KERAMIC STUDIO 
203 
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thoroughly appropriate. By reversing alternate figures of 
that kind very quaint and pleasing bands may be made having 
a sort of rhythmic, dancing effect (Fig. 12). And by bringing 
such motives close to- 
gether, either all in one 
direction, or reversing 
alternately, and by sepa- 
rating them and introduc- 
Fig - 13 ing connecting lines, an 
endless series of rhythmic ornaments may be invented 
(Fig- 13)- 
Repose is an attribute of many forms, the circle, elipse, 
oval, square, oblong, lozenge, hexagon, octagon, etc., which 
are constantly employed as the bases of center pieces and 
medallions; and this quality may be secured in almost any 
symmetrical form, if kept simple (Fig. 14), and an infinite 
Fig. 14 
variety of ornaments constructed in this way are emphatically 
resting places for the eye and should be used for centers and 
at salient points. The circle, ellipse and curved forms gener- 
ally, either as frames or as structural bases for ornament, give 
more spaciousness and buoyancy of effect than squares or 
other forms bounded by straight lines. Where unsymmet- 
rical designs are employed, as where the human or some 
animal figure or floral motive is treated freely and without 
formality, repose must be sought through a proper balance of 
parts, very much as with the composition of a picture or 
statue, and strained attitudes and violent action will be found 
very difficult to handle satisfactorily in elevated and serious 
decoration. It should not be forgotten that it is perfectly 
proper to treat separate keramic pieces or articles of furniture, 
etc., in pairs, right and left, to be seen together, the "action" 
of their forms or decoration being toward each ether, or 
towards a third, self-poised and more important piece which 
is to be their center, like the keystone of an arch. Needless 
to say that such groups must be designed as one harmonious 
whole. 
The festoon and arrangements following its lines are 
Fig. 15 
valuable elements in formal decoration and may be used with 
great style and stateliness of effect. The wide and shallow 
festoon, with knots above the points of support, is especially 
festive and joyous in character, and yet in perfect repose 
(Fig. 15). The deep and thick festoon, with drooping knot, 
is, on the other hand, heavy and solemn in effect (Fig. 16.) 
CELTIQ PLATE DESIGN— SARA B. VILAS 
