CONCLUSION.
I have now treated of art as applied to our industrial manufactures,
and have pointed out principles which must be recognisable in all
art-works which pretend to merit. We have seen that material must in
all cases be used in the simplest and most natural manner; that,
wherever possible, we must avail ourselves of the friendly aid of
natural forces;[29] that the most convenient shape must always be
selected for a vessel or art-object of any kind; and that beauty must
then be added to that which is useful. All art-objects must be useful
and then beautiful; they must be utilitarian, and yet so graceful, so
comely, that they shall be loved for their beauty as well as valued
for their usefulness. While I have set forth those principles which
must ever govern the application of ornament to useful articles, I
cannot show the student any royal road to the attainment of
art-knowledge. There is something in a true art-work which is too
subtle for expression by words; there is a "quality" about an
art-work, or the expression of an amount of "feeling," which cannot be
described, yet which is so obvious as to be at once apparent to the
trained eye.
[29] See chapters on glass and earthenware.
The only way in which the power of appreciating art-qualities can be
gained, especially if these qualities are of a subtle nature, is by
the careful study of works of known excellence. Could the student
visit our museums in company with a trained ornamentist, who would
point out what was good and what was bad in art, he would soon learn,
by studying the beautiful works, to perceive art-qualities; but as
this is not possible to most, the learner must be content to consider
each art-work with which he comes in contact in conjunction with the
principles I have set forward.
Let him take a work--say a tea-pot. He will now ask himself--has the
material of which it is formed been judiciously and simply used?--is
the shape convenient?--is the handle properly applied, and does the
spout bear a proper relation to the handle?--is the form graceful or
vigorous?--is the curve which bounds the form of a subtle nature?--is
the engraving applied in judicious quantities and in just
proportions?--are the engraved forms beautiful, and such as do not
suffer by being seen in perspective on a rounded surface? By such
questions the student will inquire into the nature of whatever is
presented to his consideration, and only by constantly making such
inquiries, and seeking to answer them correctly, can he gain the
knowledge which will enable him rightly to judge of the nature of
art-works.
Some of these inquiries the young student will readily answer, with
others he will have difficulty; for, his taste being yet uncultivated,
he will not know whether a form is beautiful or not. Nevertheless, I
say to the learner, try to answer these various inquiries as well as
you can, and then note the shape of the object in a memorandum-book,
and write your opinion respecting it in brief terms, and your reasons
for your opinion. By thus noting your studies you gain many
advantages; thus, you must frame your ideas with some degree of
exactness when you have to put them into words, and exactness of idea
is essential to your success. You can also refer to previous thoughts,
and thus impress them upon the memory; and you can observe your
progress, which is important, and should be encouraging. In order that
you acquire the power of perceiving art-merit as quickly as possible,
you must study those works in which examples of bad taste are rarely
met with, you must at first consider art-objects from India, Persia,
China, and Japan, as well as examples of ancient art from Egypt and
Greece. But in selecting modern works from the East, choose those
which are not altogether new if possible.
During the last ten years the art-works of Japan have deteriorated to
a lamentable extent. Contact with Europeans unfortunately brings about
the deterioration of Eastern art: in order that the European demand be
met, quantity is produced and quality disregarded, for we cavil
respecting price, and yet by thus creating a demand for inferior work
we raise the price even of that which is comparatively bad, and soon
have to pay for the coarser wares a price for which superior articles
could at first be procured.
But this should be noted: that the commonest wares which we receive
from Japan and India are never utterly bad in art. Inharmonious
colouring does not appear to be produced by these nations, and the
same may be said of Persia and China, and, to an extent, of Morocco
and Algeria, the only exceptions being where European influence has
been long continued. In selecting examples for study you may almost
rely upon the beauty of all works from China, Japan, Persia, and
India, which have not been produced under European influence.
A notable example of the deteriorating influence of European taste
(perhaps chiefly English taste) upon Eastern art is apparent if we
examine old carved sandalwood boxes from India, and those which are
now sent to us from the same country; the quiet, unobtrusive
consistency of the ornament by which it was sought only to enrich a
properly constructed box was not sufficiently attractive to suit
European (or English?) taste. The ornament must be more pronounced and
in higher relief, and the entire work must be more attractive--more
vulgarly attractive I might say, and thus the exquisite refinement of
the older works is sacrificed to the wants of a rich but vulgar
people, whose taste for art is infinitely below that of their
conquered brethren, from whom they learn the principles of a beautiful
art but slowly, while they do much to destroy the refinement of
art-taste which the workmen of our Eastern empire appear to inherit.
