THE J. PAUL GETTY MUSEUM LIBRARY 
 

Digitized by the Internet Archive 
 in 2016 
 
 https://archive.org/details/sometermscommonlOOharr 
 
SOME TERMS COMMONLY 
 USED IN ORNAMENTAL 
 DESIGN. 
 

 
 
 
SOME TERMS 
 COMMONLY USED 
 IN ORNAMENTAL 
 DESIGN 
 
 fmcirfflpp ficailo <n 
 ddcjmcd&fxp famed 
 
 XdJ iifijffus t rations 
 
 T. ERAT HARRISON 
 
 &L 
 
 W.G. PAULSON TOWNSEND 
 
 E 
 
 xa miner 
 
 ■s to the Board of Educati 
 
 on 
 
 LONDON 
 
 BT BATSFORD 94 HIGH HOLBORN 
 
 1906 
 
Printed at The Darien Press, Edinburgh „ 
 
 PAUL GETTY MUSEUM LIBRARY 
 
PREFACE. 
 
 This book is in no way intended to be a 
 general text-book on ornament, of which 
 there are so many well-known and reliable 
 examples, but merely a series of definitions 
 intended to correct the frequently inexact use 
 of terms among students. Its object is to 
 set forth as precisely as possible the charac- 
 teristics of the different kinds of patterns, 
 taking their commonly accepted names, and 
 defining, as nearly as may be, their limita- 
 tions. There should be no difficulty in a 
 student recognising at once an ornament of 
 pronounced character, but the gradual transi- 
 tion of one sort of device into another, and 
 the absence of any hard and fast barrier 
 between the various allied kinds have given 
 rise to a certain looseness in the application 
 of terms which has caused considerable con- 
 fusion, although most of these terms, without 
 
VI 
 
 PREFACE. 
 
 having any absolute demarcation, are still 
 sufficiently explicit to be easily understood. 
 In consequence of this overlapping of kindred 
 designs a collection of mathematically exact 
 definitions cannot be given, but an attempt 
 is here made to render each one as stringent 
 as possible, and to suggest a more methodical 
 application of terms than is customary, so 
 that students may more easily be able to 
 give a definition of a pattern or to realise a 
 pattern from its definition. 
 
 No reference is here made to pattern con- 
 struction or its nomenclature, as this has 
 already been exhaustively dealt with in the 
 books of Messrs Crane, Day, Rhead, Ward, 
 and others. 
 
 The author’s thanks are due to Messrs 
 Morris & Co. for permission to publish 
 Figs. 71 and 72. 
 
CONTENTS. 
 
 PAGE 
 
 The Scroll i 
 
 Interlacing Ornament - • - 7 
 
 Border Patterns - - - 11 
 
 Stripe Patterns - - - - 13 
 
 Diapers - - - - - 15 
 
 Sprig Patterns - - - - 17 
 
 Counterchanges ----- 19 
 
 Interchange - - - - 21 
 
 All-over Continuous Pattern^ - - 23 
 
 The Trellis - - - - 25 
 
 Self-contained Ornament - - 27 
 
 Foliated and Floral Ornament - - 29 
 
 Geometric Ornament - - - 31 
 
 Grotesques - 33 
 
 Arabesques ----- 35 
 

 
 
LIST OF ILLUSTRATIONS. 
 
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 Volute 
 
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 Scroll-like Ornament „ 
 
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 Scroll 
 
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 Strapwork 
 
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 Stripe 
 
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LIST OF 
 
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LIST OF ILLUSTRATIONS. 
 
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INDEX TO ILLUSTRATIONS. 
 
 All-over pattern, Figs. 48, 49, 50, 52, 53, 54, 57, 58, 60, 
 6 1, 62, 63, 64, 65, 66, 67, 69, 77. 
 
 All-over continuous pattern, Figs. 13, 47^, 51, 55, 70, 71,, 
 
 72, 77. 
 
 Arabesque, Figs. 78, 79, 80, 81, 82. 
 
 Arabic, Figs. 38, 39, 39^ 
 
 Assyrian, Fig. 52. 
 
 Border patterns, Figs. 2, 3, 6, 15, 16, 26, 27, 28, 29, 30, 32, 
 
 33^, 33^ 34, 35, 36, 37, 38, 39^, 73, 74, 75- 
 Byzantine, Figs. 6, 10, 33^, 33^. 
 
 Celtic, Fig. 55 
 
 Conventional, Figs. 1, 2, 3, 4, 5, 6, 7, 8, 12, 15, 16, 17, 18, 19,. 
 
