# Mediterranean — style guide for coding agents

> Generated from the Aesthetary record for **Mediterranean**.
> Research: **Partly sourced** · Build guidance: recorded in 4 of 8 research dimensions.
> 6 sources attached.

## How to use this

Paste this file into your agent as context before asking it to design or build something in this visual language. It states what is established, what is our interpretation, and what nobody has established. Treat all three differently.

**The most important section is "Not researched yet".** Its purpose is to stop you and your agent inventing rules that sound right and are not recorded anywhere.

## What this language is

**Defining:** Whitewash and cobalt, hard sun shadows, tile and terracotta, lemon and olive motifs

**Recognise it by:** Whitewashed surfaces cut by hard-edged shadows from a sun near vertical, with saturated cobalt against them, glazed tile and terracotta as the material pair, and lemon and olive motifs. The diagnostic condition is the light temperature: noon sun, short crisp shadows, high contrast between lit and unlit — the same palette under soft light is a northern coastal register and not this. Earthy Modern and Coastal were the historical comparisons.

**Family:** Organic & Material
**Era:** contemporary
**Native medium:** architecture

**Scope:** Mediterranean names a sea, not one tradition; its one dated style is North American Mediterranean Revival (1920s–30s). This record is Aesthetary's sun-and-shadow composite: Cycladic whitewash plus Revival red tile and stucco.

## What it is arguing

A place defined by its light, in Aesthetary's composite. Cycladic lime whitewash, valued as a disinfectant and for keeping interiors cool, and Revival stucco and red clay tile are the documented surfaces; setting them under one noon sun, with cobalt, is our reading, so the register is a claim about light before it is a claim about style.

**It refuses:** Refuses soft, low or diffuse light, and the washed cool palette of northern coastal registers.

## What it is not

Commonly confused with these. Getting the difference right matters more than getting the surface right:

- Coastal
- Earthy Modern

## Established rules

Grouped by what kind of claim each is. A requirement of the language and our own interpretation are not interchangeable.

**How to read each rule.** Every rule states two separate things, and neither stands in for the other:

- **Kind of claim** (the heading): From our catalogue entry · Our reading · Documented · Source attached · Seen in the work.
- **Evidence** (how it is established): Graded by our research brief · No source attached (`DOCUMENTED`) · From our catalogue entry (`SUPPORTED`) · Our reading (`CURATORIAL`) · Not researched yet (`UNKNOWN`) · No grade recorded (no grade in the record). Where a claim has its own canonical label, the Evidence line gives that label instead of the grade.
- **Product area**: which of the twelve areas the rule belongs to (Layout, Typography, Color, Imagery, Surface, Interface, Motion, Motif, Technique, Form, Hierarchy, Density), mapped from its raw area label in bold. "Context" means the rule is about the Aesthetic (its name, origin, lineage) rather than a part of the design. "Not mapped" means the raw area has no single area yet.
- The code in brackets is the `grade` field at `implementationConstraints.tokenRules.value.rules[].provenance.grade` in https://aesthetary.com/data/mediterranean.json. "From our catalogue entry" means: Stated in Aesthetary’s existing catalogue entry. An outside source is named only where one is linked to the claim.

### From our catalogue entry

_Carried over from Aesthetary's original catalogue entry. The reasoning behind it was never recorded._

- **imagery** — Imagery: hard-shadow photography.
  - Kind of claim: From our catalogue entry · Evidence: From our catalogue entry · Product area: Imagery

### Our reading

- **hierarchy** — Rank by shadow contrast — the most sharply lit element leads.
  - Kind of claim: Our reading · Evidence: Our reading · Product area: Hierarchy
- **color** — Colour: high-contrast warm. Our composite sets whitewash against cobalt; the documented materials are lime whitewash for the Cycladic half and stucco with red clay tile for the Revival half, and cobalt is Aesthetary's reading.
  - Kind of claim: Our reading · Evidence: Our reading · Product area: Color
- **motif** — Motif: lemon and olive, as Aesthetary's reading; no opened source records either motif for the Cycladic or the Revival tradition.
  - Kind of claim: Our reading · Evidence: Our reading · Product area: Motif

## Found in research

What research established from sources Aesthetary opened and checked. Each line names its area, how it is known, and where it is scoped. "Seen in the work" means the source documents particular works or products rather than the Aesthetic as a whole.

