***
History of typographical ornament In the history of art, ornament, as a graphic element and an instrument of artistic expression, has a position, which far surpasses typographical history:
It is the organic part of all genres of applied art in most cultures. It retains its distinct place also in the area of free arts, particularly in architecture, but also in painting and sculpture especially in non- European cultures.
Generally, its occurence is connected not only with the graphic occurence of its time and culture, but sometimes it represents their most distinct and characteristic symbol. In the history of the European written book, ornament found its place relatively late.
It can be found in antique scroll books - their only graphic components were lettering and illustrations. Not until early the Middle Ages, particularly the era between 7th and 11th century when the own traditions of newly christianized nations, especially Norman nations, as well as some influences of Eastern cultures would become a reality in European art, did ornament finally find its place in addition to illustration and lettering.
Since then the dynamic relation between lettering, illustration and ornament has determined the graphic image of the European book.
Of course, there are certain time periods, during which the vocabulary of the typographical ornaments grew larger, but there are also some time periods, where this vocabulary was, on the contrary, reduced and its meaning relativized.
In particular, baroque and rococo belong to the first periods and classicism and empire belong to the second periods.
Since the first time of their coexistence (which started with the first cast, true typographic ornaments by Giovanni and Alberto Alvis, printers in Verona as early as in 1478), typographic ornament has one thing in common with the printed type:
It has been created, used and understood as an organic part of letter formation and typographic expression, as an equivalent part of one graphic statement.
The paradox is that typographic ornament, the same as ornament and decoration in other arts, is seen by us as an historically symptomatic element, while the printed type, to which it belongs temporally and authorially, we see and mostly also use as a historical and dateless value.
The above mentioned obvious interconnection between type and ornament has, of course, its time limit. The second half of the 19th century, possibly the stylish eclecticism, which dominated then, made this interconnection more problematic.
The quantum of typographic ornaments had, at that time, increased dramatically and overstepped the limits of historically traditional themes.
The practical consequence of everything was allowed was, of course, just the fortuity and helplessness of the typography, camouflaged in vain by non-functional pomposity.
The typograph language had become richer, but those who used it particularly in the everyday conversational style of newspapers, magazines and display works - somehow stammered.
Some artists tried to oppose this deterioration as early as the end of the 19th century, mostly by vivifying the values of the classical bookish topography in exclusive publications.
Not until the twenties of this century,was a radical remedy accomplished. A new topography and constructivism accent the function, which should be fulfilled by typography as a message medium and consequently, any use of ornament is refused.
Typographic expression is more comprehensible and clearly articulated, which, without a doubt, has long-term beneficial consequences for the present typography and applied graphics. But the certain asepticism of the consistent constructivism also means that it will soon be noticed by some if its initiators (for example Jan Tschichold) impoverish and flatten the typography™ possibilities.
Thus the ornament finally returns to the repertoire of bookish typography, advertisement, magazines and display works.
After the anti-decorative lesson of the twenties and thirties, it has again become, in the hands of real masters, what it has always been:
A tool for emphasizing, which can increase the intensity of the original message and the esthetical impression of the work.
***
| 
