The Fret Band.

The Chain Band.

129
Plate 81. Unsymmetrical ob Current frets: Greek vase
paintings.
1
4. Ordinary, simple patterns.
5. Elongated pattern.
6. Raking pattern.
9
10. Patterns which are interrupted by rosettes, stars, &o.
8
9. Abnormal pattern, formed by fragments, instead of a contin-
novis line.
Plate 82. Reciprocating Frets.
1
4. Ordinary, simple patterns.
5. Double pattern, Greek.
6. Intersecting pattern, Louvre, Paris.
7 and 10. Fragmentary pattern, Greek, and modern.
7 and 9. Symmetrical double pattern, Greek.
7
10. Ornamented patterns.
Plate 83. Intersecting Frets, &c.
1
6. Ordinary patterns, Greek vase paintings.
7. Abnormal pattern, Japanese metal vessel.
8. Pattern in parallel perspective, Eoman mosaic pavement.
9. Mediaeval folded-tape pattern, resembling the Fret, (Racinet).
10. Pattern ornamented with laurel. Louvre, Paris.
Plate 84. Ends, Angles, and Centres, of Frets.
1,
2 and 5. Free, unsymmetrical angle treatment.
3, 4, 6, 7 and 8. Symmetrical angles.
9 and 10. Centre treatments.
11
14. Ends of patterns.
Antique motives, except No. 7 (Chinese), and No. 8 (Modem).
The Chain Band. (Plate
85.)
The basis of the design is the Chain. The Chain Band is there-
fore composed of circular, elliptical, square, or lozenge shaped links,
which are either represented all in front view (as in
1, 2,
4 and
8),
or alternately in profile (as in
3, 5, 6,
and
7).
The Chain pattern probably occurs sporadically in every style.
That Chain-bands have not been more frequently used, although
they are a simple and eflFective mode of decoration, may be due to
the fact that the chain appeared to a certain degree to be too force-
ful, too vigorous in its effect. At any rate, delicacies of artistic feel-
Meyer, Handbook of Ornament. 9