- **Layout** — Mediterranean Revival plans are commonly U- or L-shaped around a courtyard, opened by loggias and arcades.
  - Evidence: Documented · Source attached · Claim: `kcc:layout-1` · Covers Mediterranean Revival (Florida NRHP nominations).
- **Layout** — Revival primary façades are described as massive and symmetrical on rectangular one- or two-storey plans, with multi-level plans and varied roof levels.
  - Evidence: Documented · Source attached · Claim: `kcc:layout-2` · Covers S1 generalises; S2 names varied roof levels.
- **Layout** — The Cycladic house is a single rectangular room with flat roof and courtyard, grouped in settlements of concentric zones with maze-like streets.
  - Evidence: Documented · Source attached · Claim: `kcc:layout-3` · Covers Cycladic vernacular.
- **Typography** — A Los Angeles preservation context statement lists character-defining features of Mediterranean Revival, including a low-pitched, typically hipped clay-tile roof, a relatively formal composition approaching symmetry, and limited applied decoration.
  - Evidence: Documented · Source attached · Claim: `kcc:w2-typography-1` · Covers Los Angeles, Mediterranean Revival sub-theme 1918-1942. The absence of lettering from a feature list is a silence, not a documented refusal..
- **Typography** — The context statement says detailing on Los Angeles Union Station, such as the tower clocks and the flat entrance canopy with sans-serif lettering spelling 'Union Station', provides a modernist touch.
  - Evidence: Documented · Source attached · Claim: `kcc:w2-typography-2` · Covers One Spanish Colonial Revival building in Los Angeles, a sibling sub-theme of Mediterranean Revival within the same context statement..
- **Interface** — Both source traditions are building styles (Revival, 1920s–30s; Cycladic vernacular); no opened source describes screen elevation, radius or interactive furniture. The arched opening is the nearest physical analogue to a radius and is recorded under form, not as an interface rule.
  - Evidence: Documented · Source attached · Claim: `kcc:interface-1`
- **Technique** — Cycladic walls are stone (newer ones reinforced concrete) coated in lime whitewash, valued as a disinfectant and for keeping interiors cool.
  - Evidence: Documented · Source attached · Claim: `kcc:technique-1` · Covers Cycladic.
- **Technique** — Mediterranean Revival relies on stucco exteriors, red clay barrel tile roofing, terra cotta decorative insets, heavy timbers and ornamental wrought iron.
  - Evidence: Documented · Source attached · Claim: `kcc:technique-2` · Covers Mediterranean Revival.
- **Technique** — Clay roof tiles are interlocked and bedded in mortar to waterproof the roof.
  - Evidence: Seen in the work · Claim: `kcc:technique-3` · Covers observed in the Sporades by a student traveller; weak source.
- **Form** — Cycladic building is cubic and rigidly geometric, with flat roofs and few, small openings, the geometry explained as protection from wind and light.
  - Evidence: Documented · Source attached · Claim: `kcc:form-1` · Covers Cycladic; Santorini adds domed roofs and arched entries (S6).
- **Form** — Mediterranean Revival massing uses low-pitched clay-tile gable and hip roofs or parapeted flat roofs, arches, and round or square towers.
  - Evidence: Documented · Source attached · Claim: `kcc:form-2` · Covers Mediterranean Revival.
- **Form** — Arches are common to both traditions (Revival arcades; arches and domes on Cycladic houses and churches).
  - Evidence: Documented · Source attached · Claim: `kcc:form-3`

## Positions by area

The overall position recorded for each area. "No overall position recorded" means rules exist for the area but no position above them; the rules still apply. It is not the same as "Not established", which means nobody has researched the area.

