Realism | Conventionalism | Disguised | Botanical
(See § 10). | (See § 14). | Artificialism | Analysis
| | (See § 6). | (See § 5).
§ 5.--THE BOTANICAL ANALYSIS TREATMENT.
In this method the student was taught (i) to draw each plant with the
Stem _straightened out_, the Leaves _flattened out_, and the Flowers
represented as in _side elevation_ or _plan_. (ii) The Flowers were
further _pulled in pieces_, and the Petals were _flattened out_ in a
manner similar to the Entomologists' practice of displaying their
"specimens" scientifically. Often, also (iii) the Stems and Buds were
_cut through_; and "patterns" were made with the Sections.
With regard to the first of these practices (i): it should be observed
that much of the beauty of appearance of natural foliage results from
the variety of view, the subtile curvature, and the foreshortening, as
seen in perspective; and that to sacrifice all these for the sake of a
_diagram_ would be a wasted opportunity.
With regard to the other practices (ii) and (iii): it is obvious that
these statements of the facts of the plant are useful as a part of the
Science of Botany; but can no more be considered as making Decoration
than Anatomical diagrams can be looked upon as Pictures. Some
knowledge of external Botany is useful to a Pattern artist as some
knowledge of external Anatomy is useful to the Pictorial artist. In
each of these cases, the Science, which discovers and records facts,
is subservient to its sister, Art, which uses the facts to interpret
appearances; and, when scientific diagrams are put forth as Art, the
Science is in its wrong place: it has then been treated as if it were
the Building instead of being only the Scaffolding; and the results of
such attempts cannot be considered as complete or final.
Examples of this method are given in Figs. 1 and 2. It was officially
encouraged about twenty-five years ago; and books like "Plants, their
Natural Growth and Ornamental Treatment," and "Suggestions in Floral
Design," both by F. Edward Hulme, F.L.S., etc., show it at its best.
[Illustration: FIG. 1.]
In criticising this method, there is no desire to cast any slight upon
those who were responsible for it. They were groping in the dark, and
did the best they knew, according to their lights. But Japanese work
was not known at that time, and, but for that, the Pattern artist of
to-day might still be occupied in pinning leaves and flowers against
the wall. It was, moreover, a protest against the Cabbage Rose on the
Hearth rug, that some may still remember with shuddering.
[Illustration: FIG. 2.]
§ 6.--THE DISGUISED ARTIFICIALITY TREATMENT.
In this method the student was taught to sketch out what he considered
to be good Curves and Spirals; and then (i) to bend the selected plant
so that its stem might coincide with them, regardless of its own
proper natural growth; or (ii) to deck out the first drawn spirals
with the leaves and flowers of the selected plant.
With regard to the first of these practices: it is much more foolish
than the Analysis method; and is little short of blasphemy against the
Great Designer. He has determined how each plant shall grow: how,
within limits of cultivation, its stems and branches shall separate,
each to seek its own share of air and sunshine; how its leaves shall
stand erect or droop, each according to its function; and always in
perfect beauty. And further: how each family of plants shall have its
own method of branching; which is as much a part of its character and
often of its beauty as are the Flowers and Leaves.
The second practice, which generally produces a result similar to the
first, is quite as unthinking. It is more often practiced; and is
responsible for many of the labored and uninteresting designs which
are common. If the Pattern-artist deck-out the old worn-out and common
place spirals with leaves and flowers borrowed from Nature--the result
is like the "voice of Jacob and the hands of Esau;" it is merely a
Disguise of Artificiality.
An example of this method is given in Fig. 3. It was generally
practiced in Germany; and books like "Das Vegetabile Ornamente," by K.
Krumbholz, show it at its best.
[Illustration: FIG. 3.]
If this treatment were universally followed--there would soon be an
end to design with natural foliage. The spectator might observe one
border which appeared to be a Rose, another a Tulip, the third a
Thistle, and the fourth a Fuchsia; and, on examination, discover that
these were not Rose, Tulip, Thistle, and Fuchsia; but merely that very
artificial old friend--the Spiral-scroll--_in disguise_.