 20, 2 5 , 29, 30, 44, 45 , 46, 47^, 47^, 5 7, 5 8, 6 1 , 62, 68, 70, 7 1 . 
 Corinthian, Fig. 22. 
 
 Counterchange, Figs. 39^, 64, 65, 66, 67, 68. 
 
 Diaper, Figs. 48, 49, 50, 51, 52, 53, 54, 55, 56, 57, 58, 59, 
 60, 61. 
 
 Durer, Fig. 79. 
 
 Dutch, Fig. 78. 
 
XIV 
 
 INDEX TO ILLUSTRATIONS. 
 
 Egyptian (ancient), Fig. 13. 
 
 Eighteenth century A.D., Figs. 7, 43, 63. 
 
 Eleventh century A.D., Figs. 6, 33 33^, 40. 
 
 English, Figs. 19, 71, 72. 
 
 Fifteenth century A.D., Figs. 18, 23, 45, 78. 
 
 Floral, Figs. 43, 45, 62, 63, 72. 
 
 Flowing, Figs. 4, 5, 9, 25. 
 
 Foliated, Figs. 8, 9, 12, 15, 16, 18, 20, 21, 25, 30, 45, 59, 61, 
 62, 63, 71, 72. 
 
 Fourteenth century A.D., Figs. 10, n, 15, 39, 4 ja, 56, 62, 70. 
 French, Figs. 1, 4, 14, 41, 42, 43, 44, 4 7a, 57, 62, 63. 
 
 Geometric, Figs. 26, 27, 28, 31, 32, 34, 35, 36, 37, 38, 39, 
 39a, 40 b, 40 d, 41, 48, 49, 50, 51, 52, S3, 54, 55, 56, 64, 
 65, 66, 67, 73, 74, 75, 76, 77. 
 
 German, Figs. 5, 7, 11, 16, 18, 25, 78, 79, 80. 
 
 Gothic, Figs. 5, 1 1. 
 
 Greek (ancient), Figs. 2, 17, 26, 30, 35, 36, 73, 75. 
 Grotesque, Figs. 14, 20, 21, 79, 80, 81, 82. 
 
 Heraldic, Fig. 68. 
 
 Interchange, Fig. 69. 
 
 Interlacing, Figs. 18, 19, 31, 32, 33, 34, 35, 36, 37, 38, 39, 
 40 a, 40 b, 409 40 d, 4 1 . 
 
 Indian, Figs. 3, 8. 
 
 Ionic, Fig. 24. 
 
 Irish, Fig. 61. 
 
 Italian, Figs. 9, 12, 15, 20, 21, 23, 31, 40<r, b , c, d, 56, 81, 82. 
 
INDEX TO ILLUSTRATIONS. 
 
 xv 
 
 Japanese, Figs. 49, 53, 54, 59, 60. 
 
 Modern, Figs. 48, 50, 51, 58. 
 
 Morris, Wm., Figs. 71, 72. 
 
 Nineteenth century A.D., Figs. 61, 71, 72. 
 
 Norse, Fig. 37. 
 
 Persian, Fig. 29 ; (founded on) 62, 70. 
 
 Raffaelle, Figs. 81, 82. 
 
 Repeating patterns, Figs. 2, 3, 6, 10, 13, 15, 16, 26, 27, 28, 
 29. 30, 32, 33. 34, 35, 36, 37, 38, 39«, 44, 45, 46, 47, 47«, 
 48, 49, 50, 51, 52, 53, 54, 55, 56, 57, 58, 62, 63, 64, 65, 
 66, 67, 69, 70, 71, 72, 73, 74, 75, 77. 
 
 Roman, Figs. 22, 23. 
 
 Scroll, Figs. A a, Bb, Cc, Dd , E^, 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 
 11, 12, 13, 14, 15, 16, 17, 18, 19, 20, 21, 22, 78. 
 
 Scroll-like, Figs. 25, 26. 
 
 Second century A.D., Figs. 22, 24. 
 
 Self-contained pattern, Figs. 4, 7, 14, 18, 19, 25, 31, 40 a, b, 
 c, d , 41, 42, 76. 
 
 Sem^e, Fig. 57. 
 
 Seventeenth century A.D., Figs. 4, 57. 
 
 Sicilian, Fig. 46. 
 
 Sixth century B.C., Fig. 52. 
 
 Sixteenth century A.D., Figs. 1, 5, 9, 12, 14, 16, 20, 21, 25. 
 31, 41, 42, 69, 79, 80, 81, 82. 
 