- **Layout** — Specified
- **Color** — Specified
- **Imagery** — Specified
- **Surface** — Specified
- **Motif** — Specified
- **Technique** — Specified
- **Form** — Specified
- **Motion** — Outside this language. The area does not apply; this is not a gap in the research.

## Design grammar — web primitives

A starting grammar for a website in Aesthetary's Mediterranean composite: documented lime whitewash (Cycladic) and stucco, red clay tile and terracotta (Mediterranean Revival), set by us under one near-vertical sun, with cobalt, lemon and olive as our reading. It is not a canonical Mediterranean palette.

Three kinds of line: **On the record** names a rule this record holds (its wording is under Established rules) and states what it becomes on the web. **Web translation** is Aesthetary's choice for the web, derived from the rules it cites; change it if you have a reason, keep the cited rule. **Not specified by the source** means the research reached this but the sources say nothing about it; **Not researched yet** means the research has not reached it yet. Either way, follow the instruction and do not invent a rule. Structured version: `designGrammar` in data/mediterranean.json.

### Colour

| Role | Value | Contrast | Use | Kind |
| --- | --- | --- | --- | --- |
| whitewash | `#FBF9F3` | — | Ground and walls. Documented: lime whitewash on Cycladic stone. | Web translation |
| terracotta | `#B4552F` | 4.9:1 (white on it) | Tile and terracotta. Documented for Mediterranean Revival. | Web translation |
| ink | `#1E2430` | 14.8:1 | Text. Ours. | Web translation |
| cobalt | `#1B4B9B` | 7.9:1 | Headings, links, openings. Our reading, not a sourced colour. | Web translation |

Other accents the record supports:

- Lemon (recorded as "our reading; no source"): `#F2D23C`
- Olive (recorded as "our reading; no source"): `#6B7A3A`

- **On the record · Our reading** · `claim:dcc:color-5` → Keep the documented materials and our composite apart: whitewash is Cycladic, stucco and red tile are Revival, cobalt is ours.
- **Web translation** — Use cobalt for headings, links and openings only as our composite's accent. _Why:_ The definition marks cobalt as Aesthetary's reading; the Revival sources name no blue. (`claim:kcc:definition`, `claim:dcc:color-5`)
- **Not specified by the source** — No palette is documented across both traditions. _Instead:_ Never present cobalt, white, lemon and olive as a period palette. If you need a sourced colour, use whitewash, stucco and red tile, each named with its tradition.

### Typography

Family: a plain sans for text; Marcellus for display (both ours). Stack: `"Work Sans MD", "Helvetica Neue", Arial, sans-serif`

| Role | Size | Weight | Line height | Case | Tracking | Measure | Use |
| --- | --- | --- | --- | --- | --- | --- | --- |
| display | clamp(2rem, 9vw, 7.5rem) | 400 | 1 | not specified | 0.02em | — | The name, in Marcellus. |
| heading | clamp(2rem, 4.6vw, 3.25rem) | 400 | 1.1 | not specified | not specified | — | Section heads, in Marcellus. |
| body | 1.125rem | 400 | 1.65 | not specified | not specified | 66ch | Text, in Work Sans. |

- **On the record · Our reading** · `claim:freedom-typography` → Typography is a declared freedom in this record.
- **Not specified by the source** — Whether any lettering convention is attested for either tradition is an open question. _Instead:_ Choose faces as a decision and say so. One Revival building (Los Angeles Union Station) has sans-serif canopy lettering described as a modernist touch; that is one building, not a convention.
- **Web translation** — Pair Marcellus for display with Work Sans for text. _Why:_ Neither face is on the record; a carved-capital serif and a plain sans keep the page legible under a declared freedom. (`claim:freedom-typography`)

### Grid and layout

The sources do not specify a column grid. The documented plans are a courtyard opened by arcades (Revival) and single rectangular rooms clustered round courtyards (Cycladic); we translate both as a composition round a central open area.

