrated by the mouldings round rectilinear panels, by cornices and pilasters, and by reeded and fluted ornaments. All frets are composed of straight lines. The illustrations from [Fig. 3] to [Fig. 23] are specimens of straight-lined ornaments. Taking the band or two horizontal parallel lines in [Fig. 3], and marking off equidistant points on the upper and on the lower one, only alternating, and drawing vertical lines from these points, we obtain the basis of a large class of frets. Figs. [4], [6], [7], and [8] show further developments of the fret. Figs. [5] and [18] show the elements of some Saracenic or Moresque frets, of which Figs. [11], [21], and [22] are developments. Figs. [6], [8], [12], [13] and [14]
Figs. 3 to 7.—Straight-lined ornaments.
are Greek frets; 7 and 20 are Chinese. [Fig. 9] is a Gothic nail-head ornament; 10 is of German origin; 19 is a Japanese key pattern; and [Fig. 23] is derived from the plaiting of rushes, ribbons, straws, or from herring-bone brick-work, and is common to prehistoric and Byzantine work.
Frets are more appropriate to flat surfaces than to concave or convex ones; they may, however, be used on slightly concave surfaces, such as the inside bevels of plates or dishes; then their vertical lines will compose well, by radiating from the centre of the plate. The square within square, and double and single frets, shown at Figs. [8] and [15], were often
Figs. 8 to 11.—Straight-lined ornaments.
used in conjunction by the Greeks, and earlier by the Egyptians, on the ceilings of their tombs ([Fig. 16]), both singly, and alternating with spirals and circular ornaments. (See [Fig. 43].)