Knowledge of Historic Ornament

Knowledge of Historic Ornament

Successful practice in interior decoration does not require an encyclopedic knowledge of historic ornament, but it does require a very considerable and a very accurate knowledge of that subject. This knowledge the student of interior decoration who aims at anything approaching a mastery of his subject must acquire, even though its acquisition involve some drudgery. Moreover, a little knowledge of the evolution of ornamental art ought to be a part of the equipment of every cultivated person; for every ornamental form is a human document, and ornamental art is as much a revelation of the life and culture of a race or an epoch as is architecture or literature.

There is a wide literature of ornament, and the student will be helped both by such works as the analytical studies of Crane, Day, Wornum and Hamlin, and by the numerous manuals or cyclopedias of ornament, which contain innumerable examples of historic ornament. Of these manuals Meyer's Handbook of Ornament, Glazier's Manual of Historic Ornament and Speltz's Styles of Ornament are in black and white and easily accessible. The two great manuals in color are Owen Jones' Grammar of Ornament and Racinet's L'ornement polychrome.

The three cardinal sins against good decoration in the choice and distribution of ornament are revealed by the use of ornament not properly related to and dependent upon structure, the use in the same composition of ornamental forms which seem to be incongruous-that is, incapable of having grown together; and the use of too much or too little ornament.

The decorator can escape the first sin, as he can escape so many other sins against good decoration, by the mere exercise of care and common sense. He can escape the second sin only through a sound study of ornament, which will enable him to avoid incongruities both in the character of ornament and in degrees of conventionalization, which is a matter no less important.

The distribution of ornament and the relation of ornamented to plain surfaces is a matter of very great importance in decoration, both in the treatment of the room regarded as a whole and in the design of individual units. The mind finds a room with too much ornament distracting and wearisome, and one with too little ornament tedious and dull. That is, it wants, here as everywhere, to be aware of the presence of unity in diversity. Beauty and comfort are possible only where there is neither too little nor too much. The student will sometimes find in books on interior decoration definite formulas for the distribution of ornament; as, for example, the statement that figured rugs demand plain walls and hangings, figured walls plain rugs and hangings, and figured hangings plain rugs and walls. Such formulas are of no value what- ever, since they may be, and in fact are continually disregarded with the happiest results.

Probably no formula can be adduced to cover the distribution of ornament more definite than the one which was included in the chapter on proportion. We know that we must have a judicious balance between plain and ornamented surfaces; but we know also that within the maximum and minimum limits imposed by this esthetic requirement we can in practice vary in a marked degree the relative emphasis placed upon plain or ornamented surfaces in the decoration of a given room. Relative emphasis upon plain as opposed to ornamented surfaces makes for fineness and delicacy of effect, while relative emphasis upon ornamented as opposed to plain surfaces makes for richness and breadth of effect. Over-emphasis upon plainness results in thin, poor and weak rooms. Over-emphasis upon ornament results in over-complexity and that confusion which is invariably fatal to beauty.

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Interior Decorating Course Interior Decorating Course
1. The Nature and Method of the Art | The Nature of Interior Decoration | The Method of Interior Decoration | 2. Fitness to Purpose | Interior Decoration Factors | Interior Decorator | Decorative Materials | 3. The Grammar of Decoration | Grammar of Decoration | Form and Color | 4. Line and Form | Line and Form | Curved Lines | Broken Vertical Lines | Diagonal Lines | Three Dimensions | 5. Color | The Nature of Color | The Study of Color | Complementary Colors | Color Constants | Color and Emotion | Color Binaries | 6. The Significance of Texture | The Significance of Texture | Harmonious Textures | 7. The Elements of Beauty | Elements of Beauty | The Human Mind | The Human Mind II | The Dominant Element | The Dominant Element 2nd Method | Reccuring Lines, Shapes and Echoed Colors | Repetition of Color | Perception of Beauty | Variety in Decoration | 8. The Law of Contrast | The Law of Contrast | Contrast and Comparison | Tone Contrast | Tranquility | Individual Feeling | 9. Proportion | Proportion | The Laws of Proportion | Proportions-Creation of a room | Proportions-Creation of a room II | Increasing & Diminishing The Apparent Size of a Room | The Arrangement of Furniture | Proportion-Individual Decorative Units | Instinctive Insistance of a Dominant Element | Basic Importance of Structure | Walls of a Room - Decoration and Proportion | 10. Balance | Balance | Decorative Weight or Power of Attraction | Fixed Decorations, Furniture & Small Unimportant Pieces | Bisymmetric and Formal Balance | Balanced Distribution of Pictures and Rugs | Structural Emphasis and Repose of Background Surfaces 11. Light and Shade | Light and Shade | Quantity and Intensity of Illumination | The Nature and Distribution of Light | Secondary Contracts between Background and Ornamental Objects | 12. The Dominant Hue | The Dominant Hue | Temperament in Decoration | Color to Supplement or Correct Nature | Choice of the Dominant Hue | Background Color | 13. Color Harmony | Color Harmony I | Color Harmony II | Diversity and Animation of Harmonies | Complementary of a Room | Triads in Decoration | Distribution and Intensity of Colors | Contrast - A Principle of Composition | Connecting Rooms Using Harmonious Color | 14. Ornament | Ornament | Naturalistic Ornament | Knowledge of Historic Ornament | 15. Excellence in Design | Excellence in Design - 1st Test of Excellence | Proper Use of Decorative Materials - 2nd & 3rd Tests of Excellence | Beauty in Design - 4th Test of Excellence | Designs with Walls and Wall Paper | Designs with Floor Coverings | Designs with Hangings | 16. Period Decoration Period Decoration | Different Styles in Different Periods | Decorating Traditions Handed Down from the Kings | Peculiar Styles and Decorations of Different Periods | 17. Conclusion | Conclusion


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