Tokens: wrap-max `1100px`

- **On the record · Documented** · `claim:kcc:layout-1` → Revival plans are commonly U- or L-shaped round a courtyard, opened by loggias and arcades.
- **On the record · Documented** · `claim:kcc:layout-2` → Revival façades are described as massive and symmetrical.
- **Web translation** — Compose the page round a central open area, formally and close to symmetrical. _Why:_ The courtyard plan and the near-symmetrical façade both centre the composition. (`claim:kcc:layout-1`, `claim:kcc:w2-typography-1`)
- **Not specified by the source** — The sources do not specify a column grid. _Instead:_ Do not add one as if it were the style's; if you need one, state it as a decision.

### Shape and geometry

Tokens: arch `999px 999px 0 0` · radius `14px` · shadow-noon `4px 6px 0 rgba(20,30,60,.55)`

- **On the record · Documented** · `claim:kcc:form-3` → Arches are common to both traditions.
- **On the record · Documented** · `claim:kcc:form-1` → Cycladic building is cubic and rigidly geometric, with few, small openings.
- **Web translation** — Use square blocks with a few arched openings; keep the arch for the elements that open. _Why:_ The arched opening is the nearest physical analogue to a radius; cubic masses carry the rest. (`claim:kcc:interface-1`, `claim:kcc:form-1`)
- **Web translation** — Cast every shadow from one near-vertical sun: short, hard, unblurred. _Why:_ Our composite's diagnostic is the light temperature. (`claim:dcc:me-r1`)

### Imagery

- **On the record · From our catalogue entry** · `token_rule:imagery-7` → Photograph surfaces in hard shadow.
- **On the record · Our reading** · `claim:dcc:me-r1` → Keep the light near vertical: short crisp shadows, high contrast between lit and unlit.
- **Not specified by the source** — No photograph is held that we may show. _Instead:_ Use real photographs of named places, and say which tradition each shows. Do not mix a Cycladic island and a Florida hotel as one place.

### The composite

Two documented traditions, put together by us. Mediterranean names a sea, not one tradition.

- **On the record · Documented** · `claim:kcc:definition` → Mediterranean is a composite of Cycladic vernacular and North American Mediterranean Revival.
- **On the record · Our reading** · `claim:dcc:motif` → Lemon and olive are our reading; no source records them.
- **Web translation** — Label every sourced material with its tradition and every composite choice as ours, wherever both appear. _Why:_ Evidence and composite stay visibly distinct, so no one takes a composite choice for a tradition's own. (`claim:kcc:definition`, `claim:dcc:surface-8`)

### Light

Our composite is a claim about light before it is a claim about style.

- **On the record · Our reading** · `token_rule:hierarchy-13` → Rank by shadow contrast: the most sharply lit element leads.
- **On the record · Our reading** · `claim:dcc:me-r1` → The same materials under soft light are a different register.

### Components

Anatomy, tokens and states below are Web translation: Aesthetary's specification for the screen. Each value line after them says whether it restates a rule this record holds.

#### Button

A small whitewashed opening: a flat block with an arched top, lit from directly overhead so it casts a short hard shadow.

- Anatomy: flat fill; arched top corners, square bottom; short hard shadow straight down, no blur
- Tokens: radius `999px 999px 6px 6px` · shadow `0 6px 0 rgba(20,30,60,.55)` · background `cobalt (ours)`
- State, default: Cobalt fill, white label, short hard shadow.
- State, hover: Terracotta fill.
- State, focus: 3px terracotta outline, 3px outside.
- State, active: The shadow closes to 2px: pressed toward the wall.
- State, disabled: Whitewash fill, grey label, no shadow; the label says it is unavailable.
- Accessibility: White on cobalt is 8.3:1; white on terracotta 4.9:1.
- Accessibility: At least 44px tall.
- **Web translation** — Give the button an arched top. _Why:_ Arches are common to both traditions, and the arched opening is the nearest physical analogue to a radius. (`claim:kcc:form-3`, `claim:kcc:interface-1`)
- **Web translation** — Cast one short, hard shadow straight down. _Why:_ Our composite sets everything under a near-vertical sun; the hard short shadow is how that reads. (`claim:dcc:me-r1`)

#### Card

A whitewashed wall: a flat light slab with a short hard noon shadow, heading in the display face.