An apologist for this method remarks:--" ... In such matters as the
ramification of plants, ... nature is always making angles and elbows
[_sic_] which we are obliged, in decorative treatment, to change into
curves for our purpose;...". This opinion needs only to be applied to
animals in order to exhibit its absurdity; and with regard to plants,
it will be seen that this tampering has not even the poor merit of
success.
§ 7.--NOTE ON SYMMETRY.
A desire for Symmetry often accompanies these two treatments. This is
a quality to be avoided whenever possible in Natural foliage design.
The so-called "Turn-over patterns" are an economy in Weaving-design,
but the economy is of the wrong kind. An artist should spend his
thought to spare material or cost in working. When he spares his
_thought_--making the least amount of thought cover the greatest
amount of surface--then is his work worth to the world just what it
has cost him, i.e., very little.
So injurious is the influence of Symmetry in Natural foliage design,
that it might almost be a test question--"Is the design symmetrical?"
When the exigencies of Machine-reproduction necessitate this with
Natural foliage--it is a hardship which the Artist regretfully accepts,
and no one would willingly make a design for Hand-reproduction which
was symmetrical; rather would he spend himself to insure the worthier
result which ensues from Balance.
An example of Symmetry is given in Fig. 4; and of Balance in Fig. 5.
Each panel contains two classes of Elements:--Natural foliage (i.e.,
two branches of the Bay tree), and an Artificial object (i.e., a
Ribbon which ties them). The lower Element (i.e., the Ribbon) is
treated symmetrically in both panels: the higher Element (i.e., the
Branches) are _symmetrical_ in the former panel, and _balanced_ in the
latter. This latter treatment, will be seen to be not only the more
interesting, but the more like the infinite variety of Nature; while
the former is a wasted opportunity, and contrary to Nature.
[Illustration: FIG. 4.]
The Student will observe by experience that the mind soon tires of
Artificiality, both in Curvature and in Symmetry; the lines of Nature
have a pleasant freshness and inexhaustible variety; and the _Natural_
method of treating Nature is not only the most true, but also the most
beautiful.
[Illustration: FIG. 5.]
§ 8.--REALISM AND CONVENTIONALISM: DEFINITIONS.
REALISM--the result of _Realistic_ treatment, i.e., the attempt to
render the reproduction as like the reality as is possible, even to
the verge of deception--is the aim of the Pictorial-Artist. In
Pictures the surface appears to have been annihilated, and the
spectator beholds the scene as if there were a hole through the wall.
It is not the highest, and should not be the only aim in Art; but it
has always been sought for and admired. It requires perfect
conditions, of materials and tools; i.e., _complete Technical
appliances_.
CONVENTIONALISM--the result of _incomplete Technical appliances_, and
the attempt to render so much of the Beauty of the original as is
possible, with due regard to their capabilities--is the aim of the
Decorative-Artist. It is not the highest aim; though a necessary curb
in Decorative-Art, both for the technical reason, and also as a result
of the Position or Function of the object.
It will thus be seen that the two words, when used with regard to
foliage of any kind, refer to the _Method of representing it_, and not
to its Kind or its manner of Growth.
§ 9.--SCALES FROM REALISM TO CONVENTIONALISM.
These two methods, when applied absolutely, form the two
extremes:--The most complete REALISM being at one end, and the most
limited CONVENTIONALISM at the other. There are scales of gradual
reduction between them, which may be shown on two charts:
(i) Reduction in the NUMBER OF PARTS which preserve their Realistic
rendering.
(ii) Reduction in the DEGREE OF REALISM through all parts.
(i) According to the number of the features or parts of the design
which are treated with less than realism. Thus there might be a panel
representing a Window-opening with an architectural framing, with a
Flower-vase on the sill, and a Landscape-background. The first part to
be reduced in realistic rendering would be the Background, the second
would be the Framing, leaving the third, the Flower-vase, as the
survival. This is a Scale of reduction in _Number of Parts_.