The primitive are those of which we know not the ancestry, and rarely can guess the motive. To us they are, in general, simply rude decorations. The naturalistic are those which are borrowed from natural forms, and are either only imitative, or else convey some hidden meaning. The conventional are those which, by long descent, have come to be accepted simply as ornamental art, with or without reference to an original motive, now lost. The geometrical or symmetrical are founded on form only, and in so far resemble our experience of the primitive; they express no meaning, and only serve to satisfy the eye by their balance and their ingenuity.
PRIMITIVE.
The first patterned forms with which we are acquainted are the primitive. They are found in all parts of the inhabited world. In our present ignorance as to the beginnings of the scattered tribes of men, we cannot judge if these are the remains of an earlier art or the first germs of a new one. Of one thing there is no doubt: this primitive decoration consists entirely of pattern; that is to say, of the repetition of certain (to us) inexpressive forms, which by reiteration assume importance and in some degree express beauty—the beauty of what Monsieur Blanc calls “cadence.”
After these first unintelligible forms, which simply by repetition become accepted patterns, come those called the Prehistoric, of which we know or guess something as to their original meaning, and which, having been reduced from the hieroglyphic-symbolical to the conventional, have thus crystallized themselves, by constant use, into a pattern. Such, for instance, is the simplest form of the “wave” pattern, which in very early art was a representation of water.
The prehistoric water or wave patterns had other forms; for instance, zigzags, upright or horizontal, and undulating lines which are intelligible as expressing smooth or rough water. In general, however, the primitive and prehistoric patterns convey no idea, and consist, as we have said elsewhere, of lines, straight or wavy, sometimes intersected; of angles, zigzags, groups of dots, rings and little discs, and crosses of the Swastika shape. (Plate [10].)
Pl. 10.
Wave Patterns.
1, 4, 9, 12, 13. Greek Wave Patterns. 2. Key or Mæander, Greek Wave. 3. Greek Broken Wave. 5, 6, 7. Egyptian Smooth and Rippling Water Patterns. 8. Mediæval Wave. 10, 11, 14. Assyrian. 15. Persian or Greek (from Glass Bowl, British Museum). 16. English Waves (Durham Embroideries.)