 Spanish, Fig. 69. 
 
XVI 
 
 INDEX TO ILLUSTRATIONS. 
 
 Spot diaper, Fig. 48. 
 
 Sprig, Figs. 43, 61, 62, 63. 
 
 Strap pattern, Fig. 42. 
 
 Stripe pattern, Figs. 3, 44, 45, 46, 4 ja. 
 
 Tenth century A.D., Fig. 44. 
 
 Tincture, Fig. 68. 
 
 Thirteenth century A.D., Fig. 46. 
 Trellis pattern, Fig. 72. 
 
 Twelfth century A.D., Fig. 19. 
 
 Volute, Figs. 22, 23, 24. 
 
 Wave pattern, Figs. 27, 28, 29, 30. 
 
THE SCROLL. 
 
 The series of devices known as “ scrolls ” and 
 “ scroll ornaments,” whether self-contained 
 or continuous, are all founded on the curves 
 taken by a parchment scroll as shown in Figs. 
 a, b, c, d, e, and the derived forms a, b, c, d, e. 
 Hence some form of spiral is the leading 
 feature in all scrolls. When decorative addi- 
 tions are used, the necessity of subordinating 
 all to the spiral enforces the use of abstract 
 forms, or else of strongly conventionalised 
 renderings of natural objects, consequently 
 secondary characteristics of the scroll are con- 
 ventionality and a fantastic caprice in the de- 
 velopment of ornamental details. Even in 
 otherwise good examples organic growth is 
 sometimes disregarded. Although its origin 
 is simple, the development of the scroll often 
 results in devices of great complexity, some 
 
2 
 
 THE SCROLL. 
 
 of which have apparently but slight affinity to 
 each other. One of the most usual is a series 
 of spirals springing from a main stem, or from 
 each other, in succession, and this forms the 
 basis of nearly all scroll borders, whether re- 
 peating or merely flowing. Grotesque figures 
 frequently terminate in scrolls, and detached 
 animal forms, not being integral parts of the 
 design, are often introduced as accessories. 
 
 As an example of a, a , in conjunction with 
 purely abstract ornament, take Fig. i. In- 
 numerable varieties of this treatment occur 
 in Renaissance work. 
 
 As a series of spirals growing from a 
 common stem or from each other, see Fig. 2. 
 Developments of this are shown in Figs. 3 
 and 6, which give examples of highly con- 
 ventional foliated and floral work in repeat- 
 ing borders. Figs. 4 and 5 are examples of 
 flowing (not repeating) designs, and show 
 some of the varieties of ornament included 
 under the term “scroll.” Fig. 7 shows spirals 
 springing from a series of common stems. 
 
 Fig. 8 is the filling of a panel constructed 
 
THE SCROLL. 
 
 3 
 
 on the same lines. In this case the foliage 
 tends at first sight to disguise the spiral 
 arrangement. The birds in this design are 
 a good example of the practice of introducing 
 animal forms which are quite independent of 
 the scroll in which they are set. See also 
 Fig. n. Fig. 9 may perhaps be considered 
 as naturalistic a treatment of foliage as can 
 be permitted in a genuine scroll. A nearer 
 approach to realism would properly be a 
 floral pattern “arranged as a scroll.” 
 
 Fig. io is an example of a scroll pattern 
 worked in filigree, in which the spirals all 
 grow from one side of the main stem, and 
 not alternately. 
 
 Example b. 
 
 Fig. n is an example of a scroll based 
 on Figs, b, b. The horseman is quite inde- 
 pendent of the scroll itself. 
 
 Example c. 
 
 Fig. 12 shows a scroll founded on 
 Figs, c, c. 
 
4 
 
 THE SCROLL. 
 
 Fig. 13 is an example of this double 
 scroll used as an all-over repeating pattern. 
 
 Fig. 14 shows a combination of a, a, 
 and c, c. 
 
 Example D. 
 
 Figs. 15 and 16 are scrolls founded on 
 Figs, d, d. It will be seen that scrolls of 
 this sort are by construction continuous. 
 
 Example e, e. 
 
 Fig. 17 shows a device, part of which is 
 founded on a, a, and part on E, e. 
 
 Fig. 18 is an example of an interlacing 
 scroll, but in this case the start is not satis- 
 factory, nor is the growth of the central top 
 scroll correct ; and Fig. 19 is another example 
 of an interlacing scroll in which the growth 
 is quite arbitrary, and the one branch which 
 grows from the stem and then re-enters it 
 is a serious defect in a design which is other- 
 wise beautiful. 
 
