CONTENTS ‘ne REY TO PROJECTIVE ORNAMENT vr wacte LINES 1 wacte SQUARES ‘vn, THE Uses oF rnoyscrivE ORNAMENT 1s 23 a ” a nFOREWORD MANY sie merken the Feld of 3 age Yealzed the aesthetic poverty into which the modern warld has fallen. "Designers are reduced Either fod nthe nega of ded Gan Sr'to develop a purely personal style and met $F laeer i rarely succesful: ity dwellers that we efor the most part, and seledivorced from Nature, Bie withsle her intimate secrets from us, Our {norance and superficiality stand pitifully revealed. Ts there not some source, some secret spring of fresh bequty undiscovered, to satisfy our thirsty fouls Having als fe asked himbel his quey Sons che author a last tndertook fs quest, Such felts as have up to the present. rewarded bis Teirch ae Here set forth, ‘Their value and import- Since willbe determined, a8 all things are determined BySsae and ime, but this much must be admitted— they ave drawn fom a deep wel "The author desires to acknowledge his indebted est t9 she following sources for material contained e'thigyolume: Phe Fourth. Dimension, by C: Howard Hinton, M. Ax; Geometry of Four Dimen- Hons by: Henry Parker Manning, Ph, Ds Ober eetohl Geomary, by Wiliam 'T. Campbell, A. Mes Watkematieal Essays and. Recreations, by HermannO_pnoyecrivs ornament —PROLECTIVE ORNAMENT Schubert; alo to an esay entitled Regular Figures in aedimensional Space, by W. 1. Stringham inthe thi volume’ of the Amean Journal of Nathematic, and an article on Magic Syuares inthe Eleven Edition of the Encyclopaedia Britanien, ‘The chapter entitled 4 Philosophy of Ornament is enriched by certain ideas frst suggented dn’ lcs ture by “Mr. levingK. Pond. ‘With no desire to wear borrowed plumes, the author yet found i ime Possible in this instance to avoid doing so, they ae 0 woven into the very texture of his thought In the circumstances he can only make gratefulacknow: ledgement to Mr. Pond. he author desires to express his gratitude to Mr. Frederick 1, Trautmann for hie admirable inter: pretations of Projecive Ornament in color, of which the frontispiece gives an idea-and only an idea. @| BSBR® 1 i THE NEED OF A NEW FORM LANGUAGE ‘ecurew ormmene onsite sch ness Stractraneceiy ay darned renter bd ep ts sy ihe be vped by an indie! enn i ight be eed om ‘Bteseensoaon of etl fron ty ihe ee cere uattiiaenaeg ntatae TSR UST a peor saned eles ini ctr adn hl taper ty ha Se ee el Syne ue shal seein iets oe sh Sener oy a mae se owne PROJECTIVE ORNAMENT Consider the present status_of architecture, which preéminently the are of space. Modern architecture, except on its en- necting side, fas not yet ‘Bund ill: ‘the syle of a building. is determined, not By nccetsty, but by the whim of the designer; femade up of borrowings. and survivals Sb arent the ned of moe appropriate and. indigenous aeohtectural forms with ‘which to clothe. the seel Famer, for which some sort of protective covering SFist importance, that some architects have cased earch ing in the cemetery of 3.100 saerelycherthed past They Bre seeking to. solve their problems rather by a process of elimination, using hemo clement fone and the materials readet teband lar hus facing thee dificuey they are te- renting their chosen are and not abrogating it Tena ‘The development of new architectural forms appropriate to the new structural methods is already nder’ way, and its successful issue may safely be Teft co necessity and to times but the no less urgent rneed of fresh motifs in ornament has not yet even Degun to be met. So far as architecture is con- cerned, the need is acute only for those who are determined to be modern. Having perforce abandon 4 the structural methods of the past, and the forms @ PROJECTIVE ORNAMENT ~~ associated with these methods, they nevertheless ontinue to use the omament associated with what they have abandoned: the clothes are new, but not the collar and necktie. The reason for this failure ct jovenon ithe ie ‘common Sn, a ling for Rtness and_ proportion, serve to produce ie Mbatng ofa ullding the faclty Tor originating Spproprate and beautfel. ornament is one of the Tian the whole range of art. Those arts of space ‘hich involve the element of decoration suller Trom the same lack, and fora similar reason. ‘Three possible sources of supply suggest them- selves for this needed clement ina new form language Ginseng i the singehanded eatin of lar felds it might be de- fived from the conventional lation mative Bop, a8 was in the past oF 1 might be developed from geomet Tecus examine each of these possbies in ura “The first we must reject, Even supposing that this ar saviour should appear as some farelygilted and resourceful creator ramen would ‘calamitous to impose the Ihymcrai aptce sth of 2 single individval upon’ an tote archer. Foren Meme futely such 2 thing is imposible, In Me, Louie Salivens for example; we have an_omamentalistPROJECTIVE ORNAMENT. of the highest distinction (quite aside from his Stevling qualities as an. architec), but from, the rs Mon of his imitators Citar that his seret is ine communicable, ‘Tr would be Setter for hs disciples to de- Yelop_an individual. manner OF their own, and this afew of them are doing. Mr Sava leave ig ele legacy of beauty for the en- ridhment of those who. come after, but oUF hope for an maiment less personaly more tniversal and genert, wil be So far from “realintion a5 before Such a saviour being by the very’ necesities of the case denied us, may we not go directly to Nature Sind chooselwhatever patterns suit out fancy from ihe ich garment which she weaves. and. wears? ‘Theres ae lack of precedent for auch a procedure The ‘Egyptian lotus the Greek honeysckle, the eanchas, the Indian palmette, achieved in his way, their apotheosis in. art. The Japanese se the Chrysanthemom, their wistera! and. bamboo, it Similar fashion; s0 why may. not we do likewise? ‘The thing has already been attempted, Dut never consistently nor succesfully ‘While far from solving the problem of a new language of ornament, for reasons presenly” £0 PROJECTIVE ORNAMENT appear, the conventionalization of our native grains, ifults and flowers, would undoubtedly introduce 4 note of fresh beauty and ap- Dropriateness into our archi etre “Teache of, dei might put the problem of such a to fe ns before thelr pupils to their advantage, nd tothe advancement of art There is, however, one. dif: culty that presents itself, By featon of scientific agriculure, intensive cultivation undet sass, and Because of the ese find. freedom of. present-day fransportation, vegetation in civilized counties has lost much of its local-chargcter And significance. Corn, bucks ‘wheat, cotton, tobacco, though native to America, dre lee datncuively American than they once were Moreover, valle in cities, where for the most part the giant flora of architecture lifts its skyserapin heads, know nothing of buckwheat except in pane cates of cotton except as cloth or inthe bale." Carn fn th ean i more famine to them than corn on the cob, and not one smoker in ten would recognize tobaceo as it grows in the fields. Our divorce from ature: has become so complete that we no longer diel in the old-time intimate communion with her ‘able form. Peta Teer@ PROJECTIVE ORNAMENT by “There remains at least one other possibility, and ie ie that upon wich we shall now Concent all Our attention, for i€ seems Indeed. an open doo Glonetry and mules ar ac theft of ery Kd of formal beauty. That the tapestry of natare is sroven on a mathematical framework i known to very sncere ntudent. “As Emereon says, "Nature geometrzes «= moos, plan, as, crystal, are Cone ‘sete geometry and number dre nature elected ar- arabia ply fined, but sell nature, ever refracted in and By cone sciousness. If artis higher meal ahh Feige ae se ck Bere apts go SSPE or Seaman ome gan hold of now omamenh gma SO BEY cesar tad cnet te of umes aera | | } f | PROJECTIVE ORNAM Gah oman no Nah nn Chesed Jpzmege guar wa dered Fon games. 3 ea fom on eed e Nowr eens ie ee heme ore. STR Seana ea ret cr Ee rata ipaedand mtn The cei feveepnen Heese 2 See sages scree is reglgeram and he ip mie mags arom ate tha neural hen Ge et a siege and pl lea of the tw, Mepee oe rp i fre ie Eon Shp Tt Sat uae pt Ss alec tle one, ff maa melo fom beryl i uy Backes: en beep Seppe or ge seal cane, amr Vwi fe malo he ere et one see re Tomas ou compe ors a Sree ramen lon pm eal rte Shr gee mi ome Faw ee BY 2 Eyre Be ole at en sel rng hh sal i1 ORNAMENT AND PSYCHOLOGY mmm tthe etgoth fo tl meceiy u f»avng Wot eny Our enya ented ina opening integra te Mh scan shld ott hamnesoeegiel mont The ew dein of com ‘Sloman ign igesed he pra, The Fart ines of eke ug fourSimenoal rome, ‘THE ORNAMENTAL MODE AND THE PSYCHOLOGICAL "ARCHITECTURAL, forme an features such a She column, the intel, the arch the vault, are the outgrowth of structural necessity, but ths i not {uc of gemament. Omament develops nt from the tec and the powe 0 bul br Hom te sed and the power to beautify. Arising from a psychological Imptle rather than from physical necessity it Te- Feta the national and racial copsciousness. fo such Siege inthis true that any mutilated and time- swore Fragment out of the great past when art was a Tamguagercan without dificult be assigned its place anf ee Grane dependence omental ode upon the psychological mood, ur frst business to discover what that mood may be "A. great change has come over the collective conseinisnes: we are turning ftom the accumulaePROJECTIVE ORNAMENT tion of facts to the contemplation of mysteries. Science is discovering infirmities in the very founda on of knowledge: Mathenatcy.threugh the questioning of certain: port: ites accepted an axiomatic for thousands of years is onceming itself with, probe fems. not alone of omen, two and threes bat of eine ional spaces. Psychol no longer content with super: ficial manifestations, plunge ing’ deeper and ‘deeper into the examination of the subs Conscious mind, Philosophy, despairing of translating lie by the tational method, in terms of inertia, is attemptin to apprehend. "the universal fiux by the aid of intuition Religion is abandoning. is manmade moran of petioe pence in favor ofa quest fr hat mystical expesence which fore foes all to gain all. "In brief, there fsa renascence of wonder; and art must attune itself to this new Keysnote of the modern world Tested To express our sense of all this Newness_mam eases have been invented. Of these te Four mension has obtained a cureney quite ouside the domain of mathematics, where t originated, and is frequently used as 2 synonym for what is new and PROJECTIVE ORNAMENT. ‘dimensions we should plant our metaphysical spade. The fourth dimension may be roughly defined as a direc- tion at right angles to every known direction. It is a Tated to its volume; thinness of the Cannot picture i, though every point is the beginnin ot) pathway out of and into ie Dose Pine However little the mathematician may be prepared to grant the physical reality of hyperspace—or, morePROJECTIVE ORNAMENT properly, the hyperdimensionality of matter—ite Fetiemacal ality he would never callin question. ur plane and slid geometries are but the beyianin of teacence.” Four-dmens cae Sional. geometry is far more extensive than’ three-dimens sional. ‘Thenumberof figures, and thee Variety increases ‘ore and more rapidly 2 we Inout to higher and higher spaces, cach apace extending ina direction not existing it thee omer ace Me: ver, these figures of hyper- Space, though they are ‘one How“ the set are town 0 the mind in great sminotenese of deta To the artist the richness ofthe field i not of great i= tance. He need concern mse vith only a few of the more elementary figures of foursimensional geometry, and only the most curry acqainczce with the atonal oncepts involved in this geometry will give him al the material he seeks, omen" In the ensuing exposition, he wllulness and im patience ofthe artiste temperament towards every- ing it cannot turn to. practical account will be indulged to the extent of omitting all explanations and speculations not strictly germane to the purely sesthaiesapect ofthe mater To such reader as ate disposed to dig deeper, however, the authors ° a of eae Caer PROJECTIVE ORNAMENT. 