Fig. 97.—Shield made of cane and ornamented with cut shells and zigzags.
to articles of use was unknown, it occurred to many that such objects might be directly imitated from nature. Sprays of fuchsia with a large flower on each were used for curtain hooks; branches of plants were used for gas brackets with the flame coming from the flower; and vases made in imitation of the blossom of the arum. Sometimes nature itself was not vast enough for imitation; earthenware bowls and wine-coolers were made in imitation of wickerwork, gold brooches in imitation of twisted bread, and other adaptations were made that were equally incongruous. It is true that the Japanese sometimes protect their porcelain with an outer covering of woven cane, and wicker-covered bottles are not unknown here. The Kafirs, too, carry their milk in woven baskets; yet in spite of these cases, there is an apparent absurdity in such designs, not to speak of the poverty of invention they betray.
Figs. 98 and 99.—Carved checkers.
Such vagaries are happily disappearing, since the creation of museums and schools of ornamental art, but they are by no means extinct.
Every article, whether for use or ornament, should first be constructed as elegantly as possible for its purpose, or supposed purpose; and only be ornamented when the ornament does not appear incongruous, and does not interfere with its use, but only emphasizes its form or relieves it from monotony. Although this chapter is mainly confined to outlines and divisions of surfaces, something has been said about the application of ornament, so it may be remarked that the lower part of a wall should be treated with more severity and sobriety than the upper part; for the lower part is partly hidden by furniture, and is most liable to injury. The Romans and Byzantines mostly used marble for the lower parts of walls in magnificent buildings, though in houses of less magnificence marble was either imitated by painting, or else simple floral decoration was used. The Saracens also employed marble, but when that was not easy to obtain, tiles took its place. The Mediævals used marble, wood panelling, or tapestry, and when the walls were wholly painted, they often imitated the more costly materials. Geometrical figures or diapers are most appropriate for this part, when it is painted or papered. The part of the wall above this may be treated with greater freedom and elaboration. The part of the wall on a level with the eye should have greater finish bestowed on it, unless there be a frieze with figures or a higher class of ornament to a larger scale.
CHAPTER VI
HAVING previously considered the principal elements of ornament, it is now advisable to classify ornament in accordance with the spaces it has to fill, and these may roughly be divided into six classes or great divisions, as follows:—
1. Uniform surfaces, as floors, walls, and ceilings.
2. Horizontal bands, as friezes, &c.
3. Perpendicular bands, as panels of piers, pilasters, stripes, &c.
4. Symmetrical arrangements, as panels, either rectangular or of closed curved figures.
5. Symmetrical arrangements composed of straight and curved lines or of compound curves, as spandrels, panels of curved and straight lines.
6. Unsymmetrical spaces founded by straight or curved lines, or by both.