Spotting. This word has nearly the same meaning as “powdering,” the only difference being that the units of form in such decoration have a geometrical basis and are mostly equidistant, the ground occupying much larger space than the ornament. See [Fig. 80].
Stripe, usually applied in ornament to narrow bands.
Suitability, æsthetic and practical fitness; the great thing to remember is the nature, surface, and shape of the object to be decorated, and to design the ornament accordingly, for it is evident that what would be a good ornament for one object or position might be bad for another.
Superimposed or superposed, an ornament which is laid on the surface of another, such as a large flowing pattern on a ground covered with a smaller pattern, either geometric or floral; or a broad, ribbon-like ornament laid on a pattern formed of narrow and fine lines. This sort of ornamentation is mostly seen in the decoration of the Saracens, but occasionally in that of the Renaissance artists. In the wall-patterns of the Alhambra, we often find two, three, and sometimes four different designs superimposed on each other, the judicious use of different colours and gold preventing confusion in the pattern; the complexity is sometimes of a well-ordered kind. See Figs. [101], [102], and [104].
Subordination. A regular gradation from the most important feature to the least important. See the central panel of ceiling, Fig. 89.
Symbol originally meant a token or a ticket among the Greeks; by the Romans it meant the same, and also a signet. In modern English it means a sign, emblem, or figurative representation. In ornamental art it is mostly used to express some beautiful thing that by knowledge or association brings to the mind some power or dignity connected with religion. Attributes are often used as symbols of the divinity to which they belong—the bow of Diana, the thyrsus of Bacchus ([Fig. 167]), and the trident of Neptune, &c. In Christian ornament the fish and lamb are mostly symbols of the Saviour. It is sometimes difficult to determine when anything should be called a symbol, an emblem, or an allegorical representation; for instance, whether the Apocalyptic calf is a symbol, an emblem, or an allegorical representation of St. Luke.
Symmetry, equality of form and mass on either side of a central line; absolute sameness in the two sides of a piece of ornament. See Figs. [127] and [130].
Tangential Junction, the meeting of curves at their tangential points, so that they flow into one another without making an angle. The principal constructive lines in foliated ornament and scroll patterns should illustrate “tangential junction,” i. e. the branches and curves should flow out of the central stem. See p. 45, and Figs. [25] and [53].
Uniformity, being of one shape; the square and circle are uniform figures; it is one of the main causes of grandeur and dignity, but if absolute, results in monotony. The Greek temples had apparently uniform columns placed at uniform distances, and monotony was avoided by delicate variations in the size and spacing of the columns.
Unit, the smallest or simplest complete expression of ornament in any scheme of decoration.