6. Give the characteristics and use of free enrichment.

7. State the use of full panel enrichment.

8. Where may the point of concentration be located in full square panel enrichment?

9. Name six steps essential to the designing of a square panel.

10. For what specific purpose is a vertical rectangular panel adapted?

11. Where should the point of concentration be located in a vertical rectangular panel?

12. Draw a flower form and adapt it to a carved enrichment in wood.

13. To what uses are panels of varied shapes adapted?

14. How may artificial objects be adapted to surface enrichment?

15. Explain the term "free balance."

CHAPTER XI

SURFACE ENRICHMENT WITH MINOR SUBDIVISIONS OF LARGE PRIMARY Ma.s.sES IN WOOD

[Sidenote: Minor Subdivisions]

This article is, in part, a brief summary and review of Rules 2a, 2b, 3a, 3b, 3c (vertical and horizontal major divisions) with application to minor subdivisions. By minor s.p.a.cings or subdivisions in wood work we refer to the areas occupied by drawers, doors, shelves, and other small parts subordinated in size to the large or major divisions such as large front or side panels, etc. These smaller or minor subdivisions in wood work are bounded by runners, rails, guides, and stiles depending upon the form of construction and character of the minor subdivision. Major divisions are often bounded by legs, table tops, and princ.i.p.al rails.

It is an interesting and useful fact that rules governing major divisions generally apply equally well to minor ones. There are a few exceptions and additions to be noted in their appropriate places.

When minor subdivisions are well planned they supply one of the most interesting forms of surface enrichment or treatment, for if we consider paneling an appropriate form of decoration, we are equally privileged to feel that each small drawer or door adds its quota of interest to the sum total of the entire ma.s.s. We are equally justified in accenting these drawers or doors with panel decoration or other forms of surface enrichment provided that harmony is maintained.

These minor subdivisions, properly enriched, may become equalizers, or elements which adjust the design to the character of the surroundings destined to receive the project of which they are a part.

[Sidenote: Vertical Sections and Their Divisions]

With reference to the ill.u.s.trations, Figure 247, Plate 41, shows a simple minor panel treatment falling under Rule 3a. Single or preferably double band inlay might have been suitably subst.i.tuted for the sunken panels. As many craftsmen are not properly equipped to produce inlays, it is practicable to use stock inlays, thus simplifying the process.

[Ill.u.s.tration: SURFACE ENRICHMENT AND MINOR s.p.a.cE DIVISIONS FOR LARGE PRIMARY Ma.s.sES IN WOOD.

ACCENTUATION OF MINOR VERTICAL DIVISIONS

PLATE 41]

[Sidenote: Minor Subdivisions of Three Vertical Major Parts or Divisions]

In a three-part design it is the designer's desire to gain the effect of lightness and height by the use of Rule 3b. As a simple treatment of a three-part design, Figure 248 needs little comment. Figures 249 and 250 are examples of dividing, by means of minor divisions, the outer sections of a three-part design.

The small drawers in the right and left sections of Figure 250 might have been improved in proportion by again applying Rule 2a to their design, thereby varying the measure of their heights. The enclosed panel enrichment affords pleasing variety to the otherwise unvaried front panels. Rule 7g.

[Sidenote: Unbroken Vertical Divisions]

Figures 251 and 252 show unbroken drawer runners continuing through all three vertical sections, thus definitely binding these sections together. It is seen that this device is conducive to unity, whenever two or three vertical divisions have been used.

Figure 252 is a repet.i.tion of Figure 251, but shows the echo or continuation of the three divisions of the primary ma.s.s into the appendage. The use of the single or double band enrichment still further binds the minor subdivisions of the primary ma.s.s into ideal unity with the appendage.