4 ‘With this brief explanation the author now turnsm THE KEY TO PROJECTIVE ORNAMENT ret «pelvis [cepts im lee preizaof wide sd hyerts contre ow mol of Proje Ont ‘THE DEVELOPMENT OF THE EQUILATERAL TRIANOLE TH HIGHER SPACES JHE conceptof a fourth dimension 9 simle that Tafa yone can understand ii ony eval not limit his thought of that which is possible by of that which i pasticable Te fp not re opie perene that Dales a the ide of et dally perpendicular nections, Grant Seeetae Phi or te sake of insect adven= sree ee fa rtion cowards whch we art ain at ght angle to every one of he So Shey dee tentna of spac am then see where ie able to come ot, Fre MSRe tte ina plane (a wo-dimen- cetera Pn tn Sse emis ed Spree eset ade OEE neil ot wafers alt eenPROJECTIVE ORNAMENT. PLANE PROJECTIONS CF CORRESPONDING FIGURES OF THREE "AND OF FOUR-DIMENSIONAL ANNE in number, between the four points, willbe expr bythe edger of regular tetrahedron whose Sees ae the four points Buc in order to represent this Solid ina plane, we must have recourse to projective geomet, he mont winple sn obviow ty to fo thisia to locate the fourth point inthe center of the equilateral angle and draw lines from this central point to the three vertices” Then we have Te sentation ofa ropular tetrahedron as seen de fectly from above, the central polnt fepresenting theapex apposite the base (B, Figure 1). But support we image the tetrahedron toe ed far eugh ver for this upper apex fo fall (in plane projection outrde of the equilateral range reprecentng the Base In such a position the latter would foreshorten to ap isosceles tangle, and ata certain stage of this oton the pane pijeton of the tetaedion appears at a" square, te every apex representing an apex of the tetrahedron whose edges are repre: Seneed by the sides and diagonals of the aquare (C, PROJECTIVE ORNAMENT Figure ), In this representation, ehough the points ve equidistant on a plane, a8 they are equidistant in solid space, the abe lines are not of the same Tengths andthe four triangles ace no longer truly tcquateral But chis fe owing to the exigencies of fepresntation on a surface, ff we imagine that we Mie not looking at a plane iguee, but fn a sli the Aeenny conrsions are made automatically by the Thingy and we have no difficulty in identifying the figure av 3 tetrahedron Now if we concede to space another independent direoton’ in that fourth dimension we. can add Shes point equiane al forgeries of he Sei” Pe ran nc ree ie pointe ail be ten in number and all equal. ‘The tpdeoldformed-—a pentahedroid-will be bounded te equal tetrahetons in the same way that 2 Cuahedeen is bounded. by four equal equilateral {tangles and each of thete by: sheee equal lines. We tintor construct this figure, for to do so would require a space of four dimensions, Dut we can rep- Felen i it pane projection juntas we ae able to Feprerent 2 tetrahedron, We have only. to add ‘Mer point and connect ie by Hes with every Boi rebeig apex of te oa tea, on CB. Figure‘I); of according to our second snethod ween arange five pots fh such fashion a8 Torte withthe vertices of a repli pentagon Snd connect every one. with every other” one by aneans of straight es (Ey Figure 1). In either case “onventonewe have a plane representation of 2 RYpertetrahedron or pentahedtoi.e PROJECTIVE ORNAMENT @ PROJECTIVE ORNAMENT sob tae realy ciel te plane rors sion of a pomtahedtid should be cay to ent {he projeddons ofthe five tetrahedral ells or bound ine Rereahedrony ust ase are able eo deny the ees telscera ade of te tetrahedron in plane pro= eerste Rnd that fete posible to do thi For Gavenienes of identiication, these afe separately Sowa dine of contined going ae this pentagon Beamocrting 9 hyepoined anand by eying to sees sinescaveimer-reations, we may come iyo hele a mercy con si bat cht fe fepeeent a hyperelid 9 hyper. Blanes ace to th tetrahedron as that f roaed ike tangle “THE CORRESPONDING HIGHER DEVELOPMENTS OF THE SQUARE Lee un neg consider the series beginning with the june. "Phe'cabe may be coneived of an developed ty the movement of 2 oars ina direction at Bh angle toi wo Uaioe tance qual to the Teng of ‘one of its “ides The Gitecton of this move: mente Bere se he Spin ne ly downward and to the ight. ‘The renltant fgureis 2 Cin nomettic perspective, foreach of the four Fie gent at nga enc ies dee pas hs eed ie a cmd Soa (een are idan nk Perret ai eaearey hath er 2 a aly ae ee Raia i eae acne te tite sect FS Tale Seat ght See Sorat sana te lle sooge a a bly amet itp a Uno hee croatia ies we daw 3a Fen aisha” ha Bech Lad each ene ous line, tne sauna Scho cig ea cat ee shel ae wh he rn pete son, The roan ao ceo genes ofa eer or thes Fe en of Et ee Pe focamer shirecinepins “THE EIQ CUBES CPA TESERACTPROJECTIVE ORNAMENT ont deals actos seamiireaeeie sacha yl iitengnngan trom a the ae fares of Two THRE ADIOS TOD Feat caw LAVA the cube iaco Toure dimensional epace, "We find thar we cand thi. For convenience ofidee ‘cation theeigh cubes ae separately shown in Figure. ‘TRUTH TO THE MIND 18 Omament i tpely = Srey Stee pean geet Baan " sgeomauy: [tvs seamen Ses, neers toi arene cereayiaimens of crane ews 4 A portant dference between thems the tangle and the Pee ee pe ed PROJECTIVE ORNAMENT sions; the plane representations of the tetrahedron and the cube portray certain relations in solid apace, While thore of the pentahedroid. and the cesteract ray relations peculiar to fourslimensional space. twill be observed thatthe deciatve wae ofthe fares Increases as they proceed from space 0 apace: the hi Rrmensional developments are mre