Fig. 54.—Portion of the tripod stand on top of the roof of the monument of Lysikrates.
CHAPTER III
THE laws of composition in ornament are deduced from nature, but we must look to works of art for their proper application.
The laws that may be deduced are numberless, but the principal ones may be given as follows:—
Geometrical Arrangement, Proportion, Stability, Repetition, Contrast, Symmetry, Radiation, Tangential Junction, Repose, Variety, Subordination, Balance, Unity, Series, Growth, Superposition, Fitness. Some of these are preliminary laws; e.g. we cannot have ornament without some geometrical arrangement, even spots in a line must be set out at regular distances, or with a recurring element of irregularity; and as every plant and part of it are set out on a geometrical basis, we cannot have good floral ornament without such an arrangement. The same may be said of the setting out of the more complex schemes of ornament, and besides this framework, a whole class of ornament depends on geometrical arrangement. There must be harmonic proportion between the parts of the ornament, as well as between the enrichment and the ground, to make ornament pleasing; this last element of proportion is generally called even distribution, and is found in all good work; at the same time it admits of a variety of treatment: in some Indian, Chinese, and Saracenic ornament it is painfully monotonous, while in good Roman and Renaissance work, though the law is observed, there is such variety and contrast, that it never becomes tiresome. Ornament to be satisfactory must have Stability, and not look as if it would fall down. After these preliminaries, Repetition may be looked on as the first law; as anything repeated forms elementary ornament. Contrast comes next, as the mere alternation of upright and horizontal lines form a contrasted ornament | —— | —— | —— | Symmetry perhaps comes next, and is the repetition of any form on its axis; even the rudest blot so doubled makes ornament. Radiation alone is the basis of much ornament, and directly we get as far as the scroll, we must have tangential junction, for broken-backed curves are hardly ornament. Next comes Repose: any decoration that seems to crawl is not pleasing but distressing. As we advance we want Variety and Subordination. An unsymmetrical ornament generally requires Balance; Unity is necessary in any complex system. Series adds a new element by the repetition at stated intervals of a succession of different objects, or of similar ones of increasing or decreasing size. Growth gives us one of the most vigorous and delightful elements in nature, and Superposition may be looked on as the last addition to ornament yet made by man; while Fitness may be said to include all before-mentioned and more.
The descriptions just given will serve for the definition of some of the laws, but others require further explanation.
Proportion, by which “harmonic proportion” is meant, applies also to the architectural features of a design, and is indispensable in designing borders, composed of lines or mouldings, and in panels. The width of such border, or series of mouldings, should be a proportionate part of the narrowest width of the space or panel. There are certain distances between lines that are more pleasing than others, and as a rule, one space should preponderate. In mouldings the same thing is true, but in addition to the spaces, there are the projections and contours to be studied. The study of Greek profiles (Figs. [C] and [D], [p. 15]) is most valuable, though Greek mouldings are unsuitable for external work in this climate. The methods of proportioning cornices given in Vitruvius are useful (the application of proportion to surfaces will be found at Chap. IV.).
Stability.—Instability is mostly found in creeping or twining plants, put vertically, and not attached to a central stem, or to the framework of the panel; also to bulky forms put on slight ones, that from their size seem unable to support the weight. We know from experience that trunks of trees support the enormous mass of branches and foliage above them by their solidity, and bear the strain of winds by their strength and the spread and tenacity of their roots. In the rare case in which such an arrangement is wanted in ornament, we must resort to some device, such as difference of texture between the supports and the mass above, to indicate superior supporting power.
Repetition is the first method by which things were turned into ornament, but if it be carried too far it produces monotony; this may be seen in a long succession of similar windows in factories, and the endless rows of iron railings to parks. A little more thought would put in proper places a larger or more ornate window; and in the case of railings would afford a larger and more important post or a group of them: this infusion of Variety would correct the monotonous appearance, and greatly add to the pleasure of the beholders. The ornaments on mouldings, patterns in checkers, net-work, or diapers may be repeated up to a certain point without being tiresome, but symbolic and distinguishing forms must, as a rule, be used sparingly. One human figure is mostly enough in an ornamental panel, because the figure absorbs the attention, though cupids or very young children may be repeated; the former are imaginary creatures, and the latter sportive ones, but even these should be so arranged as to compose with the foliage, which should be an open screen they are seen playing through. The difficulty of preventing even cupids from absorbing all interest, was probably the cause of the ancients so often making them half-floral.