Complexity, interweaving or intricacy; the opposite of simplicity. Ornament in which the leading forms are not apparent, is mainly to be found in Celtic, Saracenic, Moresque, and Gothic ornament. It is also characteristic of the decadent periods of all historic styles.
Contrast, the opposition of dissimilar figures or positions, by which one contributes to the effect of the other; e. g. the straight line with the circle, vertical and horizontal lines alternating; in colour black with white, &c.; ornamental forms where flat and sharp curves contrast with one another; a plain space alternating with an ornamented one, or an enriched moulding round a plain panel, or vice versâ, &c. See page [43].
Conventional. This is a word of great elasticity. In early decoration natural objects were highly conventionalized through the want of skill in the artists, who could not copy, but only portray their impressions, thus the Egyptians and early Greeks represented water by the zig-zag. These early conventionalized forms were sometimes perpetuated through religious conservatism, after the artists had become skilful. All ornament is more or less conventional, but the term is usually applied to designate that ornament in which the most beautiful and characteristic floral forms have been abstracted and adapted to the material employed and the effect wanted. The styles most characterized by conventional ornament are the Greek and the early Gothic; they are equally effective as ornament in their respective countries, but the Greek has all the grace and vigour of the highest plant form, while Gothic has mostly only the vigour. Figs. 49-54. The Romans and the Renaissance architects also successfully conventionalized. Figs. 91 and 129. Convention now too often means leaving out all grace and vigour. Saracenic-Persian ornament is perhaps the least conventionalized of fairly good ornament. Figs. 49, 53, 54, 118, and 119. Conventional is also used in opposition to realistic ornament.
Counterchange, a pattern in which the ornament and ground are mostly similar in shape but different in colour and alternate with each other. See Figs. [171] and [172].
Cymatium, the capping to a vertical member, as the cymatium of the abacus of the Roman Doric, of the architrave, of the frieze, of the corona. See Appendix on the orders.
Diaper, derived from jasper, originally employed to designate those coloured patterns on stuffs that suggested the flowerings of jasper; subsequently a pattern enclosed in repealing geometrical forms not composed of straight lines; but unhappily employed of late years to designate any repeating patterns enclosed in geometric forms, including checkers and net-work. Figs. 101, 107, 109, and 110.
Emblem, in Latin, means embossed ornament on vessels, inlaid work, and mosaic. In modern English it is a device, and was the animal or thing that was painted on a shield to show the temper or striking quality or achievement of the warrior. It is also used as an allegorical representation of some virtue or quality. We say the cock is an emblem of watchfulness; the lion, of courage; the scales, of justice; the lily, of purity; but the latter may be used as a symbol of the Virgin Mary.
Equilibrium. See Balance. Also Figs. [130] and [160].
Enlargement of Subject, e. g. the figure of Bacchus is wanted for a given space which it does not fill; the due filling of the space may sometimes be attained by the addition of his attributes, as a leopard, a thyrsus, a vine and grapes; accessories even may be wanted, as a satyr, mænad, rocks, trees, &c.
Eurythmy, harmony or elegance in ornament; a quality obtained by the use of contrasted but harmonious and dignified forms, expressed in a measured or proportionate quantity.