- Anatomy: whitewash slab; short hard shadow; heading, text, one link
- Tokens: background `whitewash #FBF9F3` · radius `14px` · shadow `4px 6px 0 rgba(20,30,60,.55)`
- State, default: Slab and shadow.
- State, hover: The heading underlines.
- State, focus: 3px terracotta outline.
- Accessibility: Ink on whitewash is 14.8:1.
- Accessibility: The whole card is one link with the heading as its name.
- **Web translation** — Make the card a whitewashed slab. _Why:_ Cycladic walls are coated in lime whitewash; a card is a wall section. (`claim:kcc:technique-1`)
- **Web translation** — Rank cards by how sharply they are lit. _Why:_ Our rule: the most sharply lit element leads. (`token_rule:hierarchy-13`)

#### Input

A recessed whitewash field: a flat fill with its label above and an inset hard shadow along the top edge.

- Anatomy: label above in the text face; whitewash field; inset shadow on the top edge
- Tokens: background `whitewash` · border `2px solid #E3DFD3` · radius `10px` · inset `inset 0 3px 0 rgba(20,30,60,.18)`
- State, default: Rule-coloured border.
- State, focus: Cobalt border and a terracotta outline.
- State, error: An "Error:" sentence in deep terracotta.
- State, disabled: No inset shadow, grey text.
- Accessibility: A visible label on every field.
- Accessibility: Error text is 5.7:1 and written, not only coloured.
- **Web translation** — Recess the field with a hard inset shadow from above. _Why:_ An opening in a wall under an overhead sun is shaded along its top edge. (`claim:dcc:me-r1`)

#### Navigation

An arcade: a row of arched openings, the current one filled.

- Anatomy: links in a row; each with an arched top outline; current opening filled cobalt
- Tokens: radius `999px 999px 0 0` · current `cobalt fill (ours)` · rest `whitewash with rule outline`
- State, default: Whitewash openings, cobalt text.
- State, hover: Terracotta text.
- State, focus: 3px terracotta outline.
- State, current: Filled, with aria-current.
- Accessibility: aria-current on the current page.
- Accessibility: Each opening at least 44px tall.
- **Web translation** — Set the navigation as an arcade of arched openings. _Why:_ Revival plans are opened by loggias and arcades; arches are common to both traditions. (`claim:kcc:layout-1`, `claim:kcc:form-3`)

### Motion

Durations, easing and the rest of this specification are Web translation: Aesthetary's choice for the screen.

- Durations: state 0ms
- Easing: state `none`
- Transforms: none
- Entrance: None: the page is already at noon.
- Hover: An instant colour swap.
- Reduced motion: Nothing changes: there is no animation to reduce.
- **Web translation** — Noon light does not move. _Why:_ The cited rule belongs to the Aesthetic's own medium; applying it to a screen component or motion is our translation. (`claim:motion-reason`)
- **Web translation** — Change state instantly; if anything moves, let it be the reader's hand, as on this page's sun slider. _Why:_ The register depends on a fixed overhead light. (`claim:motion-reason`)

### Deliberately not added

- **A palette across both traditions** (color): Sources give whitewash (Cycladic) and stucco, red tile, terracotta (Revival); cobalt, lemon and olive are ours.
- **A lettering convention** (typography): An open question for both traditions.
- **A column grid** (gridLayout): The record holds building plans, not a grid.
- **Interface conventions** (components): The research record does not establish them. The four components are contemporary translations of documented rules.