SEQUENTIAL PROGRESSION OF MINOR HORIZONTAL s.p.a.cE DIVISIONS

Rule 2c. _A primary ma.s.s may be divided into three or more smaller horizontal ma.s.ses or sections by placing the larger ma.s.s or ma.s.ses at the bottom and by sequentially reducing the height measure of each ma.s.s toward the smaller division or divisions to be located at the top of the ma.s.s._

[Sidenote: Sequential Arrangement of Minor Horizontal Divisions]

Rule 2c. Let us now imagine the center section of a three-part design to be removed and extended upward. Its transformation by this process into a cabinet or chiffonier similar to Figure 253, Plate 42, introduces the new principle of _sequential progression_. Instead of adhering to the limitation of Rules 2a and 2b, this arrangement shows that the horizontal divisions may be gradually decreased in height from the bottom toward the top of the primary ma.s.s. By this rhythmic decrease in the measure of the height, the eye is led through an orderly gradation through lesser areas to the top, thus giving a pleasing sensation of lightness and variety to the structure. By this method, also, the large areas are retained at the bottom to give stability and solidity to the structure. A quick test of these conditions may be made by reversing Figure 254, thus producing a more decidedly pleasing effect.

[Ill.u.s.tration: SURFACE ENRICHMENT AND MINOR s.p.a.cE DIVISIONS FOR LARGE PRIMARY Ma.s.sES IN WOOD

SEQUENTIAL ARRANGEMENT OF MINOR HORIZONTAL DIVISIONS IN ONE OR THREE VERTICAL DIVISIONS

PLATE 42]

[Sidenote: Sequential Arrangements--(_Continued_)]

This orderly gradation or sequence of heights need not be carried out with absolute mathematical precision such as 7 - 6 - 5 - 4 - 3 - 2 - 1.

Arrangements similar to the following progression make for equally pleasing and more varied effect: 9-1/4 - 8 - 6-3/4 - 6 - 5 - 4-3/4. Many designers repeat similar heights for two neighboring horizontal s.p.a.ces as, 6 - 5 - 5 - 4-3/4, but the upward gradation should be apparent.

Figure 255, an Austrian motive, shows a strongly marked sequence with the top division broken by Rule 3b. It is better practice to keep such attempts confined to the bottom or top members of the sequence or loss of unity may be the final result.

By applying this principle to the center section of a three-part design, we now have ill.u.s.trated in Figure 256 the new sequence in its application, and Figures 257 and 258 are variations of the same idea.

[Sidenote: Two Horizontal and Three Vertical Divisions]

We now come to the transitional type of design where three _vertical_ sections begin to lose their dominance as major divisions, but still retain their places in the design as minor sections. Replacing these in prominence is the _horizontal_ major section or division. The first immediate result of this change as shown in Plate 43 is to produce a more compact surface with a greater impression of length because of the presence of strongly accented horizontal lines which are always a.s.sociated with horizontal divisions. This transitional style with its minor but dominant horizontal divisions would harmonize with the long horizontal lines of a room or similar lines in the furniture. The full expression of this style or type will be readily seen by comparing Plates 43 and Figures 251 and 252, Plate 41. Several styles of period furniture have been introduced in Plate 43 to prove the universality of these principles of s.p.a.ce divisions.

[Ill.u.s.tration: SURFACE ENRICHMENT AND MINOR SUB DIVISIONS FOR LARGE PRIMARY Ma.s.sES IN WOOD

THREE VERTICAL DIVISIONS CROSSED BY TWO HORIZONTAL DIVISIONS

PLATE 43]

[Sidenote: Dominance of Lower or Upper Sections]

Figures 259, 260, and 262, Plate 43, are divided by three minor vertical sections cut by two minor horizontal divisions with the dominance in the _lower section_. Rule 2a. The arrangement of the small central drawers could have been more varied by the application of the principle of sequential progression. Figures 261 and 263 show similar vertical s.p.a.cings with a difference in the arrangements of the horizontal divisions. In these figures the dominance has been placed in the _upper section_ of the primary ma.s.s by the division created by the runner above the lower drawer. It is likewise seen that Figure 263 needs a top appendage to bind the top into closer unity with minor s.p.a.cings.

[Sidenote: Transitional Types]