beau and carey 8 eater weight. of mean ie accords ‘well with the dictum, "Beauty is Truth; ‘Truth, Beauty.” “The above exercises consti- tute the only clue needed to Understand the systemoforna- sen here gated, Every rmmetrical plane figure has ite threedimensional correla: thre, to which ifr elated as 4 boundary ofa cros-ection. ‘Theseslids may in torn be conceived of as boundaries or crose-sections of corresponding figures in. four dimensional space. ‘The plane projections of these Spel ae the mouie mainly red in Projectivecmnennonnmnnmennmnnll Vv ‘Tee een nd Ae Pete Seam. tga pennant Ee eiSSttovennre cumin oeensons tele tered, SeESmar ei ny eres ons oicaon ‘soca sd pe THE mostefecivemetodforanovice sn aprnach th understanding of any four-dimensional figure cqnivcommeedote aie ec led te hp SEy'saF Gump. In this the cumolative impets GRea'by che Hop and the skip is concentrated and Be Jolin he supreme eflort of the Jump. The aki nc the fourth dimension is best prepared fo, ary hop pane space Inthe flowing cursory consideration ofthe three simflest’ regular polyhedroids of four-dimensional Seer ie an apply this method. Even at the risk of BPA Jom reteration lets resolve the paradoxes, aE kypepace by vetoing them the Es of lower space. ‘K regula polygon—a. two-fold igure—consists of yal sigh Toe Jpn sto eile Smet S3ie e‘prtion of plone space. A regular polyhedron a ere paare conte of 3 number af equalPROJECTIVE ORNAMENT regular polygons, topther with shir ioteon, pelygon’ bee ciel by tet edges cor the Se ee ere pate Sth Rt oa opel ee Telronn, Syeanet ty heen, eens oe te ing fan bp te ts Geena Porn of pap nthe Sregeng chapter vee have onde aes Toole epee ites erga es eget: ippectenkctan at tae ie oe eee ae Nisan tt the rea Spent etek Fone “These gua hare in Projective Orament tac Sc tenn a ie Rian soi Co contests ood A regular pentahedro is regular figure of dimetsiona space bounded by hve repeat eke: ron tha hve vers tn ees ten fate and Tfwe take an equilateral t i an equilateral rangle and draw alive through it center perpeniclar f6 Ae plane, Point ofthis line wll be equidistant from the three PROJECTIVE ORNAMENT vertices of the triangle, and if we take for a fourth ‘vertex that point on this ine whose distance from the three vertices is equal to one of the sides of the triangle, we have thenatetra- hhedron in which the edges are all equal. If through the, center of this regular tetrahedron. we cout aw alne espn far t0 ite Ayperplane ever eine ot nea would Be Eimiarly, as above, equidie fant forthe four vertices of the tetrahedron, and we could {ake for a th vertex a point ta dstance from the four ertices equal fo one of the ages of the tetrahedron, We srould have then a pents- Kerib EST nt Gps ‘would all be equal. SAP the parts of any one kind—face angles, dihedral hates, faces, eter would be equal; for the penta- iefold fs congruent to its in sixty diferent ways Bhd ean be made to coincide with itself, any. part fonciding with any other part of the same kind. “hs every regular polyhedroid can be inscribed in a hypersphers in the same way that a regular folygo"can be inscribed in-a cele, and every re- RLF paleo in ashes the penta sioee fry represented in-plane projection a8 in- fib within bcc reprventng thi hyperphes Head perpendicular to the cell ofthe pentahedroid® PROJECTIVE ORNAMENT. ort a penetra mera, pester vertices of a second regular ven of geen at seed 7g a see ie eines sa gs er soe gees nal te hag ul cerpsiage om cece Geant esc es ne Sree ec spies any he ance pane acs scribed within 2 circle, and in solid space in two symmetrical intersecting tetrahedrons inscribed with- in-a sphere (Figure 6). Tetemucrrigrerae = Ps emule tea SERRE, | Ll Ss ‘he Satan ae at Nai four square faces, (each a @ ieee ‘thirty-two equal edges, and seen "veces F'cone fine four axe fyingin lines ‘which also form a rectangus Tar system.PROJECTIVE ORNAMENT. In order to comprehend ‘the tesseract in plane repre- ‘resentation, let us first con- ‘eat gegen et int fon ae cometh ae alan spresegton te Ed EN | ot, Bgl pees faeare nthe coathet sfuare, with ‘obqar nes sposcin th were our tactile so ea gi foe agd % | chan the bane se aye cur and lager andthe ; fer meme “gad of as squares also. If the cube‘is shown not in Parallel but oblique perspective, the mind eal Tizmufic the two igus Ws Figure ‘Theos twv ways of rpreenting& cube in plane space ay be Talowed the ang of the tence afc (a and By Figure 7). We can think of the Best in rortting OF ope PROJECTIVE ORNAMENT. the tesseract. ‘The fact that wa ee owing ae SrBcimensionl apace he ie ger a ‘hose four dimensions ate a Feder to, faianice ourselves with this, for OUT Piaf all fourfold fies tanner a comet te Heae B move Tine AB move downward a distance equal to its length, tracing out the square THE TESSERACT IN THREE DIFFERENT ASTECTS pearance of the tesse- | GaIERATION oF TEAnOACT act as we look down 2 into it, and the second ine i ad te ed claret? || gobi ily he tetiors form the cells of 3 ®@ @ —PROLECTIVE ORNAMENT paopgorirs onnausyt_ © Trot Figure 11, the innermost of these cubes, cre com ding with the furthermost of the WPPeT figure ‘This square shall now move backward the same Giatancd, generating the (stretched out) cube AH. See ee fel Ruane Sse tent W the physical impracticability of the thing, let this bE ctu Clbe move off inva diction perpendicular to Every dimension (che fourth dimension) represented Se ime ence the eee Al Will be found to contain eight cubical cells. For Wenfence of identification these are shown in pure 5. Orher aspects of the tesseract are shown If we layoff a given distance jn For toe dr and in| oneach of four motuay perpendicular lin on gach of Teint, the ege pons #0 obtained 376 the vertices of regular Wi yhedrotd which has four ter the pentahereid or bypettraedion, Ne 'e tesseract or hypercube, already considered, we she eterat 2 MYECE pghcara the bezel have ap the More biel, the 