How to amuse yourself and others

CHAPTER XXXIII.
A DECORATIVE LANGUAGE.

WHEN in olden times the warriors went around the country dressed in suits of clothes made by a blacksmith instead of a tailor, their hats were manufactured at the forge also, and had iron front doors that moved upon hinges. When danger was nigh these doors were closed, locked, and barred over the poor men’s heads, leaving only a loop-hole or two for them to peep through. At such times in meeting Mr. Brown it was impossible to distinguish him from Mr. Smith, who was arrayed in like manner, and it might happen that Mr. Smith was the last man in the world that one cared to meet, not being on speaking terms or some such reason. Well, as we were saying, there was no chance whatever of telling one man from another unless he wore a distinguishing mark of some kind.

So to prevent such uncomfortable mistakes and to distinguish friend from foe, every gentleman had to be marked and labelled, like an express package, so one might read as he ran, “I am Earl Jenkins, of Thunderland, who married a Rhazor, of Stropshire.” These names and addresses were not painted in words on their owners with a marking-brush, but worked and embroidered in translatable designs on cloaks, saddle-housings, and silken banners, or emblazoned on the shield they carried with which to meet the advances of their neighbors. Since that time our more recent ancestors in England have taken great pride in preserving and handing down from generation to generation these distinguishing marks, as a guarantee to their children that they came of gentle birth, which is very interesting and gratifying for European girls, but American girls need nothing of the kind; it is sufficient that we are Americans.

Of course, some of us do take pleasure in knowing that our great-great-grandparents came over in the Mayflower, or that the name of an ancestor is among the signatures upon that Declaration of Independence which made such a stir a century ago, for that proves us to be Columbia’s daughters.

When there was no other method of distinguishing a man his label became a very important item; so these family devices were reduced to a science and protected by law.

The old countries’ coats of arms may remain abroad, where they belong, but the ingenious scheme, that was gradually evolved, of picturing ideas, mottoes, and pretty sentiments we will adopt as our inheritance, with many thanks to our mediæval ancestors with the metallic clothes, who bequeathed them to us.

We propose to revive enough of this neglected knowledge of chivalry to serve our purpose in suggesting a method of designing devices which will not only be artistic decorations, but to the initiated can be made to portray almost any sentiment or set of principles the artist may choose.

The many uses to which these designs can be applied will, we hope, at once be seen by the quick-witted American girls, and we trust will interest the reader as much as they do the writer, who in this chapter can only give a few necessary, brief hints upon the subject, sufficient, however, to explain the application that can be made of this beautiful and perfect system of

Decorative Language.

In the following directions anyone can learn how to make a device which will not only be a decoration, artistic in form and color, but will at the same time express the peculiar traits, characteristics, and virtues of the friend for whom it is intended, or the precept, code, proverb, or creed of the designer. All technical terms, as far as practicable, are discarded, but the rules of heraldry strictly adhered to, with such simplifications as are necessary to render it intelligible.

The Field.

The surface on which the design is portrayed is called the field. This may be of any shape; originally it was supposed to represent a warrior’s shield, but you may use a circle, oval, square, diamond, or any other form.

The Points

on the surface of the shield locate the exact spot where a design or object in heraldry may be placed. Refer by numbers to Fig. 257.

• 1. Fess point.
• 2. Honor point.
• 3. Nombril point.
• 4. Dexter chief point.
• 5. Middle or chief point.
• 6. Sinister chief point.
• 7. Dexter base point.
• 8. Middle base point.
• 9. Sinister base point.

If you desire to place a flower on the fess point, you find that it means the exact centre of the shield, and so on.

The devices take significance in accordance with the more or less importance of their position on the shield; the honor point holds the highest grade, next to it the middle or chief point, and the right or dexter side is of more importance than the left or sinister.

The field may be divided, if desired, in any of the following

Divisions,

each of which has a significance, suggested generally by the form:

Fig. 258, the Chief, occupying the top or head of the shield, indicates pre-eminence, main object, intelligence, first principle.

Fig. 259, the Fess, denotes cause and effect, the central band containing the means by which the ends, in the other spaces, are accomplished.