Study the works of the Eastern nations in conjunction with the remarks
which I made in my first chapter (see pages 6, 9, and 48), and then
consider the numerous objects left to us by the early Egyptians and
Greeks, and bear in mind while viewing them what we have said on
Egyptian and Greek art (see pages 6, 8, and 10), and after having
learned to understand the merits of Persian, Japanese, Indian, and
Chinese art, and of that of the ancient Egyptians and Greeks, you may
commence to consider other styles, taking up the study of Italian and
Renaissance art in its various forms last of all; for in these styles,
or dialects of a style if I may thus speak, there is so much that is
false in structure, false in representation, untruthful in expression,
and pictorial rather than ornamental in effect, that a very complete
acquaintance with ornamental art is necessary in order that all the
defects of these styles be apparent, and in order that the student
avoid falling into the error of regarding a pictorial effect as the
result of a true style of ornamental art.
Study, when accompanied by individual thought, is the means whereby
art-knowledge will be gained. No mere looking at works which are
beautiful and true will make a great ornamentist. He who would attain
to great knowledge must _study_ whatever commends itself to him as
worthy of his attention, and, above all, must think much upon the
works which he contemplates; it is the evidence of mind--not of
degraded but of noble mind, of refined mind, of cultivated mind, of
well-informed mind, of mind which has knowledge, of mind which has
vigour, of mind which is fresh and new--that we find impressed upon a
work and giving to it value. While we, as art-students, have, above
all things, to attain to cultivation of the mind, we cannot give
expression to refined feelings manifested in form unless we can draw,
and draw almost faultlessly; and the ability to draw with accuracy,
power, and feeling can only result from much practice.
Let every spare moment, then, find the sketch-book in your hand, and
be constantly trying to draw both carefully, neatly, and with
exactness and finish, such objects as you see around you, even if
examples of good art-works are not at hand; for by constant and
careful practice you can alone acquire the necessary power of
expressing refined thought in refined form. Avoid making hasty
sketches. When a finished artist, you can afford to make sketch
memoranda; but till you can draw with great power, energy,
truthfulness, and refinement, let your every drawing be as careful and
as finished in character, however simple the object portrayed, as
though your welfare in life depended upon its character, for upon
every sketch your future position does, to a great extent, depend. The
habit of careful painstaking should sedulously be cultivated; and with
every drawing thus made an amount of power is gained which the making
of a hundred careless sketches would not afford. Let painstaking,
then, be characteristic of your working.
Ornament of some kind is applied to almost every article that we see
around us. The papers on our walls, the carpets on our floors, the
hangings at our windows, the plates from which we eat, are all covered
by patterns of some kind; yet it is rare, even now when ornamentation
has become general, to find anything original in ornament; and if we
do meet with something new in kind it is often feeble or
timid-looking, if it does not altogether fail to impress us with the
idea that the producer was a man of knowledge. Let the reader be
assured that if the designer is a man of knowledge, his ornamental
compositions will never fail to reveal his learning; that if he is a
man of power, his works will reveal his strength of character; if he
is a man of refined feelings, that his designs will manifest his
tenderness of perception. In like manner, if a man is ignorant he
cannot withhold from his patterns the manifestation of his ignorance.
Did not the Egyptians express their power of character in their
ornaments? did not the Greeks manifest their refinement in the forms
which they drew? do we not even find an expression of religious
feeling strongly, yea, impressively, set forth by some art-works, as
by the illuminated manuscripts of the early Middle Ages? and do we not
every day see the impress of the ignorant upon certain wall-papers,
carpets, and other things? It is a fact, and it is necessary that we
fully recognise it, that the knowledge of the producer is manifested
by his works; and that the ignorance of the ignorant is also
manifested in his works.
If ornament is produced having new characters, it is often feeble, and
is generally without grace; while power is the expression of
manliness, and grace of refinement. Without claiming to have made a
successful effort, I put forth, in the frontispiece to this volume
(Plate I.), four of my studies in original ornament, all of which are
to me more or less satisfactory as studies in composition. I have
endeavoured to secure in each an amount of energy, vigour--the power
of life, yet at the same time to avoid coarseness, or any glaring want
of refinement. I have sought to combine right lines, which are
expressive of power, with such curved shapes as shall, with them,
produce a pleasing contrast of form, and express a certain amount of
grace. In the light ornament on the citrine ground (that at the lower
left-hand corner of our plate) I have endeavoured especially to secure
an expression of grace in combination with that amount of energy which
avoids any expression of feebleness.
In the border ornament I have introduced the arch form, as it hints at
a structural "setting out" which is pleasant; and I have endeavoured
to cause the composition to appear as though it rested on the lower
dotted band, as this gives a feeling of security. I do not say that it
is necessary that this be so: all I assert is that in some cases it
gives a feeling of satisfaction.
