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Say What I Am Called The Old English Riddles of the
Exeter Book the Anglo Latin Riddle Tradition Toronto
Old English Studies Dieter Bitterli Digital Instant
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Author(s): Dieter Bitterli
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 profiles are nearly equal; panelling without sufficient variety in size;
carved ornament of nearly equal relief—in short, any lack of variety in the
composition, modelling, or colour of ornament produces monotony.
Mnemonic, ornament in which written signs or other elements are used for
the purpose of aiding the memory. See page 130. Figs. Fig. 162, Fig. 163.
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.
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.
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.
Unity, perfect accord in all the parts of a design. Unity is often a
characteristic of designs that are very monotonous, so by itself it will
scarcely render a design pleasing.
Unsymmetrical, without symmetry, such as the volute. See the word
Balance.
Variety, the absence of similarity; a word embracing an infinity of
differences, from two things that are not absolutely alike, to two things
that are absolutely unlike. The judicious use of variety gives interest to
ornament, but uniformity with slight variety gives the most dignity.

Richard Clay & Sons, Limited,

London & Bungay.

FOOTNOTES:
[1] M. Henri Mayeux, La Composition Décorative, 8vo, Paris, s.a.
[2] See M. César Daly’s Motifs Historique, fol., Paris, 1881.
[3] The chambers under Titus’ baths in which the paintings were found, were
originally parts of Nero’s golden house.
[4] There are, however, figures of men and animals occasionally found in their
carved wood-work, tiles, damascened work, carpets, and embroidery.
[5] Many of the frets are woven spirals.
[6] There is, however, a strong objection, from a sanitary point of view, to the use
of absorbent hangings, especially when the surface is rough, for they not only absorb
infection, but hold dust, which generally contains the germs of disease.
[7] There arc many styles of Persian ornamentation—that of the Achæmenides,
probably that of the Macedonians after the conquest of Persia by Alexander the Great,
that of the Sasanides, that of the Saracens after they conquered the country, and their
ornamentation was doubtless influenced by the subsequent Mongul conquest. That
ornamentation which is generally called Persian, except modern work, seems to be
Saracenic.
[8] In the sixteenth chapter of the Korân called the “Bee,” it is said, “and of the
fruit of the palm-trees and of grapes, ye obtain an inebriating liquor and also good
nourishment.”
[9]

“Eve’s tempter thus the rabbins have express’d,

A cherub’s face, a reptile all the rest.”—Pope.

[10] From Dr. Richter’s discoveries at Cyprus, it seems probable that the Ionic
volute may have taken its rise from an enlargement of the Egyptian lotus.
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