Page:Popular Science Monthly Volume 6.djvu/287

Rh the repetition of the same monotonous song, which produces on civilized ears only increasing torture. The fret is at first drawn with all its unity running in the same direction, but in course of time it is found that a change of direction not only relieves the eye but gives greater pleasure, and the series comes to be broken up into bars, alternating in direction. This is observable not only in the classic Greek frets, but also in similar ornaments in America. In the intervals between the bars a square figure is often introduced, and this, both in Greek and South-American art, sometimes contains a cross or a quatrefoil. Similar breaks were often introduced into the scroll-border, in which case the bars were separated by a figure, shaped more or less like a cross-section of a biconcave lens, Fig. 15, A.

In Old-World decorative art the great step was taken when the sigmoids were separated and alternately reversed, as in Fig. 16. This gave an opportunity for the growth between the sigmoids, of accessory ornaments that developed into an infinitude of beautiful forms in Egyptian and Greek art. It will be observed that, in this series, the little volutions, Fig. 16, A, A, A, are turned alternately up and down. The accessory ornament corresponding to Fig. 15, A, has therefore a broad base upon which to expand on one side and a narrow one on the other. These accessory ornaments may be developed on both sides of the line of sigmoids, but in this case a double series is formed, and a single one is more effective. In Greek art they were principally cultivated on the upper side, giving rise to a single series of alternately broad and narrow figures supported on a line of sigmoids, as in Fig. 17. I would therefore claim that the upright, so-called