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KERAMC STUDIO 
THE APPLICATION OF ORNAMENT 
A. G. Marshall 
FOURTH PAPER 
HE decorator, no less than the portrait and 
figure painter, should understand the 
effect upon the emotions produced by 
lines, masses and colors. Lines are the 
most important element in composition 
both of pictures and ornaments, and their influence is none 
the less felt when they are lost in full chiaroscuro than it is in 
a drawing of pure outline. Not only do they form the skele- 
ton or constructive framework of all designs, but they deter, 
mine the last refinements of detail as well; and they govern 
expression quite as much in a decorative scheme as they do in 
a face. Indeed it seems quite probable that the expression of 
lines throughout nature and art is 
understood by an unconscious mental 
reference to their significance in the 
human face and gesture. I have not 
seen any allusion to this principle in 
any treatise on ornament, and doubt if 
it has ever been recognized as an impor- 
tant and often dominant factor in the 
impression made by ornamental de- 
signs, lightness or somberness of tone 
and brilliance or sobriety of color being 
supposed to determine the entire effect 
upon the emotions. Reference to Figs, 
r to 6 will make plain the expression 
of lines in various positions. The level gives absolute repose, 
calmness and absence of excitement. This qualitv so pro- 
nounced in ancient Egyptian and Greek architecture, is due to 
the emphasis given to horizontal lines in construction and 
decoration. In every instance where repose is to be secured 
in ornament, the introduction of level lines or bands, when 
consistent with the form to be ornamented, is the easiest and 
surest way of accomplishing this result. Lines sloping or 
curved somewhat upward from a central point, express cheer- 
fulness, lightness and gaiety. Chinese architecture, for this 
reason never seems serious and is always suggestive of toy 
construction. Designs having as motives upward bends or 
curves or arrangements on such lines will give a cheerful effect 
and suggest pleasure and joy ; while lines sloping or curving 
steeply downward from a central point are expressive of sad- 
ness or solemnity, as seen in Gothic construction, and can be 
depended upon for a similar, or at least sober, effect in decor- 
ation. Lines inclining or curving a little downward from a 
center suggest protection, shelter and coziness, like the ordin- 
ary roof gable or an umbrella or spreading branches of a tree. 
Very steep upward slants or high springing curves give a 
feelingof sublimity, excitementand exhilaration, like mountain 
heights and leaping fountains. And the vertical is always 
associated with dignity and maj- 
esty, possessing the repose of power, 
as the level possesses the reposes of 
sleep or inertia. Horizontal lines or 
bands increase the apparent breadth of an object, and perpen- 
dicular ones cause objects to appear more slender. (Fig. 7.) 
Inclned lines, and all "running ornaments" which are based on 
them, like many "arabesques" and much French and other 
scroll work, lead the eye in the direction of the inclination 
(Fig. 8). hence in themselves are lacking in the element of 
repose. They should not be employed in situations where it 
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Fig S 
is desired the eye should rest, or to decorate the most impor- 
tant feature of an object, room or building. As subordinate 
decorations for edges of utensils, moldings, etc., and as con- 
nective links between principal features, they are appropriate, 
When used completely around anything, the effect is best 
when they can be seen at once in the entire circuit, as around 
a plate or the inside of a room, and are less pleasing around 
the outside of a box or a dish, in which case 
the eye is led merely to the outline in any 
view. They should never be used simply 
to cross a surface where there will be an 
abrupt stop after leading the eye to nothing, 
as in Fig. 9. Such ornaments, however, are 
very properly adapted to similar situations 
by reversing half and introducing a center 
piece as a point of repose (Fig. 10). This 
shows the beautiful way of using running 
designs as bands around utensils, like a 
belt fastened with a clasp. Spiral mo- 
tives, twists and whirling effects (Fig. 11) 
should be carefully considered in their 
application, as the unrest in them, how- 
ever beautiful in many situations, is in- 
consistent with the highest dignity. 
Fig. 11 Hence they are never good 
( ,v for grand ornaments or cen- 
^j)" ter pieces of important or 
monumental things. The 
Japanese make very clever 
use of such motives, but 
always apply them where 
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