Naturalistic, those forms that are used for decoration, that resemble the spots and eyes on butterflies’ wings, or the markings on the skins of reptiles and quadrupeds, or on the feathers of birds; mostly found in the ornament of savage tribes.
Network, as opposed to checkers, are squares set lozengewise or forming diamonds; but the word is commonly applied to any figures in outline, rectilinear or otherwise, covering a surface. See [Fig. 102].
Order, regular disposition; a pleasing sequence in the arrangement of opposed forms. Order is of such vital importance in a design that ornament can scarcely have any existence without it.
Powdering, sprays, flowers, leaves, and other decorative units sprinkled on a ground; “powdering” is a favourite method of decoration with the Japanese, and was with the Mediævals. See pp. 63, 80, and 83, and Figs. [85], [103], and [105].
Proportion, the harmonic spacing of lines and surfaces; of the length, width, and projection of solids; the ratio between succeeding units in flowing ornament, and the relation between the spaces occupied by the ornament and its ground.
Radiation, the divergence from a point of straight or curved lines. Radiating ornament is improved by the point being below the straight or curved line from which the radiation starts. Explained at page 44. See Figs. [49], [50], and [51].
Realistic, a style of decoration in which forms are applied without alteration from natural forms or objects, or without apparent alteration; it is opposed to the “conventional,” and is rarely found in the best periods of good historic styles. See Figs. [1] and [146].
Repetition, a succession of the same decorative unit. For explanation [see pages 40-43]. and Figs. [3], [9], and [32].
Reeded, convex forms applied to a flat or curved surface, producing the reverse effect of “fluting”; some of the columns in Egyptian architecture are reeded, being sculptured to represent a bundle of reeds tied together. See Figs. [76A] and [76B].
Repose, rest; the absence of apparent movement in ornament; this apparent movement may be seen in some flamboyant tracery and Saracenic work, and in some bad paper-hangings, &c.; also the absence of spottiness. [See page 45].