## Coverage — what has been looked at

One row per research dimension a research pass considered. "Not researched yet" (`UNKNOWN`) means exactly that; a dimension can carry an Aesthetary recommendation and still be unresearched, and those are different things.

| Research dimension | Evidence | Resolved by | Carries a rule |
| --- | --- | --- | --- |
| Composition | Specified | Aesthetary decided | yes |
| Typography | Open question | Aesthetary decided | no |
| Hierarchy | Specified · Our reading | Aesthetary decided | yes |
| Colour | Specified · From our catalogue entry | follows the recorded claim | yes |
| Density | Not specified by the source | Aesthetary decided | no |
| Imagery | Specified · From our catalogue entry | follows the recorded claim | yes |
| Form/motif/surface/technique | Specified | follows the recorded claim | yes |
| Motion | Not specified by the source | — | no |

Unresearched: Composition, Typography. Where a rule appears for one of these it is Aesthetary's implementation recommendation, not a property of the language, and its Evidence line above says so.

## Not researched yet

Nobody has established a position for this language on:

- Typography
- Interface

**Do not fill these in.** An absent position is absent research, not permission and not a blank for you to complete. If the work needs a decision in one of these areas, make it on other grounds and do not attribute it to this language.

## Grade your own work

14 checks: 7 mechanically testable, 5 needing a person to look, 0 needing a source Aesthetary does not hold, 2 with no recorded position. 4 further research dimensions produced no rule (Composition, Typography, Density, Motion). This rubric is silent on them. Scores do not add up. A failure against a required rule and a departure from something we invented are not the same result, and no total should let them cancel.

### Recognition — does this read as the intended Aesthetic?

- **[visual_human · recognition signature · Evidence: No grade recorded]** Strip every logo, word and borrowed image out of your work, then show it to someone who knows the collection. Do they land on this Aesthetic? The signature to hold is: Whitewashed surfaces cut by hard-edged shadows from a sun near vertical, with saturated cobalt against them, glazed tile and terracotta as the material pair, and lemon and olive motifs. The diagnostic condition is the light temperature: noon sun, short crisp shadows, high contrast between lit and unlit — the same palette under soft light is a northern coastal register and not this. Earthy Modern and Coastal were the historical comparisons.
  - _If it fails:_ The work may be competent and still read as a different Aesthetic, or as none. Nothing below matters until this passes.

### Fidelity — are its defining rules present?

- **[unassessable · no recorded position · Evidence: Not researched yet (`UNKNOWN`)]** Nothing is recorded as a requirement of this Aesthetic. There is no rule here that your work must hold — which means nothing you do can fail this dimension, and nothing you do can satisfy it either. That is missing research, not freedom: our research brief does record failure modes to avoid, listed under avoidance below. They are recorded judgement, not requirements.
  - _If it fails:_ Not applicable. An empty dimension is an absence of research, never a pass and never a failure.

### Implementation — were those rules translated appropriately into this medium?

- **[visual_human · Our reading · Evidence: Our reading]** Your work may depart from this — but knowingly, not by accident. Rank by shadow contrast — the most sharply lit element leads.
  - _If it fails:_ A defensible departure, and you should be able to say why you made it.
- **[visual_human · From our catalogue entry · Evidence: From our catalogue entry]** Your work may depart from this — but knowingly, not by accident. Imagery: hard-shadow photography.
  - _If it fails:_ A defensible departure, and you should be able to say why you made it.