Fig. 260 is a partition, and partakes of the meaning of the division, it is denoted by the term, parted per fess.

Fig. 261, the Pale, represents rectitude, uprightness; also union, the object in the central division uniting whatever occupies the dexter and sinister sides.

Fig. 262 is parted per pale.

Fig. 263, the Bend, is auspicious, meaning prosperity, success.

Fig. 264 is parted per bend.

Fig. 265, the Chevron, is indicative of aid, assistance, support.

Fig. 266, the Cross, suggests humility, devotion, patience, perseverance.

Fig. 267, the Saltire, a variation of the cross, is recognized as order, discipline.

Fig. 268, the Pile, being in the form of a wedge, means penetration, incision, entering to divide or distribute.

Fig. 269, the Canton, denotes an additional, separate idea or principle; also some characteristic that is added to the original design.

Colors.

These also have symbolical meanings.

Fig. 270.—Gold or yellow is expressed in black and white by means of dots, and is used in the sense of wealth, ability, or knowledge.

Fig. 271.—Silver or white is represented by a plain white surface, and being the color of light, signifies brightness, purity, virtue, innocence.

Fig. 272.—Red, represented by perpendicular lines, means ardent affection, love.

Fig. 273.—Blue is represented by horizontal lines; like the color in the heavens, it is truth, freedom, eternity.

Fig. 274.—Purple, represented by diagonal lines from sinister chief to dexter base, being the royal color, is understood as authority, power, grandeur.

Fig. 275.—Green is represented by lines running diagonally across the shield from dexter chief to sinister base. Like spring foliage, it suggests hope, life, vitality, youth, freshness.

Fig. 276.—Orange is represented by horizontal lines crossed by diagonal lines from dexter base to sinister chief. It is the color of the king of beasts and signifies strength, honor, generosity.

Fig. 277.—Crimson, or blood-color, is represented by diagonal lines from dexter chief and sinister chief, crossing each other. It denotes boldness, enthusiasm, impetuosity.

Fig. 278.—Black is represented by horizontal and perpendicular lines crossed. It means darkness, doubt, ignorance, uncertainty.

To the principal design portrayed on the shield can be added such appendages as are appropriate—crest over the top and a scroll with a motto beneath the shield—but they are supplementary, and not of great importance; their colors should be those of the shield.

Thus far our plans have followed the exact science of heraldry, but at this point comes a departure, for in the place of other armorial devices we shall place Dame Nature’s sweetest thoughts—flowers.

If we now add to the significance of the forms and colors already given the accepted and authentic language of flowers, we shall have a possibility of combinations practically inexhaustible, and with such a dictionary of symbols to draw upon, we can successfully translate almost any terse sentiment into a unique decorative design.

In order to give all the assistance in our power we have culled from the most generally accepted authorities and authentic sources a short floral vocabulary, and now that we have the material at hand let us test the system and learn

How to Make a Design in Decorative Language.

Suppose our Natural History Society desires an appropriate pin or badge.

First we turn to the floral vocabulary and there find that the magnolia means love of nature. The flower has a good decorative form, its sentiment is exactly appropriate, and we unhesitatingly adopt it.

After trying various forms for the shield, we select a very plain one that the effect of the decorative form of the magnolia may not be lessened by too ornate surroundings, and to show the large size of the blossom we must have it occupy the entire field without any divisions. Next, as to color; let us think. White, meaning brightness, purity, etc.? No. Yellow or gold, signifying wealth, ability, or—ah! here we have it—knowledge? Yes, that will do nicely—a love of nature on a field of knowledge; that certainly is appropriate. But the top of the shield being so square and plain gives the device an unfinished appearance. Suppose we try a bar over it, and something not a flower. As we wish this design to remain simple, a leaf of some kind would be best; so we return to the floral vocabulary, and after trying many and almost taking several, finally decide that the oak leaf is just the form needed to give a finish to the top, and its meaning, strength, will be an excellent element in the society. There, our insignia is complete, good in form, attractive in color, and appropriate in its meaning; but some of us prefer having the motto written out in plain English, so we will add a decorative scroll, with the meaning of the design inscribed “True Love of Nature.” (See Fig. 279.)