 Grotesque. 
 
 Figs. 14, 20, and 21 show grotesques ter- 
 minating in scrolls. 
 
THE SCROLL. 
 
 5 
 
 The single spiral (see Figs. 22 and 23) 
 and the double spiral (see Fig. 24), when 
 occurring in the capitals of columns or 
 pilasters of any kind, are called “ volutes.” 
 Fig. 25 consists of fantastic foliage de- 
 signed in a scroll-like manner, but is not, 
 strictly speaking, a scroll. 
 
 Some confusion has arisen from the border 
 shown in Fig. 26, being commonly known 
 as the “ Greek wave pattern.” It will be 
 seen that it is really a scroll pattern, being 
 a repeat of the curves in Figs, c, c. Wave 
 patterns are founded on the lines shown in 
 Figs. 27 and 28, and are not scrolls. For 
 developed examples of the “wave,” see Figs. 
 29 and 30. 
 

 
 
 
 
7 
 
 INTERLACING ORNAMENT. 
 
 Interlacing ornament can be either self- 
 contained or repeating. It ranges from pre- 
 historic times through the Renaissance up 
 to the present day. It always consists of 
 severely conventional or abstract forms closely 
 intertwined, and may be quite simple, but 
 however complicated it may become, it never 
 entirely loses its geometric character. Hence 
 naturalistic objects partly entangled are inad- 
 missible under this definition, nor would the 
 occasional interlacement of a scroll or other 
 device be sufficient to bring it within this 
 class of design. It is of primary importance 
 that the parts should “interlace” and not 
 merely pass over one another, and that the 
 interlacement should be clearly shown. (In 
 Fig. 7 it will be seen that the bars of the 
 grille do not interlace but “butt” on to each 
 other.) 
 
8 
 
 INTERLACING ORNAMENT. 
 
 Take as examples Figs. 31, 32, 33^, 33$, 
 
 34. 35. 3 6 . 37. 38, 39. 40^, b, c, d, and 41. 
 
 Fig. 42, for instance, cannot be accepted 
 as an interlacing pattern, as certain parts 
 merely pass over the others, and the piercing 
 does not amount to interlacement. 
 
REPEATING PATTERNS. 
 
 BORDERS. 
 
 STRIPES. 
 
 DIAPERS. 
 
 SPRIG. 
 
 COUNTERCHANGE. 
 
 INTERCHANGE. 
 
 ALL-OVER CONTINUOUS. 
 THE TRELLIS. 
 

 
 
 
 
1 1 
 
 REPEATING PATTERNS— BORDER 
 PATTERNS. 
 
 These from their nature repeat in two direc- 
 tions only, i.e., backwards and forwards. As 
 examples take Figs. 2, 3, 6, 15, 16, 26, 27, 
 28, 29, 30, 32, 33a, 33^, 34, 35, 36, 37, 38, 
 39 a > 73- 74- and 75. 
 

 
 
 
 
3 
 
 REPEATING PATTERNS— STRIPE 
 PATTERN. 
 
 This pattern consists of a series of parallel 
 stripes, straight or waved, set out so as to 
 show (a) a series of strongly marked bands, 
 plain or decorated, or (b) so disposed that 
 the stripe is but slightly defined, thus giving 
 the impression of an “all-over continuous” 
 pattern. 
 
 Take as example of a Figs. 43, 44, 45, 
 and 46. Take as example of b Fig. 47. 
 

S' 
 
 REPEATING PATTERNS— DIAPERS. 
 
 “Diaper” is the term used to express an 
 all-over repeating pattern in which the scale 
 of repeat is small in comparison with the 
 space occupied. In other words, frequency 
 of repeat is one of its characteristics. It 
 may or may not be continuous, the field 
 must be evenly covered, and, no feature being 
 specially prominent, its general effect is flat. 
 No repeat on a large scale or loosely flowing 
 design is a “diaper.” The close arrange- 
 ment of a number of small and varied units, 
 without any definite repeat, is sometimes 
 called a “ random ” diaper. In effect it closely 
 resembles a repeating diaper. 
 
 A diaper may be either (a) purely geo- 
 metric, (b) a design in which the geometric 
 construction plays an important part, (c) a 
 series of one or more disconnected units of 
 
16 REPEATING PATTERNS— DIAPERS. 
 
 a conventional character closely arranged on 
 a geometric basis, or (d) “ random.” 
 
 Example a. 
 