### Avoidance — known failure modes, neighbour drift, cloning

- **[mechanical · recorded failure mode · Evidence: No grade recorded]** Check your work against this: No soft, diffuse or low light.
  - _If it fails:_ A failure mode recorded in our research brief: recorded judgement about what weakens this Aesthetic, not a requirement of the language.
- **[mechanical · recorded failure mode · Evidence: No grade recorded]** Check your work against this: No cool or washed palette.
  - _If it fails:_ A failure mode recorded in our research brief: recorded judgement about what weakens this Aesthetic, not a requirement of the language.
- **[mechanical · recorded failure mode · Evidence: No grade recorded]** Check your work against this: No long shadows.
  - _If it fails:_ A failure mode recorded in our research brief: recorded judgement about what weakens this Aesthetic, not a requirement of the language.
- **[mechanical · recorded failure mode · Evidence: No grade recorded]** Check your work against this: No overcast imagery.
  - _If it fails:_ A failure mode recorded in our research brief: recorded judgement about what weakens this Aesthetic, not a requirement of the language.
- **[mechanical · recorded failure mode · Evidence: No grade recorded]** Check your work against this: No desaturated cobalt.
  - _If it fails:_ A failure mode recorded in our research brief: recorded judgement about what weakens this Aesthetic, not a requirement of the language.
- **[visual_human · recorded failure mode · Evidence: No grade recorded]** Have you made any of these changes? Each one moves the work into a neighbouring Aesthetic: Against Coastal: hot saturated noon versus cool washed light. Historical, no substitute inferred. Against Earthy Modern: light-defined versus palette-defined. Historical. Anti-signature: soften the light and the register is gone regardless of palette.
  - _If it fails:_ You have built the neighbour. That may be fine — but name which Aesthetic you are in.
- **[mechanical · declared closure · Evidence: No grade recorded]** Check your work against this: Not open: softening the light.
  - _If it fails:_ This one is closed, not open. The record says generation must not go here.
- **[mechanical · declared closure · Evidence: No grade recorded]** Check your work against this: Not open: cooling the palette..
  - _If it fails:_ This one is closed, not open. The record says generation must not go here.
- **[visual_human · neighbour drift · Evidence: No grade recorded]** Could your work be mistaken for Coastal? That language is: Cool and washed; Mediterranean is hot and high-contrast
  - _If it fails:_ Not necessarily wrong, but you are closer to Coastal than to this Aesthetic.

### Accessibility — the Aesthetic preserved without its inaccessible practice

- **[unassessable · no recorded position · Evidence: Not researched yet (`UNKNOWN`)]** Does this Aesthetic conflict with any usability floor? Nobody has recorded one for it.
  - _If it fails:_ Nothing — and that is the problem. An unrecorded conflict is not an absent one. Hold AA on reading matter and decide the rest on other grounds.

**Not covered at all:** Composition: Specified; Typography: Open question; Density: Not specified by the source; Motion: Not specified by the source. These research dimensions produced no rule, so there is no check. Treat them as unscored, never as passed and never as failed.

## Rules for the agent

1. Do not invent rules for any area listed under **Not researched yet**.
2. Do not treat an absent position as permission to do anything you like — say that the language has no position, and decide on other grounds.
3. Keep our interpretations separable from the language's own requirements. If asked to justify a choice, cite which kind of claim it came from.
4. If you need something this record does not contain, say so rather than producing a confident answer from the aesthetic's name.
5. When you self-score against "Grade your own work", score only checks marked `mechanical`. Declare `visual_human` and `evidence_dependent` checks unjudged rather than guessing, and never score an `unassessable` one.
6. Evidence "Not researched yet" (`UNKNOWN`) is never a failure. It means nobody researched the dimension, so departing from what is written there costs nothing and must not be reported as a defect. "No grade recorded" is not a grade either: do not treat it as our decision or as an outside source.
7. In **Design grammar**, a "Web translation" line is our choice for the web and may be changed with a reason; the rules it cites may not. Never present a translation as a property of the language.

## Provenance

- Record: `mediterranean` · status `needs_review` · research `not_researched`
- Full structured record: https://aesthetary.com/data/mediterranean.json
- Human-readable record: https://aesthetary.com/a/mediterranean.html
- This file is a snapshot. The record may have changed since; check the page above.

_Aesthetary is an alpha. Where a page says nothing, nobody has done the work yet._