To familiarize ourselves with the working of the method let us try another experiment, and take the sentiment, “Wealth is the Reward of Industry,” to illustrate.

After deciding on the form of the shield, we turn to the divisions, and running them slowly over for something suitable, stop at Fig. 259, the Fess, meaning cause and effect. That sounds promising. Industry is the means by which the end, wealth, is accomplished. Good so far. We can now see that a floral emblem to represent industry should be placed in the central division, and whatever signifies wealth on the other two spaces. Among our legends of flowers we find industry portrayed by the bee orchid, and wealth and prosperity are symbolized by wheat. That is plain and easy. Now we have only to decide upon appropriate colors for the field to complete the design. Gold would mean wealth, but that we have in the wheat; besides the yellow of the wheat would not show well on the gold background, while on white or silver the contrast is strong and the appearance agreeable. Silver denotes innocence and virtue, which are so necessary that without them wealth would be undesirable. Therefore silver or virtue shall be the groundwork for our wealth, and for industry we will select purple as meaning power. Industry possesses the power to acquire wealth. Thus we complete the emblematical design, as seen in Fig. 280.

The following is a problem given to us for solution: On a gold chevron in a black field is a scarlet lily, to which is added as a crest a sunflower, and under all a blank scroll. On this we must write a motto that will be appropriately symbolized by the design.

It would be excellent practice for the student in this new motif in decorative art to try, by application of the foregoing instructions, to decipher the meaning of this design before reading the analysis.

Solution of Fig. 281. —We do not think this is put together as scientifically as the system would admit of, but still it can be deciphered.

The scarlet lily (high-souled aspirations) on a gold (knowledge) chevron, which is aid, assistance, in a field of black (ignorance), surmounted by the sunflower (pure and lofty thoughts), freely translated, might be read: Aspirations after knowledge help to illumine the darkness of ignorance with pure and lofty thoughts. Aspirations (lily) after knowledge (gold) help (chevron) to illumine (the gold chevron and lily brighten up the dulness of the black field) the darkness of ignorance (black) with pure and lofty thoughts (sunflower).

For younger girls the plain shield of one color with an appropriate flower had best be used, which they may vary ad infinitum. A simple yet pretty shield can be made by placing a four-leaved clover, symbolical of good-luck, on a shield of one color, silver, meaning purity, innocence, showing that innocence, combined with the language of the clover, expresses good-fortune.

We might go on forming innumerable designs, each more beautiful than the last, but enough hints have been given to enable the young people to make any style of design in this decorative language which may best suit their purpose. Young girls can decorate menu cards, having each motto exactly suited to every separate guest, the sentiment being indicative of some feeling or quality peculiar to each person. Invitations for parties, also orders of dances or games, may be designed in the same way.

This beautiful combination of flowers and heraldry is appropriate for ornamental needlework, to be embroidered on chairs, worked on screens, painted on velvet, wrought on scarfs, and adapted in innumerable ways to add to the refinement and attractiveness of home.

The idea can be utilized in stained-glass effects and in china painting.

The chosen motto may be a decoration in marking personal possessions, such as table china (Figs. 282, 283, 284), fan (Fig. 285), chair-back (Fig. 286), travelling satchel (Fig. 287), tidy (Fig. 288), handkerchief (Fig. 289), and sofa-cushion (Fig. 290).

These are only a few examples of the many articles which can be beautified and stamped with your individual mark. Portières offer a good ground for applique or embroidery in decorative language.

Book-Plates

seem to be regaining their popularity and usefulness. These book-plates are tablets in any style, which, when gummed inside on the front covers of books, have been used for many years to designate to whom the books belong.

There is a certain book-plate more interesting to us than all others. To the design on it we are indebted for our national shield and our Stars and Stripes. It was used by the Father of our Country, and we are glad to be able to give a print of the original in Fig. 291.

In the decorative language any style of book-plate can be designed, which, when pasted in a favorite book, will add to the value of the already treasured volume.

Floral Vocabulary.