 As examples of a, see Figs. 48 (“ spot ” 
 diaper), 49, 50, 51, 52, 53, 54, and 55. 
 
 Example b. 
 
 As an example of b take Fig. 56. In 
 this case the “geometric” framing is more 
 important than the “ sprig ” filling which was 
 added subsequently, hence the design is a 
 “diaper.” Without the framing it would be 
 a “sprig” pattern. 
 
 Example c. 
 
 As examples of c take Figs. 57 and 58. 
 It will be seen that Figs. 51, 52, 54, 55, and 
 56 are all “continuous”; Figs. 48, 49, 50, 
 57, and 58, though “ repeats,” consist of dis- 
 connected units. 
 
 Example d. 
 
 As examples of d take Figs. 59, 60, 
 and 61. 
 
REPEATING PATTERNS— SPRIG 
 PATTERN. 
 
 The “sprig” is an all-over pattern in which 
 the ground is covered at regular intervals by 
 small detached portions of foliage, such as a 
 single flower with a few leaves and buds 
 attached, or little groups of flowers, and so 
 on. These must always be small in scale. 
 Sometimes the ground is powdered with 
 dots, lines, or even a series of sprigs much 
 smaller than those that form the main design, 
 and less pronounced in colour. The main 
 sprigs must not overlap to touch one another. 
 In some cases (a) but one unit, reversed or 
 otherwise, is used, but frequently (b) two or 
 more units exist in each repeat. Occasionally 
 a riband or other small accessory is intro- 
 duced, or (c) sprigs are superimposed on a 
 “ stripe ” or other pattern. The sprig pattern 
 
18 REPEATING PATTERNS— SPRIG PATTERN. 
 
 frequently used in lace work and embroidery, 
 and known as “ sprigging,” would be properly 
 defined as a “random diaper.” See Fig. 61. 
 
 As an example of a take Fig. 62. As an 
 example of b take Fig. 63. As an example 
 of c take Fig. 43. 
 
19 
 
 REPEATING PATTERNS— 
 COUNTERCHANGE. 
 
 In a “ counterchange ” two colours only are 
 used to discriminate between the ground and 
 pattern. Both the device and the ground are 
 identical in shape and area, and the whole 
 is nearly always geometric in character. The 
 simplest form and basis of this kind of de- 
 sign consists of chequers only. As examples 
 take Figs. 64, 65, 66, 67, and the border of 
 Fig- 39 - 
 
 Sometimes an independent decoration is 
 superimposed on the counterchange. 
 
 Heraldic counterchange refers to change 
 of tincture only, not to form. See Fig. 68. 
 

 
REPEATING PATTERNS— INTER- 
 CHANGE. 
 
 Fig. 69 is not a genuine “ counterchange,” 
 as the device and ground are not identical 
 in form and area. It is properly an “ inter- 
 change.” The toned lines merely separate 
 the bands, and do not alter the character of 
 the design. 
 
23 
 
 REPEATING PATTERNS— ALL-OVER 
 CONTINUOUS PATTERN. 
 
 This pattern is one which repeats in all 
 directions, the neighbouring parts being con- 
 nected by stalks, bands, overlappings or con- 
 tacts, in such a manner that these form part 
 of the design. 
 
 As examples take Figs. 13, 35, 47 a, 48, 
 
 49- 50. 5L 55, 5 6 , 66, 7°, 7L and 7 2 - Figs. 
 47 and 47a are given side by side to show 
 how nearly a “stripe” may approach an 
 “ all-over continuous ” repeating pattern. In 
 this case one of the repeating branches by 
 passing over and under another transforms 
 a “stripe” into an “all-over continuous” 
 pattern. 
 

 
25 
 
 REPEATING PATTERNS— THE 
 TRELLIS. 
 
 This pattern usually consists of a running 
 floral or foliated pattern interlaced with 
 lattice-work. 
 
 As example take Fig. 72. 
 

 
 
 
27 
 
 SELF-CONTAINED ORNAMENT. 
 
 This is designed to fill a given space without 
 any reference to repetition. It is generally 
 symmetrical, and may contain within itself 
 various arrangements of the same unit. 
 
 As examples take Figs, i, 4, 7, 8, 14, 18, 
 19, 20, 2i, 25, 31, 39, 40 a, b, c, d, 41, 42, 
 and 76. 
 

 
 
 
 
 
 
 
29 
 
 FOLIATED AND FLORAL 
 ORNAMENT. 
 