1enedoid Figure 1 with an intermediate or ‘ross-setional square in GENERATION GF TESTERACT shown i exch of the cube, which poighsals along the four ‘square in the tesseract jven lines. This is the 16~ heomes an intermediate | Eafe re has, as the uber Whenever in the etre aplics, sixteen, cel figure, we, have thre | Ceachateraidrom iy, se ee sahthe same fo. eiangolat faces, Ce guages, in the some fie comion fo 0 SS thattwe have a cube. Padrons),eweney-fouredes, ‘There're eight of these and eight vertioes aruupsofthiee heeub: | __ Figure 12 represents ite Exlcells of the tesseract. | _ projection UPOH, & plane. ff instead of repres | projection. oat fe ABCD, ABCD", ABE D: ing the fourth direction | ABCD, ABICD. BCD, ABCD, ABCD. ing the four coerating «=| ABCD, BCR, ABE ABCD, A’BCD, Cube we choose to-con- — ABCD!, ABCD, AB'C'D. "The accented letters resis gece, | et pr th ume et Fire ceive oft as inward, | te aents another plane projection of tt. PSY" 7 Ge Sewn’ Rebar) e aPROJECTIVE ORNAMENT THE DECORATIVE VALUE OF THESE FIGURES apie fos art and oo a ome scenes the rein ce phd Se aoe fhe hn eT et is amir came farm oe Meld ey a nena ate ee eyo ny dmesone, ep be he se tianind ad cps, roel the em ara bt See fay ald the pes Sec nee an sehericlabede se ky Slag Ee : Pe i gl tow faire nied Lan some ng cece go Sarr a fae cee eres a acto, In fee ien a soph heh dating gpa rey ‘phe Gazeta on be ied 2 Ne Beeaenead ey reten trrthr wld Bebrcned ore ices Peseta hoe acrorie lg che 2g random arama on th ee of shee cee nypegat las peta il seve uae ha pe of ety ae et Se Je IG few and Hk Coptine e [ri umcaDecaniecaoD)] @ sadeactnvatastecat acannon ainnceeReaenee Renn, PROJECTIVE ORNAMENT ‘THe CONVENTIONS EMPLOYED IN THEIR REPRESENTATION These ig feat why the ane pojgtins of adda are shown as transparent. “Our senses Tere edimensonally'th in, we sez. and Centact only surfaces, "Were ove sense mechanism truly. threedimensional, we. should have X-ray Vid, ‘and the surfaces of solids would offer no re- ance tthe touch. In dealing with fourdimen- Slopal space we ave at liberty to imagine ouselves in {it ocdesion of tis augmented power of sight and ‘fhe mind having ascended ino the fourth ion, here woul fellow a sotesponding art ofthe senses by reason the interiors of plane figures “Thete is justification also forthe attenuation of all ine towards their center. It isin obedence to the optical Taw that when the ghee behind an sbject ito impinges upon the intercepting objec ings "fo produce the elect of a thinning towards the center. The actual form of the ba ofa leaded gla window, for example, is ar shown in A, Figure is, but their optical tflect when ween agsnnt the Tight ie as in B. Because in X-ray vision some tances fre opaque, and. trans Tnoat, wears ary to atunbure op ty art Ss4 PROJECTIVE ORNAMENT. i we please, and thus to add a new factor of variation asin G. "We are alo at liberty to stretch, ewistor shear the figures in any mannér'we tke.” By the tons aloo by mitaing he tllne ty ofthe figures through thelr combination with floral forms, ve can create = new omamental mode vel adapted to the needs of today.v. FOLDING DOWN erat payaso ferment opce may be ule in Teme nd tana lo i pac tw ‘Tensor comer thoy ay bebop y aonb fepdar plies ehh cmpan them, ay ven 08 Sedan meer cet ANOTHER METHOD OF REPRESENTING THE HIGHER 16 THE LOWER HE prev, met i va the nl ot whefeby four fold figures may be tepresented in dhee'dimergional and in. two-dimensional. space. Pulybedretds may be conceived of ax cut apart along Cereain planes, and folded. down into three-dimen- ‘Sonal space in a manner analogous to that by which s°Rardboard box may be cut along certain of ite tages and folded dawn nto plane. As the bounda- SEP polynedroid are polyhedions, an unfolded polyhedrod wil consist of a. number of related Fodeion, "he can incr Ue ned, and The aregation of polygons each a plane boundary SF eae EAE boundary ofa hyperaid—wil represent Si Gursfold gure unfolded i's space of two simen- ihe unfolded cate becomes a, cain, pene re made up of six squares, each one.2 boundary sre ae Rigure i) Slay, fe magine STeesseractto be unfolded, is eight cubical cells will ‘Sccupy three-dimensional space in the sha Goutlearmed cross (By Figure 15). In four-dimen- @@ PROJECTIVE ORNAMENT. Sonal apace dese cubes cane fumed in upon one path to fom. sym gre juan thresdimenwonal space the sk aquares fam be re tilted to forma cides ‘A ceglae tetrahedron unfolded yields an eqiat eral rangle cnconed hy thee other” equilateral triangles (C, Figure 15) Silly, a tslaedpeatahatad or hyped tetraveron, would consist of a cen tral tetrahedron with four others retag on IefoutfacestD, 18). Thepental Coad be fetormed turmng these towards Spe ator oor ntl they came’ com. pletely together again regular triangular nolded yes three _parallelograms, ieesiders and to : __ elated angles, i ends (; Figure 15). Simi «feular hyper priam would nfold ato Tour equal and ania ‘triangular prisms and two tetrahedrons (F, Figure 15)""infotedimensonal pace we could tn prisms around the faces of the tetrahedron upon. Shieh they ree andthe othe tetakedson around The face by which tis attached toe ofthe proms 5 | j | 3 prossortrs onvament © together, each prism with interal face resting upon a lateral face of each of the Uihers, and each of the four faces of the second fetahedron resting upon one of the prisms. This [NU be done without separating any of the figures, Srdistorting them in any way, and the figure thus folded up would then enclose completely @ pos of fouredimensional space. and bring them all “THB POLYHEDRAL BOUNDARIES OF FOUR-DIMENSIONAL REGULAR ANGLES ‘A regular angle for any dimensional space is one ll a ipRewe boundaries are the same inform and magni- Code. Ene summits of all regular figures in any Spee frm rele ams sie he disribution! of their boundaries is sym mera and equal. and H, Figure 16, repre- Sent respectively the Summits, one