So far as I know, the colouring is also original. The colours employed
are chiefly of a tertiary character, but small masses of primary or
secondary colours are employed in order to impart "life" to the
composition.
I do not set these studies before my readers with the idea of showing
them what original ornament should be: I only set them forth as
examples of new compositions, and must leave each to clothe his own
thoughts with a befitting expression of his individual original ideas.
As I am writing for the working man, as well as for others, will he
pardon me reminding him that we are called to exercise an art, yet at
the same time our art is associated with the scientific professions--a
knowledge of natural sciences, of botany, zoology, natural philosophy,
and chemistry can be very fully utilised in our art--and that we
should, therefore, act as professional men and as artists of the
highest rank; for thereby only can we hope to place our calling in
that position of esteem in which it should be held, and must be held,
by the people at large, if we are to administer to their pleasure as
we ought.
In taking leave of my reader, let me say that if I personally can aid
him in any way, I shall be glad to do so. If any who really seek
knowledge of decorative design, and are hard workers, choose to send
me designs for criticism or comment, or desire any other aid that I
can give them, I shall be happy to do what little I can for them. My
address will be found at the end of the Preface.
INDEX.
Alternation in Ornament, 24.
America, Depraved Artistic Taste in, 104.
Anthemion; a Greek Decorative Device, 9.
Arabian Metal-work, 137.
Arch used in Furniture, 51, 52.
Art may be Degrading, 2;
aims at producing Repose, 63;
the Object of, 144.
Art-knowledge, The Value of, 2.
Baptism, Symbol of, in Gothic Art, 12.
Beauty in Decoration, 16, 17.
Bed-room, Decoration for a, 15.
Birmingham Ware, 144, 145, 152.
Black, a Neutral in Decorative Work, 45.
Buhl-work, 64.
Buildings, Decoration of, 73, _et seq._
Byzantine Ornament, 11.
Cabinet, Construction of a, 61.
Calico, Patterns on, 107.
Carpets, Art-qualities and Patterns of, 94, _et seq._;
Different Sorts of, 94, 95;
Foreign-made, 102, 103;
how they should be laid down, 105;
the Conditions which Govern the Application of Ornament to, 106.
Carving, when to be used, 61, 62.
Casting in Metal, 136.
Casting, the least Artistic Mode of Treating Iron, 147.
Ceilings, Decoration of, 75, _et seq._;
Various, worthy of Study, 82;
with Painted Pictures Objectionable, 82.
Celtic Ornament, 25.
Chair-coverings, 72.
Chairs, Construction of, 52-57.
Character of the Designer shown by his Work, 163.
Chinese Enamels, 143.
Chinese Harmony of Colour, 48.
Chinese Ornament, 11.
Christian Art, 11, 12.
Clay as a Material for Art-purposes, 117, _et seq._
Colour--in Decoration, 30, _et seq._;
Contrast in, 32, 33;
Primary, Secondary, and Tertiary, 32;
Harmony in, 33, 39, _et seq._;
Qualities of, 33, 34;
Analytical Tables of, 34;
Teachings of Experience in regard to, 34, 45;
Proportions in which Colours Harmonise, 34, 35, 36;
Pure, and Pigments, 37, 38;
Permanence of, 38, _note_;
Shades, Tints, and Hues, 39;
Works on, referred to, 49;
for Stained Windows, 154, _et seq._
Colouring Metals. _See_ Skidmore, Mr.
Colour-top, the, 48, and _note_.
Copper Vessels Inlaid with Silver, 142.
Cornices, Colouring of, 93.
Couches, 57, _et seq._
Curtain Materials, 107, _et seq._
Curves, most Beautiful when most Subtle, 23.
Damascene Work, 139.
Damask Table-linen, Patterns on, 107, 108, 109.
Damask Wall-coverings. _See_ Silk Wall Damasks.
Decanters, what they should be, 129.
Decoration should be in keeping with Architecture, 73, 74, 75.
Design and Ornament, Redgrave on, 50.
Dining-room, Decoration for a, 14.
Dining-tables, Mr. Eastlake on Telescopic, 66, 67.
Distemper Colours for Wall Decoration, 83.
Doric Column, The, 9.
Drawing-room, Decoration for a, 15.
Dress, Ladies' and Gentlemen's, 90.
Patterns for Ladies', 112.
Earthen Vessels, Decoration of, 125, 126, 127.
Eastlake, Mr., on Household Art, referred to, 52, and _note_.
Ecclesiastical Metal-workers, 144, 145.
Egyptian Architecture, 8.
