See also:

• ORNAMENT (Lat. ornare, to adorn)

ORNAMENT (See also:

• LAT

Lat. ornare, to adorn)  , in decorative See also:

• ART

art, that See also:

• ELEMENT (Lat. elementum)

element which adds an embellishment of beauty in detail . See also:

• ORNAMENT (Lat. ornare, to adorn)

Ornament is in its nature See also:

• ACCESSORY

accessory, and implies a thing to be ornamented, which is its active cause and by rights suggests its See also:

• DESIGN (Fr. desiin, drawing; Lat. designare, to mark out)

design (q.v.) . It does not exist apart from its application . Nor is it properly added to a thing already in existence (that is but a makeshift for design), but is rather such modification of the thing in the making as may be determined by the See also:

• CONSIDERATION (from Lat. considerare, to look at closely, examine, generally taken to be from con-, and the base seen in sidus, sideris, a star, the word being supposed to be originally an astrological or astronomical term)

consideration of beauty . For example, the construction and proportions of a See also:

• CHAIR (in. Mid. Eng. chcere, through O. Fr. chaire or chaiere, from Lat. cathedra, later caledra, Gr. xaOi3pa, seat, cf. "cathedral"; the modern Fr. form chaise, a chair, has been adopted in English with a particular meaning as a form of carriage; chaire

chair are determined by use (by the See also:

• NECESSITY (Lat. necessitas)

necessity of combining the maximum of strength with the minimum of See also:

• WEIGHT

weight, and of fitting it to the proportions of the human See also:

• BODY

body, &c.); and any modification of the See also:

• PLAN
• PLAN (from Lat. planes, flat)

plan, such as the turning of legs, the shaping of arms and back, See also:

• CARVING

carving, inlay, See also:

• MOULDINGS

mouldings, &c.—any reconsideration even of the merely utilitarian plan from the point of view of art—has strictly to do with Ornament, which thus, far from being an afterthought, belongs to the very inception of the thing . Omani- ,s See also:

• GOOD, JOHN MASON (1764-1827)

good only in so far as it is an indispensable See also:

• PART

part of something, helping its effect without hurt to its use . It is begotten of use by the consideration of beauty . The test of ornament is its fitness . It must occupy a space, fulfil a purpose, be adapted to the material in which and the See also:

• PROCESS

process by which it is executed . This implies treatment . The treatment befitting a See also:

• WALL (O. Eng. weal, weall, Mid. Eng. wal, wane, adapted from Lat. vallum, rampart; the original O. Eng. word for a wall was wag or tenth)
• WALL, RICHARD (1694-1778)

wall space does not equally befit a See also:

• FLOOR (from O. Eng. flor, a word common to many Teutonic languages, cf. Dutch vloer, and Ger. Flur, a field, in the feminine, and a floor, masculine)

floor space of the same dimensions . What is suitable to See also:

• HAND
• HAND (a word common to Teutonic languages; cf. Ger. Hand, Goth. handus)
• HAND, FERDINAND GOTTHELF (1786-185r)

hand-See also:

• PAINTING

painting is not equally suitable to stencilling, nor what is proper to See also:

• MOSAIC (corresponding to Lat. opus musivum, from Gr. µovoeiov, an artificial grotto often decorated with mosaics; the word is only found in the sense of mosaic in late Greek, which generally uses k oXI yrlµa)

mosaic proper to See also:

• CARPET

carpet-See also:

• WEAVING

weaving .

Neither the purposes of decoration nor the conditions of See also:

• PRODUCTION (Lat. productionem, from producere, to pro-duce)

production allow See also:

• GREAT

great See also:

• SCOPE (through Ital. scopo, aim, purpose, intent, from Gr. o'KOaos, mark to shoot at, aim, o ic07reiv, to see, whence the termination in telescope, microscope, &c.)

scope for See also:

• NATURALISM

naturalism in ornament . Its forms are derived from nature, more or less; but repose is best secured by some removedness from nature—necessitated also by the due treatment of material after its See also:

• KIND (O. E. ge-cynde, from the same root as is seen in " kin," supra)

kind and according to its fashioning . In the See also:

• CASE
• CASE, JOHN (d. 1600)

case of recurring ornament it is inept to multiply natural See also:

• FLOWERS, ARTIFICIAL

flowers, &c., which at every repetition lose something of their natural attraction . The artist in ornament does not imitate natural forms . Such as he may employ he transfigures . He does not necessarily set out with any See also:

• IDEA (Gr. Ibia, connected with i&eiv, to see; cf. Lat. species from specere, to look at)

idea of natural See also:

• FORM (Lat. forma)

form (this comes to him by the way); his first thought is to solve a given problem in design, and he solves it perhaps most surely by means of abstract ornament—See also:

• WITNESS
• WITNESS (from O. Eng. witan, to know)

witness the See also:

• WORK

work of the Greeks and of the See also:

• ARABS

Arabs . The extremity of tasteless naturalism, reached towards the beginning of the Victorian era, was the opportunity of See also:

• ENGLISH

English reformers, prominent amongst whom was See also:

• OWEN, JOHN (1616-1683)
• OWEN, JOHN [OVENUS Or AUDOENUS] (c. 1560-1622)
• OWEN, ROBERT (1771-1858)
• OWEN, SIR HUGH (1804-1881)
• OWEN, SIR RICHARD (1804–1892)

Owen See also:

• JONES
• JONES, ALFRED GILPIN (1824-1906)
• JONES, EBENEZER (182o-186o)
• JONES, ERNEST CHARLES (1819-1869)
• JONES, HENRY (1831-1899)
• JONES, HENRY ARTHUR (1851- )
• JONES, INIGO (1573-1651)
• JONES, JOHN (c. 1800-1882)
• JONES, MICHAEL (d. 1649)
• JONES, OWEN (1741-1814)
• JONES, OWEN (1809-1874)
• JONES, RICHARD (179o-1855)
• JONES, SIR ALFRED LEWIS (1845-1909)
• JONES, SIR WILLIAM (1746-1794)
• JONES, THOMAS RUPERT (1819– )
• JONES, WILLIAM (1726-1800)

Jones, whose See also:

• FAULT (Mid. Eng. faute, through the French, from the popular Latin use of fallere, to fail; the originallof the Latin being replaced in English in the 15th century)

fault was in insisting upon a form of ornament too abstract to suit English ideas . See also:

• WILLIAM
• WILLIAM (1143-1214)
• WILLIAM (1227-1256)
• WILLIAM (1J33-1584)
• WILLIAM (A.S. Wilhelm, O. Norse Vilhidlmr; O. H. Ger. Willahelm, Willahalm, M. H. Ger. Willehelm, Willehalm, Mod.Ger. Wilhelm; Du. Willem; O. Fr. Villalme, Mod. Fr. Guillaume; from " will," Goth. vilja, and " helm," Goth. hilms, Old Norse hidlmr, meaning
• WILLIAM (c. 1130-C. 1190)
• WILLIAM, 13TH

William See also:

• MORRIS
• MORRIS [MORRISON], CLARA (1849– )
• MORRIS, GOUVERNEUR (1752–1816)
• MORRIS, JOHN (1810-1886)
• MORRIS, RICHARD (1833–1894)
• MORRIS, ROBERT (1734–1806)
• MORRIS, SIR LEWIS (1833–1907)
• MORRIS, WILLIAM (1834-1896)

Morris and others led the wayback to nature, but to nature trained in the way of ornament The Styles of ornament, so-called, See also:

• MARK
• MARK, CARL (1858– )
• MARK, GOSPEL OF ST
• MARK, ST

mark the See also:

• EVOLUTION

evolution of design, being the See also:

• DIRECT

direct outcome of See also:

• GREEK
• GREEK, ETRUSCAN AND

Greek, See also:

• ROMAN

Roman, See also:

• BYZANTINE

Byzantine, See also:

• GOTHIC

Gothic or other conditions, in days when See also:

• FASHION (adapted from Fr. facon, agon, Lat. factio, making, facere, to do or make)

fashion moved slowly . See also:

• POST

Post-See also:

• RENAISSANCE, THE

Renaissance ornament goes by the name of the reigning See also:

• KING
• KING (O. Eng. cyning, abbreviated into cyng, cing; cf. O. H. G. chun- kuning, chun- kunig, M.H.G. kiinic, kiinec, kiinc, Mod. Ger. Konig, O. Norse konungr, kongr, Swed. konung, kung)
• KING [OF OCKHAM], PETER KING, 1ST BARON (1669-1734)
• KING, CHARLES WILLIAM (1818-1888)
• KING, CLARENCE (1842–1901)
• KING, EDWARD (1612–1637)
• KING, EDWARD (1829–1910)
• KING, HENRY (1591-1669)
• KING, RUFUS (1755–1827)
• KING, THOMAS (1730–1805)
• KING, WILLIAM (1650-1729)
• KING, WILLIAM (1663–1712)

king; but the See also:

• CHARACTER (Gr. xapareri7p, from xap&crew, to scratch)

character of the historic periods was not sought by artists; it came of their working in the way natural to them and doing their best . " See also:

• STYLE
• STYLE (from Gr. a-6'1ms, a column; a different word from that used in literature, see below)

Style," as distinguished from " the Styles," comes of an artist's intelligent and sympathetic treatment of his material, and of his See also:

• PERSONAL

personal sincerity and strength . Inter-See also:

• NATIONAL

national See also:

• TRAFFIC

traffic has gone far to do away with national characteristics in ornament, which becomes yearly more and more alike all the See also:

• WORLD

world over . The subsidiary nature of ornament and its subjection to conditions See also:

• LEAD
• LEAD (pronounced iced)

lead to its frequent repetition, which results in See also:

• PATTERN

pattern, repeated forms falling inevitably into lines, always self-asserting, and liable to See also:

• ANNOY (like the French ennui, a word traced by etymologists to a Lat. phrase, in odio esse, to be " in hatred " or hateful of someone)

annoy in proportion as they were not foreseen by the designer .

He cannot, therefore, safely disregard them . Indeed, his first business is to build pattern upon lines, if not intrinsically beautiful, at least helpful to the See also:

• SCHEME (Lat. schema, Gr. oxfjya, figure, form, from the root axe, seen in exeiv, to have, hold, to be of such shape, form, &c.)

scheme of decoration . He may disguise them; but capable designers are generally quite See also:

• FRANK, JAKOB (1726-1791)

frank about the construction of their pattern, and not afraid of pronounced lines . Of course, See also:

• ADAPTATION (from Lat. adaptare. to fit to)

adaptation being all-essential to pattern, an artist must be versed in the technique of any manufacture for which he designs . His art is in being equal to the occasion . (L . F .