in each figure, of the tetrahedron and the cube, with the two-dimensional bound Mies fhe summit Spread out. symmetr cally ina plane. The foundaries of the sum- fits ofa fourdimension- 20 are bing solids GF and HY represent respec- tively the summits, one jin each figure, of the Higher cortelativesof thePROJECTIVE ORNAMENT. tetrahedron and the eube—the pentahedroid and the fesseractapread out in_threedimensional, spa ‘Thae is, they represent, in three-dimensional.per- spective, che symmetrical arrangement of the four boundaries of regular fouredimensional angles. In fouralimensional-space the faces of those. figures ‘hich le adjacent to the common vertex are brought ito einen jt a in pee dimers space the edges of the triangles and squares adjacent to the common verter. are brought into. coincidence, fojming the summits of the tetrahedron and the ‘THE CONSTRUCTION oF THE 24-HEDROID tis possible to build up any regular polyhedroid by ting together a set of polyhedrons. We take fhem in succession in auch order that each is joined t0 those already taken by a set of polygons like the incomplete polyhedron. ‘Take the case of the four-fold icositetrahedroid or Uchedroid. I, Figure 17, shows a summit with six octahedral boundaries arranged about it symmetric= ally in three-dimensional space. Conceive I t0 be reed into four-dimensional, space, and. the ies between the adjacent triangular faces t0 bye closed up by joining those faces ewo and ewoy the igure assumes a form whose projection is represented in J-with dotted lines omitted. Adjust to this figure twelve other octahedrons in a symmetrical manner; three of these octahedrons are represented by the dotted lines of J. Again, close up. the interstices between the adjacent faces; the outline of the figure assumes a form whose projection is represented in K. : '@ PROJECTIVE ORNAMENT Now conceive this figure to be turned inside out, ‘There ul be left in the middle ofthe igure a vacant space of exactly the form of | with the dosted fine oe ad, Figure 17): such “a st Sctabedronsa therefore required. to. complete the fourfold §gore By ‘counting it isfound that alltheconsieuent octs- hhedral summits of the fourfold igureare filled tosaturation, and that the figure is in other respects complete and fegular. Thenumberof ‘octahedral boundaries or cele is. twenty-four; of Summits, ewenty-four; of triangular faces, ninety- six; of edges, ninety-six. “THSGERACT SECTIONS Bn the sae way hat i any foie al roseectons of regular polyhedrons, it posible, ‘hough not so casy, to concetveof these same poy as boundaries of croeesections Of coresponding polyhedroids ‘The various figures are represented in perspective pice, bat they may be unfolded ater the manner of the cardboard box. If this be done the bounding polygons wil be fee from the distortions incidene t¢ perspective representation, but the result | | | | | @ PROJECTIVE ORNAMENT REGULAR ICOMHEDRON UNFOLDED IN A PLANE Bree ASEDRONS in most cases is the monotonous and uninteresting oat aoe stn (Figure 18). What we require et 7 ee for ornament is greater contrast and vanety of Bn senna! form, and this may be GANMEGAREATAtE | obtained without going farther than the ‘wore QD QD @ | derbrcoftherenserac ‘1 a = itself, There are certain interesting .polyhe- droids embedded, a8 it sre, in the tesseract. Sechare the etravesse= fat, and the octaesse- Bee This fase ts Ob fained by. cating off cvery comet of the feesenct june a8 an 0c {Shedron et i every grnerf a cube is cut oF Three such poly-PROJECTIVE ORNAMENT hedral sections of a tesseract, unfolded, repeated, and arranged symmetrically with relation to one another, sroduce the highly decorative pattern shown in igure 19. )@ vl MAGIC LINES IN MAGIC SQUARES -Thenometal aeony ee in mascot abiceneion emt eT mayb one in tm Tose ae, ‘as mat cpr leno aman ne nd Sali ee of ued whe nm TEE LOT oc ber can ene. te Psjecive Oma “ane misTORY OF MAOIC SQUARES LMOST everyone knows what a magic square is. ‘Brief, fe isa numerical acrostic, an arrangement “Stmunibers in the formof a square, which, whenadded er nueical and horizontal rows and along the diago™ in evjeld the same sum. Magic squares are of Titian and ancient origin, ‘There is a magic square vast tueved in, Sanskrit characters on the gate of of ont at Gwalior, in India (Figure 20). Engraved the lesne and. metal, magic squares are worn at the Cresent day in the Bast as talismans or amulets hey ave known to have occupied the attention aPifediaeval philosophers, astrologers, and mystics Clibvecht Diver introduced what is perhaps the most Femarkable of ll magic squares into Ns ing MMelencholia (Figure 21). ‘Today they find pla the puanle departments of magazines. Theit ave wre Pormulas have engaged the serious attention of ane cat mathematicians, and the discovery of so Sehled magical relations between sumbers, not alonePROJECTIVE ORNAMENT squares, but in cubes and hypercube, i one of the recreations of the science of mathematics” ‘The artist impatient of concep, but questing the beautiful, wil care little about HINDU SQUARE the mathematical aspect of the ‘matter, but it should interest him to know that the magic lines of are richin decora- ‘A magic line i that endless line. formed by following. the numbers of a magic eguaie in thee natural sequence fom cell tocaland retiring tothe point of departure. Betause ‘most magic squares are developed by arranging the numbers in their natural er fn the frm a ig eran ation he whe thing may be compared to the formation of sting figares—the cats cradle of one's cldhood— in which a loop of strings made to astume varousdntricate and Sten amazing patterns magic Tine i space See Pip Henry Wyane’ Matic Tort nthe ath’ Primer of Hiker Spe | e PROJECTIVE ORNAMENT ‘THEIR FORMATION wee ge 2 sent sae eset ee es, wa eno een Ange Ss cue aries Rd it ca aaa peace ey ia oe oy sedlprnami BEER aps se ee este the En dehe peymeter, Dispos these els which they