 Ornament is said to be “ foliated ” or 
 “ floral ” when it is definitely founded on 
 some plant growth, or when the decora- 
 tive forms develop into conventional leaves, 
 flowers, or fruit. This definition embraces 
 a very large number of designs which differ 
 considerably from each other. 
 
 For foliated see Figs. 8, 9, 12, 15, 16, 18, 
 20, 21, 25, 29, 30, 45, 46, 47, 47 a, 58, 59, 
 61, 71, 72. For floral see Figs. 43, 45, 62, 
 63, 7 2 - 
 

 
 
 
 
 
3i 
 
 GEOMETRIC ORNAMENT. 
 
 A geometric device or pattern may be alto- 
 gether composed of lines which are mechani- 
 cally produced, such as straight lines, circles, 
 or their segments, ellipses, &c. Hence it may 
 consist (a) entirely of straight, or (b) entirely 
 of curved lines, or (c) it may be formed 
 of a combination of the two. Such curves 
 (d) as require freehand drawing may also 
 be used, but no direct transcript of a natural 
 form is admissible. Flatness is essential to 
 a geometric pattern, and as a rule it lies 
 entirely in one plane. Absolute flatness is 
 not possible in the case of overlapping or 
 interlacing ornaments, but even in these the 
 difference in planes must be exceedingly 
 slight. Geometric is the most conventional 
 of all patterns. 
 
 As examples of a take Figs. 31, 32, 34, 
 38, 39. 5F 54. 64, 66, 73, and 74. 
 
32 GEOMETRIC ORNAMENT. 
 
 As examples of b take Figs. 26, 27, 28, 
 33d, 35, ^od and d, 52, 53, 55, 56, and 76. 
 
 As examples of c take Figs. 31, 33a, 36, 
 37, 41, 65, 67, 75, and 77. 
 
 As examples of d take Fig. 76. 
 
 Spot diaper, Fig. 48, is also “geometric.” 
 
33 
 
 GROTESQUE. 
 
 “ Grotesque ” is a word generally applied 
 to fantastic and extravagant animal forms 
 designed with a certain humour and used in 
 conjunction with other ornament. In some 
 Gothic examples the grotesque has but little 
 beauty, and is occasionally ugly or even 
 repulsive, and often grimly satirical. 
 
 See Figs. 14, 20, 21, 80, 81, 82. 
 
 c 
 

 
35 
 
 ARABESQUE. 
 
 Arabesque usually denotes a flowing orna- 
 ment of more or less capricious design, con- 
 taining vase shapes, grotesques, trophies, 
 realistic or imaginary floral, animal, and 
 human forms. The Raffaello (Raphael) 
 pilaster decorations are well-known types. 
 It will be seen that “ arabesques,” though 
 more elegant, are closely connected with 
 “grotesques.” The word, which was origi- 
 nally used to specify Arabian ornament, is 
 now seldom so used. 
 
 As examples take Figs. 78, 79, 80, 81, 82. 
 
 These devices may be considered border 
 decorations, but are not border “ patterns ” 
 as they do not repeat. 
 

 
ILLUSTRATIONS. 
 

 
 
 
SCROLLS. 
 
 39 
 
 r @\©' 
 

 
 
 
SCROLLS. 
 
 4i 
 
 i. Scroll, Conventional. French, 16th Cent. 
 
 2. Scroll, Repeating Border Pattern, Conventional. Ancient Greek. 
 
 3. Scroll, Repeating Border Pattern, Conventional. Indian. 
 

SCROLLS. 
 
 43 
 
 4. Scroll, Flowing, Conventional, Self-Contained. French, 17th Cent. 
 
 5. Scroll, Flowing, Conventional. German, Late Gothic. 
 

 
 
 
 
SCROLLS. 
 
 45 
 
 y-f.H. 
 
 8 . Scroll, 
 Conventional 
 Indian. 
 Foliated. 
 
 7. Scroll (with grille), Self-Contained, Conven- 
 tional. German, First Half of 18th Cent. 
 
 9. Scroll, Flowing, Foliated. Italian, Early 16th Cent. 
 
SCROLLS. 
 
 47 
 
 io. Scroll, Repeating. Byzantine, 1 2. Scroll, Foliated, Con ven- 
 
 A.D. 1300. tional. Italian, 16th Cent. 
 
SCROLLS. 
 
 49 
 
 13. Scroll Stripe, Repeating, All-Over Continuous. 
 Ancient Egyptian. 
 
 t e. h. 
 
 14. Scroll, Grotesque, Self-Contained. French, 16th Cent. 
 
 D 
 

 
 
 
 
 
SCROLLS. 
 
