The Principles of Ornament

by James Ward

Scale, the relative proportion of the different parts of a decorative composition to each other, to the whole, and to the thing ornamented. If a design is composed of different organic forms, they should, as a rule, keep their natural proportion to each other. Attributes are, however, often made to a much larger scale in Greek coins and engraved gems. Equality in scale need not be used when parts are cut off from each other by inclosing mouldings, as in isolated panels, pilasters, medallions, spandrels, &c.; the inclosed spaces may be filled with other subjects of smaller or larger scale, as with landscapes, heads, or inscriptions; the frieze of a room, from its greater importance, may have its decoration larger in scale than the panels of the door or shutters. The scale employed in the decoration of rooms, of floors, or of pieces of furniture, may increase or destroy their importance; hence, except in rare instances, the human figure should not exceed its natural size, and may want to be much smaller. And this precaution is equally important in the use of plants; if the flowers or leaves in ornament are made gigantic, they destroy the scale of the room or floor; though it may be known that leaves four feet in diameter or six feet long actually exist.

Scalloping or scolloping, forming an edge with semi-circles or segments, the convex side being outwards.

Scroll, a roll of paper or parchment. As a unit in ornament, it is usually applied to two spirals, each attached to the opposite ends of a curved stem, each spiral coiling the reverse way, but the word is often applied to ornament composed of a meander with spirals.

Series, usually the sequence of several dissimilar forms at regular intervals, as the bead and reel in bead-mouldings, the sequence of the same text in Saracenic work, and also a sequence of forms similar in shape but in an increasing or decreasing order, as branches of plants with leaves getting smaller from bottom to top.

Setting out, the planning of a scheme of decoration; the first constructive lines or marking-out of the ornament; the skeleton lines of a design. See pages [26], [40], and [68].

Soffit, an architectural term applied to the under side of any fixed portion, as the soffit of a beam, an architrave, a cornice, an arch, or a vault.

Spacing, the marking of widths in mouldings, panels, stiles and rails, borders, &c. Equality of division in decoration is, in most cases, ineffective, and should be guarded against; harmonious variety in such widths and distances is desirable for getting a good effect. See pages [42], [62], [65], and [68-71]. Also Figs. C, D, 88 and 89.

Spiral, the elevation of a wire continuously twisted round a cylinder, or cone, also the plan of one twisted round a cone; in ornament the word spiral, when used as a substantive, mostly means the latter form. The curved line forming a volute (as in the Ionic capital) and the outline of the wave ornament; the line of construction in univalve shells. See Figs. [24], [41], [42], [43], [178], &c.

Stability, firmness and strength in the general appearance of a design; in climbing plants this appearance can only be given by their attachment to a central upright or to the vertical sides of the frame; the straight line is the chief factor of stability in ornament. See page [42]. Where many curved lines are used in the decoration of long panels, straight-lined forms must be introduced to counteract the effect of instability in the curved ones. See Figs. [123] and [128]. This is especially the case in pilasters which are architectural features of support; and for the same reason the heavier forms should be kept at the bottom and the lighter ones at the top.

Style, originally meant handwriting. In historic styles it means the expression of the taste and skill of the people who produced the work of art, whether it be architecture, sculpture, or painting. Bygone styles are useful for study, and may be copied or paraphrased, but can never be re-created, because the genius, knowledge, opportunities, and surroundings of any later period are unlikely to be the same. We classify them under the head of conventional (sometimes called idealistic), realistic, and naturalistic. It is also used to express good drawing or modelling, which conveys the elegance, grace, or vigour of the best natural forms. Sometimes it is applied to a composition in which those qualities arc expressed, in contradistinction to the ill-drawn, flabby, or commonplace.