adjoin, neh mordy eae the ieetioa at ght angles retour the’ lines whichprojective ORNAMENT @ = equa of 3 Figute 22) oo tee kk Keay and inert a nto OT wea As the number merpagie squares is tral form the symbalcl Ineaning here asigned them, fhe cantot fal to recognize thee to, ements in ome nent and. corresponding Felation between thems There [ithe fixed frame or barrier, an thete isthe free-growing Stabs whote aor fa off rme the diminthing nergy feturning upon its im exqusite curvesand sitals, He's wave from the face of « Mermniseseerat clit. In the languageof orna-PROJECTIVE ORNAMENT ‘ment, here is an expression of, the highest spiritual truth— fate and free-will. in perfect reconcilement. If from this Bolte of view we consider even So hackneyed a thing as a Corinthian capital, the droop of the acanthus leaf where it meets the abacus becomes eloquent of that submission, after a life of effort, to a destiny beyond our.” failing energy to overpass. This ex: quisite acquiescence, expressed thus. in terms of form, is capable of affecting the emo- tions as music does — “That strain again, ie hath dying fall 1s fa the beautiful end to tragedy, summed up in Hamlet’s— eer niitd “Bor le it be.Horato, am dead” Si lesa ettesead- aie eeeCoa on act ope nak tre citicn since tabi nd Hower onventonaton, On rte Ws ce eters tee oa oe cect Socumeey mae dete ood ‘The arti aot commited to a lav del to the forms of nature. God of his own self-created PROJECTIVE ORNAMENT. world, he may fashion for it 2 flora all its own; but by the Tows of nature he must be bound, for God himself, it has been said, is subject tothe law of God. What is this law? “Male and female created he them,” ‘Genesis makes answerjand the Upanishads —" Brahma, that the world might be born, fell asunder into man and wie cience says the same thing ‘when it declares that the sun= ering of a force into two Tere ‘opposed activities striving for Peunion, is 2 characteristic of all of the phenomena Of nature, from magnet and erystal to man himself ‘We begin to learn this law almost at birth; youth ‘and maiden are learning it when they fall in love ‘With one another, and philosophers, whien adolescent ie in the grate, are still engaged upon the same Tesson. One. Montessori exercise for very youns children consists in providing them two boxes anc 2 number of different. geometrical solids made of ‘wood, with instructions to put together in one box Those forms that are angular, like the tetrahedron fad the cube, and in the other those that are smooth fo the touch, like the egg and the sphere. ‘The artist, 2 child more Knowing, in the schoolroom of the ‘world, should set himself 2 similar task. Time and Space are his two bores; his assemblage of figures, allof the contents of consciousness and of the worlde PROJECTIVE ORNAMENT SPACE AND TIME! THE FIELD AND THE FRAME [Now the characteristic of time ix succession; in time Bone one thing follows another in endless sequence. The unique characteratic of space i simultancty, ini apc le eying nea once Te Clawsifying the arte, for exaiple, muse wou {nto the time bor, for it iin time alone, being socpssve aehitectre, onthe other hand, would into th space box Yer because nothing i pure, to speaks architecture hat something of the ce Fee oeauction, nd maie ot smuianeounes, successive; while “a. musical chord, consisting. of ‘Sint sande tpt lone 3c tame thing holds tne throughout nature. Thetlne lament ohd the spe Sement vere ‘cither expicdy of implicitly, the Brot a5 the second 2 simultane ii omament we have the feld and the frame, and the unfolding of living forms in space wit some fixed time eycle may be thought of as, symbo- ited by a folned field and a geometrical frame or border in the elds the unite wl be dsposed with tsi pints and aati nes ting the simultanlty of space, and in the border they wil Ectaranged sequtacaly, implying the succession of time (Figure 1), Seeking greater interes, subtlety, and vatery, we have, If dhe. projected plane 1 esentations of symmetrical threefold. and fur id slid, a fame rhythmically subdivided. These pubdnsns of ame may Be take 0 represent escrtne cytes wituin a gest, and the arto tvth which these spaces can be filed may be fle to O4PROJECTIVE ORNAMENT symbole the growth of aiplant through succes fivereasoms, or th clopment of an ind Vidual fn diferent inca. nations TIME AND sPace Sy [A BOOK ALL BONES AND Ik is by arifices such as these hat he work order getsiteelfexternal- Wed forms and ace Tangements. which ex: pres "thelifemovement OF the spine trough the thythm of things” This is the very essence off args fis to. perceive, and. then to. publish ‘ews from that nowhere of the world from which al things flow and to which all things retort ill be evident to the discerning reader from what has been sid regarding the symbole value ofthe a Tine and the curve (the frame and the arabesque) that the whole subject of foliated or free-spreading fomament™ has recelvedacant attention ftom the Serie Tin explant hard Straightline explains the poverty and hard monotony of many of the diagrams here presented. ‘They are for so much ornamtent as the oseous framework of Smmament, But by reason of our superficial manner Sf observing mature, our preoccupation with mere External, WE have lost our perception of her beautic ‘This intentional concentration upon the PROJECTIVE ORNAMENT. fal bones—her geometry, When we have recovered that, the rest fe enay. Te has seemed best not to omplieate the subject nor confer the ive, by Biren, fo sw (at one mig the ration ot oral fore to geometial guts, for this ts some- thing tht every art ean Took ino fr himsellvill THE USES OF PROJECTIVE ORNAMENT Prjeine Orme, eng iy Seve fom promt isi om of pera, besten or PROJECTIVE Omament i hat ryehmic sub: Svson of pace expressed through the figures of Projectve. Geometry. As shythmie space sub- divisions of the very essence of ornament, Pro- fecuve Oroament posteses