 5i 
 
 1 7. Scroll, Conven- 
 tional. Ancient 
 Greek. 
 
 1 5. Scroll, Border, Repeating, 
 Conventional, Foliated. 
 Italian, 14th Cent. 
 
 18. Scroll, Self-Contained, Interlacing, 
 Foliated, Conventional. German, 
 15 th Cent. 
 
 1 6. Scroll, Border, 
 Repeating, Con- 
 ventional, Foli- 
 ated. German, 
 A.D. 1506. 
 

 
 
 
 
SCROLL. 
 
 53 
 

 
 
 
 
 
 
SCROLL. 
 
 55 
 
 20. Scroll, Conventional, Foliated, Grotesque. Early 16th Cent. 
 

 
SCROLL 
 
 57 
 
 2 
 
 Scroll, Conventional, Foliated, Grotesque. Early 16th Cent, 
 

 
 
 
 
VOLUTES. 
 
 59 
 
 22. Volutes. Roman Cor- 
 inthian, 2nd Cent. 
 A.D. 
 

 
 
SCROLL-LIKE ORNAMENT 
 
 61 
 
 Scroll-like Ornament. ? Foliated, Flowing, Self-Contained, 
 Conventional. German, 16th Cent. 
 

 
 
 
 
SCROLL AND WAVE PATTERNS. 63 
 
 26. Scroll Border, Repeating, Continuous. Ancient Greek. 
 
 27. Foundation of Wave Pattern, Border, Repeating, Continuous, 
 
 Geometric. 
 
 28. Foundation of Wave Pattern, Border, Repeating, Continuous. 
 
 29. Wave Pattern, Border, Repeating, Continuous, Conventional. 
 
 Persian. 
 
 30. Wave Pattern, Border, Repeating, Continuous, Conventional, 
 Foliated. Ancient Greek. 
 

 
 
 
 
 
INTERLACING 
 
 6 
 
 31. Interlacing Pattern, Self-Contained, Geometric. Italian, 
 Early 16th Cent. 
 
 32. Interlacing Pattern, Bor- 
 der, Repeating, Con- 
 tinuous, Geometric. 
 
 33. Interlacing Patterns, Borders, 
 Repeating, Continuous. 
 Byzantine, nth Cent. 
 
 E 
 
 On 
 

INTERLACING. 
 
 67 
 
 34. Interlacing Pattern, Border, Repeating, Continuous, Geometric. 
 
 35. Interlacing Pattern, Border, Repeating, Continuous, 
 Geometric. Ancient Greek. 
 
 36. Interlacing Pattern, Border, Repeating, Continuous, 
 Geometric. Ancient Greek. 
 
 37. Interlacing Pattern, Border, Repeating, Continuous, 
 Geometric. Norse. 
 
 38. Interlacing Pattern, Border, Repeating, Continuous, 
 Geometric. Arabic. 
 

 
 
INTERLACING. 
 
 69 
 
 39. Interlacing Pattern, Geometric. Arabic, 14th Cent. 
 

 
 
 
 
 
 
 
 
INTERLACING 
 
 40. Interlacing, Self-Contained, 
 b and ^Geometric. Italian, 
 1 ith Cent. 
 
 41. Strapwork. Interlac- 
 ing, Self-Contained, 
 Geometric. French, 
 2nd half of 16th 
 
 42. Strapwork, Self-Contained. 
 French, 16th Cent. 
 

 
 
 
 
 
STRIPE, SPRIG. 
 
 73 
 
 43. Stripe Pattern, Repeating, Continuous, Sprig, Floral and 
 Foliated. French, 18th Cent. 
 
STRIPE. 
 
 75 
 
 44. Stripe Pattern, Repeating, Continuous, Conventional. 
 French, 10th Cent. 
 

 
 
 
 
 
 
 
STRIPE. 
 
 77 
 
 45. Stripe Pattern, Repeating, Continuous, Conventional, Foliated 
 and Floral. 15th to 16th Cent. 
 

 
 
 
 
 
 
STRIPE. 
 
 79 
 
 4 6 . Stripe Pattern, Repeating, Continuous, Conventional. 
 Sicilian, 13th Cent. 
 

STRIPE AND ALL-OVER CONTINUOUS. 81 
 
 F 
 
 47. Scroll Pattern, Stripe, Repeating, Con- 4 ya. Scroll Pattern, Repeating, All-Over 
 
 tinuous, Conventional, Foliated, Modified Continuous, Conventional. Foliated- 
 
 from 47<z. French, 14th Cent. 
 