Egyptian Coloured Glass, 153.
Egyptian Drawing, Peculiarity of, 5.
Egyptian Ornament, 4-8.
Embroidery on Cotton, Indian, 114.
Enamelling in Metal-work, 143.
England, Architectural Buildings in, 11;
House Decoration in, 30, 31.
European Influence Injurious to Eastern Art, 161.
Excess in Upholstery, 70.
Fabrics, Patterns Suitable for Woven, 107, _et seq._
Finish, its Value Over-estimated, 120.
Folds, Ornamentation of Fabrics to be seen in, 112, _et seq._
French Errors of Taste in Furniture, 65.
Furniture, Decorative Principles applied to, 50, _et seq._;
What is Required to make it an Object of Art, 50;
Material used for, 51;
Truthful Construction of, 59, 65, _et seq._;
Proportion and Enrichment of, 61, 63.
Glass, as a Material for Art-purposes, 118, 127, _et seq._;
Vessels, Various, 130, _et seq._;
Vessels, Coloured, 131, 132;
Cutting of, 132;
Engraving of, 133; Ornamentation of, 133;
Stained, 153, _et seq._
Gold, a Neutral in Decorative Work, 44, 45.
Gold and Silver, Works in, 136.
Gothic Architecture, Modern, 74.
Gothic Furniture, Falsely Constructed, 66.
Gothic Ornament, 12.
Granite Imitated, Objected to, 89.
Greek Coloured Glass, 153.
Greek Ornament, 9, 10, 11.
Greek Vessels, 121.
Grotesque. _See_ Humour.
Handles of Vessels, 138, 139, 140.
Hardware, Art in Connection with, 144, _et seq._
Harmony of Colour. _See_ Colour.
Historical Inquiry Necessary to the Understanding of Decoration, 4,
Humour in Ornament, 24-29;
Chinese and Japanese, 25, 27, 28.
Imitations of Marbles and Granites, 89.
Indian Art Injured by European Influence, 161.
Indian Fabrics, 48, _note_.
Indian Fabrics, Mr. Redgrave on, 115, 116.
Indian Metal-work, 142.
Indian Work in regard to Colouring, 47.
Inlaying as a means of Enriching Works of Furniture, 63.
Irish Crosses, Numerous Ornaments on, 25.
Iron, as an Art-material, 142.
Iron, how Wrought, 147.
Iron, Metals that may be Associated with, 151.
Iron-castings of Berlin, 136.
Iron-work, Ornamental, 147, _et seq._;
must Manifest a True Constructive Principle, 148;
Colouring of, 152.
Italian Metal-work, 142.
Japan, Deterioration in the Art-works of, 161.
Japanese Art, 11.
Japanese Colouring, 48.
Japanese Earthenware, 120.
Japanese Enamels, 142, 143.
Japanese Metal-work, 142.
Jewels in Metal-work, 143.
Joists in Ceilings, how they should be Treated, 79.
Labour Necessary to Success in Art, 4, 31.
Library, Decoration for a, 15.
Lotus in Egyptian Design, 5, 6.
Marble Imitated, Objected to, 89.
Mediaeval Metal-workers, 144, 145.
Mental Effects produced by Decorative Forms, 14.
Moorish Ornament, 11.
Muslin, Patterns on, 107.
Natural Forms in Carpet Patterns, 96, 97, 98.
Niello-work applied to Metals, 143.
Norman Architecture, 11.
Novelty Wanted in Carpet Patterns, 105.
Oil-colour "Flatted" for Wall Decoration, 83.
Order, a Principle in Ornament, 23.
Ormolu Ornaments, 64.
Ornament and Architecture Inseparable, 13.
Papered Walls. _See_ Wall Papers.
Papyrus in Egyptian Architecture, 8.
Persian Ornament, 11.
Picture Frames, 72.
Pigments. _See_ Colour.
Plants as Ornaments, How to Treat, 24.
Plaques of Stone or Earthenware applied to Works of Furniture, 63,
64.
Pottery, Art in, 117, _et seq._
Power an Art-principle, 17.
Precious Materials in the Form of Art-works, 117, 118.
Preface, v., vi.
Pretence in Art-decoration, 157-159.
Proportion must be Subtle, 23.
Purpose, Adaptation to, Taught by Plants, 21.
Renaissance Ornament, 13.
Repetition of Parts in Ornament, 23.
Roman Ornament, 11.
Shams in Decoration, 89.
Silk, Patterns on, 107.
Silk Wall Damasks, 114.
Silversmiths' Work, 135, _et seq._
Skidmore, Mr., and his Theory of Colouring Metals, 152.