the clement of univer- iltye though it lends felf to some. uses more Feadly that to others. To, those crafts. which Employ linear design such a laceswork, lead-wo fodktoolingy and the art of the jeweler Is part lenly wll suited; with color lends sll admirably to feted pass textley, and ceramics. On the Other hand! nse comer odie 0 give wrought iron” an appropriate. expression Re cppicaton to cast iron and wood-ilaying pre tenor Fewer Co ies. Its theoedinueasionsl, at Sll'as its twordimensional aspects, come into play Inarchitecture, and from it, many admirable geo. Imedrcalformo there might be developed architectural {atl pleasing alike tovthe mind and to the eye, A eefnglnced ofthe tine would thus bemet. "The dabPROJECTIVE ORNAMENT PROJECTIVE ORNAMENT secrete in colored tiles arranged in opener iad rine sel Pc ee eel etre ec ce faa pe sue of ade signer will no lon WoW To AWAKEN THE ALARPING REAUTY “The principles here set forth ate eminently com mmunilibie and understandable. "They" present no ial, event an iligen ld. Indeed, the fashioning and folding up of elementary geometric {old es Kindespartenexercee. The great iy tent to success fn this fed a proud and sop ed, minds Let the learner “become asa lite hr et heal cme er Seifin Observational Geometry-—that is) oo for the simple geometrical forms and relations of the objecte that come under his every-day notice. HE shut come to recognize that the myriad forms inthe animal, vegetable, and mineral kingdoms forash an Shenaingvarety of mma Gal and complex. geometic Emin Tedeovered and applied to hi own p lems. ers should create an, appetite forthe st0dy of Peemal Geometry. From that feudy afresh apprehension of the beauey of arithmetical felations vis sure’ to. fallow. Enamored ofthis Beauty, the dicpl wil eck out the baste metrical. ground rhythms {Eten inmacére and in Ruman Her ‘The. development of Faekity_wil fellow. on the Peaking of prep: te cements and relations grarped:by ‘the mind, wil Saal" themelves fo the. work of the hand Rirconcent with the kaown and familar space re- IMGontipar che student will essay t0 explore the eoOQ prosectirs ornament field of hyperspace. But le him not seck to achieve seul taal ah won guy. Inv all eork he Should follow an-ordery" sequence, quarrying his fold before refining it, and fashioning fete his tses only after itis ‘refined? that iy he should endeavor to understand the figures before he draws them, and he should. draw ‘them a8 geometical diagrams before he attempts to alter an combine them for decorative us. Its she authors experience that they wil require very little alteration; that they ate in themselves decorative, The filing in of feréain spaces for the purpose of achieving’ noon (Contrast) is. all shat i wevally requireds "This dione, the applieation of color i the next step inthe rocess: fret comes ine, then light and dark, and fstly color values. Such ie the method of the Japanese, those. masters of dseorative design. THE ILLUSTRATIONS AND The blackeand-white designs interspersed throughout the text repent Projetive Orne: mentvonovedony ope degree fom gometied depere, Yer they are acento be high actoratve even in ths ore, Alcott dees they may be elongated, Sore tacts ‘shearede twisted, translated from straight nesPROJECTIVE ORNAMENT PROJECTIVE ORNAMENT. into curves; and by subjecting them to these modi- fications their beauty 1s often augmented. Yet if their geometrical truth and integrity be too much tampered ‘with, they will be found to have lost a certain precious quality. It would seem as though ‘were beautiful to the eye in proportion as they bye interesting to the mind, For the sake of varity the gues are presented in three diferent ways; that in the form of mons, borders, and Relds— foiresponding tothe poi, the ling, and the plane {tie ear that all-over patterns quite as interest 2s those shown may be formed by repeating some 0 Bente hgures. With this scant alphabet 1's possible to spell more words than one or Evo. Projetive Ornament, derived asi is fom Pro- jective Geometry ea ew atteraner of the tan Seedental truth of things. Whatever of beauty the figures in this book show forth has ts source, not any aesthele idoeyneraey_ of che. ustrator, thc in that world order which number and geometry Tepe Tse gure iat anew Weed 18's plosophy its that al forme are projections on the ied sre ‘of a material universe of Srenetypat iene! hac al of animate creation is ape ae moving picture of the play of the Cosmic Sind With che faling away ofall our sophistis ‘Wis great truth will apuin startle and conacle man Hnutthat creation “fe besueful and. that 11s estos, that the secret of beauty is necessity es bud altars to the Beautol Necessity.” Emerson gays, “Perception makes. Perception has 2 UeSiny How ea ne beauty by bor int the fold cfeept by the awakening of new petcep- Sent ‘Brolution isthe. maneckey” of modera [Sence, bur that very science ignores the evolution SF consciousnese—of perception’ “This Te teats asPROJECTIVE ORNAMENT fixed, static. On the contrary, itis fluent, dynamic ‘Were it not so, there would be Fite hope of'a new art ‘The modern mind has adventured far and fear- lessly in the new realms of thought opened up by research and discovery, but it has left no trail of beauty. ‘Thae it has aot done so is the fault of the @ @ PROJECTIVE ORNAMENT artist, who has failed to interpret and portray the movement of the modern mind, Enamored of an Sutworn beauty, he has looked back, and like Lot's wife, he has become a pillar of salt. ‘The outworn beauty is the beauty of mere appearances, The new eau, which coesponde othe new knowles ip the beauty of principles: not the world azpect, But the world oer The world onder. moxt perfectly embodied in mathematics. This fact is Fecognaed in practical way by the scientist, who increasingly invokes, the aid of mathematics. It should be tecognized by the artist, and he should inwoke the sid of mathematics too