Having sketched the main features of the decorative art of a definite
locality, I now pass on to a different field, and will select examples
from every age and clime, in order to illustrate the life-histories of
a number of designs. In this I have a twofold object. First, I wish to
indicate in this section the material out of which designs and patterns
are formed—the objective originals which become gradually transformed
into æsthetic conceptions; and, secondly, I also wish to illustrate the
fact that this process of transformation is confined to no one people.
We shall see that the originals of decorative art are mainly either
natural or artificial objects, and the latter will first claim our
attention.
I.—THE DECORATIVE TRANSFORMATION AND TRANSFERENCE OF ARTIFICIAL
OBJECTS.
Dr. H. Colley March has introduced the term “Skeuomorph”[18] for
the forms of ornament demonstrably due to structure. Professor G.
Semper[19] “was the first to show that the basket-maker, the weaver,
and the potter originated those combinations of line and colour which
the ornamentist turned to his own use when he had to decorate walls,
cornices, and ceilings.” So write MM. Perrot and Chipiez;[20] but this
statement is too sweeping. A considerable amount of ornamentation is
doubtless due to technique, but in Europe, Western Asia, and North
Africa plant forms have had a great influence in the origin of designs,
some of which have been modified by passing through a textile technique.
[18] From τὰ σκεύε, implements, utensils, tools, baggage,
tackle, dresses.
[19] G. Semper, _Der Stil in den technischen und tektonischen
Künsten oder praktische Aesthetik_. Munich, 1860-63, 2 vols.
(Second Edition, 1878-79.)
[20] G. Perrot and C. Chipiez, _A History of Art in Ancient
Egypt_, ii. p. 356, 1883.
Given any object, two forces, so to speak, attack it—the utilitarian
and the æsthetic. The resultant may be an implement which is solely
useful and has little or no beauty to recommend it; or while retaining
a full measure of utility, it may be beautified in form or in surface
decoration; or, lastly, the object may become so glorified by the
artist as to be translated from earthly use into the realm of æsthetics.