John Leighton - 1,100 Designs and Motifs from Historic Sources

PLATE 1 . Nos. 1 and 2. What are called frets or meanders are common in all early work; of such are these rude frets, which are ancient Mexican.

No. 3 is an ornament of somewhat similar character. Strange, uncouth variations of such forms, which possibly had a meaning of which we have no solution, are found in the ancient cities of Mexico and Central America. These ornaments are applicable to the enrichment of narrow bands of stonework or other material.

No. 4 may have been suggested by feathers, and consists of gracefully flowing lines, fitting one into the other. They represent incised lines engraved on a plain surface.

Nos. 5, 7, and 8 are enrichments for upright surfaces. The first appears like an impress in clay of a hieroglyphical character. No. 7 looks to be a series of birds heads piled one upon another, as on a door post, and reminds one of the rude cats heads of our own Norman work. No. 8 is evidently from matting. Similar zigzag lines are to be found worked out in many ways. The zigzag has been noticed by various archaeologists as being one of the earliest and most widely spread of all ornaments which are to be found among the most primitive works of mankind. We may easily imagine it commencing with the scratched lines on wet clay, or the alternate notching of a stick, as in , all of which are common on the clubs of the South Sea Islanders. These ornaments are all monotonous, and simple repetitions of the same form. Repetition, however, is one of the means of giving pleasure to the eye, so common, that it is of constant occurrence in every known style or mode of ornamentation. It is equally frequent in nature.

No. 6 is a peculiar example of a crowned figure, and may possibly represent a prisoner taken in battle, and condemned to occupy a confined and cramped position. The head has a beard, the biceps of the arm is indicated by a scroll, and although nearly bodiless, the knee, calf, and ankle-bone are clearly expressed, but in an odd conventional manner.

No. 9 consists of flowing and interlacing lines, combined with faces, and running into a beak or species of birds head at the top.

No. 10 may represent a mask with large goggle eyes, mouth and tongue. It is after the manner of a tattoed face, as seen among the New Zealanders.

No. 11 exhibits the use of colours, consisting of red, black, and white, and is apparently taken from leaning blocks, such as bricks, each being impressed with a stamp. If made continuous, it will be observed that the red and black alternate at regular intervals.

No. 12 is a carved idol, which besides the rudely formed side figures of grotesque shapes, contains in the centre the suggestion of a face with two eyes, appearing as if rising above the triangle.

No. 13 is ancient Mexican. It is strange and uncouth, without much beauty of form, and probably contains the name of some great personage or king, as the centre is formed of what appear to be arbitrary characters.

No. 14 is a diaper with animal or cats head, triangles and stripes. It also serves to show how prevalent geometrical figures were, even in the rudest ages. The angle squares contain a diagonal cross or saltire with square centre containing a diagonal square of the same breadth as the saltire. These angle squares might easily pass for medival tiles.

Nos. 15, 16, and 17 are applicable for bands of stonework executed in relief or incised. No. 15 may have been suggested by steps added to an imperfect fret. No. 16 by the surf of the sea. A somewhat similar form is found in the Greek. No. 17 is an incised line consisting of two alternating semicircles dove-tailing into one another, looking like a folded ribbon or plaited cloth.

Many more rude yet highly suggestive forms might have been given, but these are considered sufficient, to give a tolerable idea of the primitive efforts of mankind in the ornamentation of surface.