 
 
 
DIAPER. 
 
 83 
 
 48. Diaper (Spot), Repeating, All- 
 Over, Geometric. Modern. 
 
 
 
 W*«l® •«!«? 
 
 
 49. Diaper, Repeating, All-Over, 50. Diaper, Repeating, All-Over, 
 Geometric. Japanese. Geometric. Modern. 
 
 51. Diaper, Repeating, All-Over Continuous, Interlacing, 
 Geometric. Modern. 
 

DIAPER. 
 
 85 
 
 52. Diaper, Repeating, All-Over, Geometric. Assyrian, 
 7th to 6th Cent. B.C. 
 
 53. Diaper, Repeating, All-Over, Geometric. Japanese. 
 
 54. Diaper, Repeating, All-Over, Geometric. Japanese, 
 

DIAPER. 
 
 87 
 
 55. Diaper, Repeating, All-Over Continuous, Interlacing, 
 Geometric. Celtic. 
 
 5 6. Diaper, Repeating, All-Over Continuous, Geometric (Sprig 
 filling added). Italian, Early 14th Cent. 
 

DIAPER. 
 
 89 
 
 57. Diaper, Repeating, All-Over (in heraldry called “semee”). 
 French, 17th Cent. 
 
 58. Diaper, Repeating, All-Over. Modern. 
 

 
 
 
 
 
 
RANDOM DIAPER 
 
 9i 
 
 59. Diaper, Random. Japanese. 
 
 60. Diaper, Random. Japanese. 
 
 61. Diaper, Random, Sprig, Limerick Lace. 19th Cent, 
 

 
 
 
SPRIG. 
 
 93 
 
 62. Sprig, Repeating, All-Over, Conventional, Floral and Foliated. 
 (French) founded on Persian, 14th Cent. 
 
 63. Sprig, Repeating, All-Over, Floral and Foliated. 
 French, 1 8th Cent. 
 

 
 
 
 
 
 
 
 
COUNTERCHANGE. 
 
 95 
 
 64. Counterchange, Repeating, 
 All-Over, Geometric. 
 
 /V/V/V 
 
 lMMV 
 
 lVlVlV 
 
 65. Counterchange, Repeating, 
 All-Over, Geometric. 
 

 
 
COUNTERCHANGE. 
 
 97 
 
 68. Counterchange. Heraldic. 
 
 G 
 

 
 
 
 
INTERCHANGE. 
 
 99 
 
 69. Interchange, Stripe, Repeating, All-Over. Spanish, 16th Cent. 
 

 
 
 
 
 
 
ALL-OVER CONTINUOUS. 
 
 ioi 
 
 70. All-Over Continuous Pattern, Conventional. Founded on 
 Persian, 14th to 15th Cent. 
 

 
 
 
 
ALL-OVER CONTINUOUS 
 
 103 
 
 71. All-Over Continuous Pattern, Repeating, Scroll, Foliated 
 Designed by Wm. Morris. English, 19th Cent. 
 

 
 
 
 
 
 
 
 
 
 
 

 TRELLIS. 
 
 105 
 
 72. Trellis, All-Over Continuous, Repeating, Foliated and Floral. 
 Designed by Wm. Morris. English, 19th Cent. 
 

 
 
GEOMETRIC. 
 
 107 
 
 73. Border, Repeating, Continuous, Geometric. Ancient Greek. 
 
 74. Border, Repeating, Continuous, Geometric. 
 
 75. Border, Repeating. Ancient Greek. 
 
 77. Repeating, All-Over Continuous, 
 Geometric. 
 
ARABESQUE. 
 
 109 
 
 79 Arabesque, Flowing. 78. Scroll, develop- 
 Albert Durer. Ger- ing into Arab- 
 
 man, 16th Cent esque, Flowing. 
 
 Dutch, A.D. i486. 
 

 
 
 
 
 
 
 
 
 
ARABESQUE 
 
 1 1 1 
 
 81. Arabesque, Grotesque, 82. Arabesque, Grotesque and Human 
 Flowing. Raffaello Pil- Forms. Raffaello Pilaster. Italian, 
 aster. Italian, 16th Cent. 16th Cent. 
 

 
 
 
 
 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
GETTY CENTER LIBRARY 
 
 NK 1510 H32 m 
 
 JTJ , Harrison. Thomas Era 
 
 Some terms comnonly used In ornamental d 
 
 MAIN 
 
 3 3125 00244 0887