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The colouring was in keeping with the alabaster retables, the black marble tombs, the pinnacled tabernacles with their crockets of curled and dentate foliage. We can then quite easily imagine the columns and walls painted, the ribs and bosses washed with gold, and making a harmonious whole of this bonbonnière, which indeed is a piece of jewelry rather than of architecture.
The motive in figure 350 is not unlike the ornamentation of certain oriental vases, except from the presence of the terraced figures. In figure 351 there are two designs separated by an inclined break the edge of which is dentate. This figure is introduced to show the method of treatment of alternating triangles of varying depth of color and the breaks in the marginal bands or "lines of life."
The ware is of the rude kind generally used over the fire. The body is high and cylindrical, the rim flaring, and the bottom quite flat. The form is suggestive of our domestic crockery. It is of the dark, rudely hand-polished variety. The body is globular, the neck is very short and is ornamented with a dentate band.
The same points may be modified into terraced figures, the separation then appearing as a zigzag line drawn across the figure, or they may have interlocking dentate or serrate prolongations imparting a variety of forms to the interval between them. In order to trace out these modifications it would be necessary to specify each individual case, but I think that is unnecessary.
Triangles, frets, and terraced figures are inserted between two parallel lines which terminate in round dots with parallel lines. The design in figure 336 is likewise unsymmetrical, but it has two lateral triangles with incurved terrace and dentate patterns. The same general form is exhibited in figure 337, with the introduction of two pointed appendages facing the hypothetical middle line.
The neck has two indistinct bands of triangular dentate figures apparently painted in the dark color. The bottom is flattish and without the coating of light clay. Both paste and slip can be readily scratched with the finger nail. This vase was found in Franklin County, Alabama, near the Mississippi line.
The central part is composed of seven parallel lines, the marginal of which, on two opposite sides, is minutely dentate. The median band is very broad and is relieved by two wavy white lines. The axis of the design on each side is continued into two triangular spurs, rising from a rectangle in the middle of each triangle.
The terraced patterns are replaced by dentate margins in this figure, and there is a successful use of most of the rectangular and triangular designs. In the specimens represented in figures 347 and 348 marginal dentations are used. I have called the design referred to an S-form, which, however, owing to its elongation is somewhat masked.
In fact, it can hardly be seen how a more conventionalized figure of a bird were possible did we not find in e of the same plate this reduction still greater. Here the tail is represented by three parallel lines, the posterior of the body by two dentate appendages, and the body itself by a square.
Linear, lanceolate, oval, or oblong, serrated, dentate, or crenate leaves, are expressions forming part of the terminology of botany, while the names “Viola odorata,” and “Ulex Europæus,” belong to its nomenclature.