There is a circular flat or concave surface in the centre of the dish, plate, or plaque to hold the food; and there is a circular space or rim for the hand, a border which will serve both as a frame to the central subject, and also to emphasize the edge. The Greek cylix, though really a shallow drinking cup, presents similar conditions to the designer, though more of the shallow boat or saucer type, and in the filling of these spaces the Greek vase-painter, as far as regards composition of line, dramatic action of figure, simplicity, and the necessary flatness and reserve, sets us the best models in this kind of design.
The Italian Renascence majolica and lustre ware give more sumptuous effect and more pictorial treatment, but are not nearly so safe a guide in taste as the Greek.
In pure ornament we cannot do better than study oriental models for the treatment of border and centre, and in the blue and white ware of China and Persia we shall find as satisfactory examples of decorative fitness as need be. The Chinese influence is freely and often very happily rendered in the blue and white ware of Delft, and in some of the works of the old English potteries, as Worcester and Derby for instance.
In textile design the functions of border, of field or filling, of wearing apparel, or furniture hangings and materials and their necessary adaptation to vertical or horizontal positions, differentiates the various types and classes of design in woven or printed stuffs. Here use again influences and decides decorative motive.
We recognize at once the essential differences of expression in different pattern plans and systems of line in horizontal extension, which mark them off as suitable for borders demanding linear, or meandering, or running patterns to fulfil their function of defining the edge, as in a garment or hanging, or in pottery, or forming a setting for the centre, as in a carpet.
PITCHER FROM ROTHENBURG. ([SEE CHAP. III])
THE HANDLE OF THE PLATE.
PLATE & DISH DECORATION.