The patterns are merely The plants are copied as
straight lines, dots, and accurately as possible.
portions of circles.
The lines become stems. The plant is applied
without repetition.
Leaves are added to the Repetition is used with the
stems. plants.
Serration is added to the Weaving economy induces
leaf-edge. symmetry.
Similarity of serrated Symmetry induces Geometrical
leaf-edge to the Akanthos Severity, and the Omission
plant, is observed; of all details of the
Imitation becomes more original plant which are not
direct; and this artificial easily worked in connection
foliage becomes termed with geometrical
"Acanthus." arrangement.
Flowers generally circular The Flowers and Leaves
in mass-shape, are added (_only_) survive; the growth
at the ends of the spiral of the stems is forgotten;
stems. and tradition does the rest.
§ 3.--APPLICATION OF THE TWO KINDS.
Each of these two kinds of foliage has its own proper use. Artificial
foliage is appropriate to the enrichment of Architecture; and Natural
foliage to those objects which are not architectural, but are termed
"movables," including under this term, Furniture, and more especially
Hangings and other applications of the Textile art.
This may be seen on comparing the two columns below, of which the L.H.
one refers to Architecture, and the R.H. one to Natural foliage.
(Architecture) (Natural foliage)
RULES:
Governed by severe Exhibits _apparent_ playful
rules of Repetition, Freedom. There _are_
Axiality, Symmetry, etc., underlying Rules, which
which are apparent to are detected by the scientific
the passer-by. Hence Botanist; but these
Artificial foliage, being are not seen by the casual
regular in its structure, observer.
is more appropriate than
the (apparently) irregular
growth of Natural
foliage.
CHARACTERISTICS:
Rigidity and Stability. Elasticity and Tremulousness
in every breeze.
LINES OF COMPOSITION:
Geometrical lines. In determinate curves,
The geometrical lines which are very subtile,
and spirals of Artificial and varied, and therefore
foliage demand an unmoving suitable to a hanging and
surface for proper view. swaying material.
The curves of Nature
They would generally be spoiled are not spoiled when on a
if not on a plane surface. folded material.
DISTRIBUTION:
Symmetrical. The Balanced. The growth
symmetry of artificial of natural foliage is generally
foliage is appropriate to symmetrical; but
that of Architecture. this is not apparent.
BEAUTY:
Depends on _form_, with More appropriate to objects
color as a secondary adjunct. which depend on _color_ for
their principal charm.
There have been waves of the desire to introduce Natural foliage into
Architecture (e.g. in the "Decorated period" of Gothic architecture);
but the Artificial elements have always proved too strong, and the two
have never mixed. In Architecture, everything has three dimensions;
and the artificial foliage is carved with leaves, etc., of a suitable
thickness: in Natural foliage the tenuity of leaves, etc., is such
that it cannot be reproduced. Even in the architraves round the
glorious doors of Florence the natural foliage is not always a
success; and where Ghiberti has stopped short in the ductile bronze,
it is not probable that the modern carver will succeed in stone. It
may therefore be suggested that the close imitation of Natural foliage
should be confined to objects of _two_ dimensions, i.e., to plane
surfaces and figured materials.
This selection of the Elements of Decoration, according to their
association, is analogous to the selection made use of by the Poet,
from the words and ideas, which are his Materials. It will be observed
that, as on a Classic or Heroic subject, the choice is of learned
words and classical ideas, and on a Domestic or Pastoral one, simple
words and homely similes are used--so, in conjunction with the severe
forms of Architecture, the formal character of artificial foliage is
suitable; and for decorating Textiles and other movable Accessories,
the Natural foliage, with which the earth is clothed and beautified,
is appropriate.
ENRICHMENT OF SURFACE may be beautiful for one reason; IMITATION OF
NATURE is beautiful for another. When imitations of natural foliage
are introduced decoratively on a surface, then may it be twice
beautiful--first, in the _principles_ according to which the
distribution is arranged; and secondly, because of the _elements_
which are worked in being beautiful in themselves. Geometrical
elements might be so used as to serve the first end, but can never
fulfill the second: Storiation fulfills the second; but its increase
of interest absorbs the first.
This course of Lectures is intended to treat of Natural foliage,
leaving Artificial foliage to be dealt with at another opportunity. It
is not Historical. The History of the Decorative treatment of Natural
foliage, showing its evolution in the past, is a large and interesting
theme; but, unless this were accompanied by critical remarks based on
given principles, the method might be barren of results. Tradition is
not to be undervalued; but the student should be led to Tradition
through Principles.
It is further intended more especially to apply to the æsthetic use.
When natural foliage is used Æsthetically (i.e., decoratively), then
the Shape of the surface should govern the Mass shape of the foliage,
and there should be Parallelism between them (see § 29). When used
Didactically (i.e., symbolically), then the foliage may be treated
more freely.
§ 4.--THE FOUR TREATMENTS.
There are, broadly speaking, four methods of treating Natural foliage.
These may be arranged in a Chart, according to their relation to the
two poles of Art and Science; from Realism (which is all Art and no
Science) to the "Botanical Analysis" method (in which is a little
Science but no Art), thus:
The first two of these methods are Artistic and legitimate: the others
are inartistic and misleading. Before treating of the artistic methods
it will be well to clear the ground by dismissing the others.