DOI Page / Citation link:
https://doi.org/10.11588/diglit.42067#0060
44
The formal element in art
nating red and white (design 4) and others with predominating yellow
and blue (design 5). The most symmetrical arrangement of this
strip requires a yellow rectangle in the middle of the front. One
end of the stripe, as shown in the illustration, has three short blue
bars on a red background (design 6). The peculiar cut at this end
fits into a corresponding cut at the other end and shows that the
stripe as it is has been taken from a garment. The general impres-
sion of the design is that the rhythm and symmetry of the crosses
is subordinated to the symmetry of the rectangles. For this reason
I have placed the crosses in the following arrangement in the upper
line, the rectangles in the lower line.
Crosses 45554544 546
Rectangles 2 112 112 13 1
Front Back
The embroidery on figure 38b consists of four distinct elements;
a flower with leaves on each side (design 1); one branch with curved
leaves (design 2); one branch with terminal flowers (design 3). Be-
sides these there is one other element which occurs only once on
the back of the coat. It is marked design 4. The embroidered
stripe is not sewed symmetrically to the coat but has evidently been
placed in such a way that the arrangement in the front of the coat
corresponds to the sequence:—
2 3 2 13 12 3 2
while the back is occupied by three designs (3). The small design (4)
is found on the back. The whole arrangement of the small designs
on the back being ? ? 4 2
Another specimen (fig. 38 c) consists of a double leaf design on a
plain background alternating with another design consisting of three
crosses. This pair of designs occurs in regular succession five times,
but under the left arm it is interrupted by the two patterns shown
on the right hand side of the figure.
The formal element in art
nating red and white (design 4) and others with predominating yellow
and blue (design 5). The most symmetrical arrangement of this
strip requires a yellow rectangle in the middle of the front. One
end of the stripe, as shown in the illustration, has three short blue
bars on a red background (design 6). The peculiar cut at this end
fits into a corresponding cut at the other end and shows that the
stripe as it is has been taken from a garment. The general impres-
sion of the design is that the rhythm and symmetry of the crosses
is subordinated to the symmetry of the rectangles. For this reason
I have placed the crosses in the following arrangement in the upper
line, the rectangles in the lower line.
Crosses 45554544 546
Rectangles 2 112 112 13 1
Front Back
The embroidery on figure 38b consists of four distinct elements;
a flower with leaves on each side (design 1); one branch with curved
leaves (design 2); one branch with terminal flowers (design 3). Be-
sides these there is one other element which occurs only once on
the back of the coat. It is marked design 4. The embroidered
stripe is not sewed symmetrically to the coat but has evidently been
placed in such a way that the arrangement in the front of the coat
corresponds to the sequence:—
2 3 2 13 12 3 2
while the back is occupied by three designs (3). The small design (4)
is found on the back. The whole arrangement of the small designs
on the back being ? ? 4 2
Another specimen (fig. 38 c) consists of a double leaf design on a
plain background alternating with another design consisting of three
crosses. This pair of designs occurs in regular succession five times,
but under the left arm it is interrupted by the two patterns shown
on the right hand side of the figure.