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Jones, Owen, 1809-1874. / The grammar of ornament
(1910)

General principles in the arrangement of form and colour, in architecture and the decorative arts, which are advocated throughout this work,   pp. 5-8


Page 5


GENERAL PRINCIPLES IN THE ARRANGEMENT OF FORM AND COLOUR,
IN ARCHITECTURE AND THE DECORATIVE ARTS, WHICH
ARE ADVOCATED THROUGHOUT THIS WORK.
PROPOSITION 1.
leneral      The Decorative Arts arise from, and
Principles. 1. ] A 1  - _ _   -  _             A
snould properly oe attendant upon, Ar-
chitecture.
PROPOSITION 2.
Architecture is the material expression
of the wants, the faculties, and the senti-
ments, of the age in which it is created.
Style in Architecture is the peculiar form that
expression takes under the influence of climate
and materials at command.
PROPOSITION 3.
As Architecture, so all works of the
Decorative Arts, should possess fitness,
proportion, harmony, the result of all
which is repose.
PROPOSIIION 4.
True beauty results from that repose
which the mind feels when the eye, the
intellect, and the affections, are satisfied
from the absence of any want.
PROPOSITION 5.
Construction should be decorated.
Decoration should never be purposely
constructed.
That which is beautiful is true; that which is true
must be beautiful.
|                PROPOSITION 6.
I    Beauty of form    is produced by lines On general
! _!                           'I  e     i  s  1_ _  _form.
growing out one trom the other in
gradual undulations: there are no ex-
crescences; nothing could be removed
and leave the design equally good or
better.
PROPOSITION 7.
|The general forms being first cared Decorationof
for, these should be subdivided and orna-
mented by general lines; the interstices
may then be filled in with ornament,
which may again be subdivided and en-
riched for closer inspection.
PROPOSITION 8.
All ornament should be based upon a
geometrical construction.
PROPOSITLON 9.
As in every perfect work of Archi- 0?npropor
tecture a true proportion will be found
to reign between all the members which
compose it, so throughout the Decorative
Arts every assemblage of forms should
be arranged on certain definite propor-
tions; the whole and each particular
member should be a multiple of some
simple unit.
C                                    5
a
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