Sofa-coverings, 70, 72.
South Kensington Museum, 48, _note_.
Spouts of Vessels, 139, _et seq._
Stools, 53.
Study of Art-decoration, how it should be carried on, 14, 160, 161,
162.
Styles of Architecture, 73.
Sugar-basin, its Form, 138.
Surface Decoration, 73, _et seq._
Symbols in Christian Art, 12.
Table-covers, The Borders of, 109, 111.
Taste of the Uneducated, 15.
Trinity, Symbols of the, in Gothic Art, 12.
Truth an Art-principle, 15, 16, 89, 158, 159.
Utility must Govern the Production and Application of Ornament,
17-22, 145.
Utility in Architecture, 20.
Utility Professor George Wilson on, 19, 20.
Utility Various Writers on, 20.
Vehicles for Art, The Best, the least Costly, 3.
Veneering, 69.
Venetian Glass, 130, 131.
Vessels, Primitive, 120.
Wall Decorations, 83, _et seq._
Wall Papers, 87, 90, _et seq._
Walls should be Unobtrusive, 90.
Water-vessels, Egyptian and Greek, 121-124.
White a Neutral in Decorative Work, 45.
Window-hangings, 69, 70, 108.
Windows, 69, 70;
the Object of, 153;
how they should be Treated, 153.
Wine-bottles, Forms of, 128.
"Winged Globe," in Egyptian Design, 7.
Woods and their Relative Strength, 51.
Workmen; their Study of Decorative Laws, 1.
" Advice to, 164.
Wrought-iron, its Qualities, 147, 148.
CASSELL, PETTER, & GALPIN, BELLE SAUVAGE WORKS, LONDON, E.C.
* * * * *
MANUALS OF TECHNOLOGY.
EDITED BY
PROFESSOR AYRTON, F.R.S.
(_Finsbury Technical College, City and Guilds of London Institute_),
AND RICHARD WORMELL, D.Sc., M.A.
During the last two years a very great impetus has been given to the
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special care will be taken to avoid the method too common in
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IRON AND STEEL W. H. Greenwood, Esq.
FLUID MOTORS Professor Perry, M.E.
CHEMISTRY Dr. Armstrong, F.R.S.
FLAX SPINNING D. S. Thomson, Esq.
WATCH AND CLOCK MAKING D. Glasgow, Esq.
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Cheaper Edition._ Price 3s. 6d.
"My Diary." Twelve Coloured Plates and 366 Small Woodcuts, with
blank space for every day in the year. 2s. 6d.
Old Proverbs with New Pictures. With 64 fac-simile Coloured
Plates. 6s.
Peter Parley's Annual. Illustrated with Coloured Plates, printed
in Oil, and full-page Lithographs. Gilt edges, 5s.
Little Folks. Half-yearly Volumes, each containing nearly 500
Pictures. Boards, 3s, 6d.; cloth gilt, 5s. each.
The Picture Teaching Series. Fcap. 4to, cloth, gilt edges, 2s.
6d. each. Each book profusely illustrated and handsomely bound.
Through Picture Land. Picture Teaching for Young and Old.
Picture Natural History. Scraps of Knowledge for the Little
Ones. Great Lessons from Little Things. Woodland Romances; or,
Fables and Fancies. The Children of Holy Scripture. The Boy
Joiner and Model Maker. Pussy Tip-Toes' Family. Frisk and His
Flock.
The Little People's Album. Stories and Verses for the Little
Ones. With Illustrations by LIZZIE LAWSON, M. E. EDWARDS, &c.
Crown 8vo, cloth, gilt edges, 3s. 6d.
"Little Folks" Painting Books, of which a quarter of a million
copies have been sold. Illustrated throughout. 1s. each; or
cloth gilt, 2s. each.
"Little Folks" Crayon Book. "Little Folks" Illuminating Book.
Pictures to Paint. "Little Folks" Painting Book. Nature Painting
Book.
The World in Pictures. A Series of Gift Books specially suitable
for Sunday-School Prizes. Illustrated throughout, and handsomely
bound in cloth. 2s. 6d. each.
The Eastern Wonderland. Peeps into China. Glimpses of South
America. Round Africa. The Land of Temples. The Isles of the
Pacific.
Cassell's Sixpenny Story Books. All Illustrated, and containing
interesting Stories by well-known writers. Bound in attractive
Coloured Boards, price 6d. each.
The Boat Club. The Delft Jug. Helpful Nelly. The Elchester
College Boys. My First Cruise. Lottie's White Frock. The Little
Peacemaker.
The Library of Wonders. A Series of Gift-books for Boys. In
Volumes. Crown 8vo, cloth, gilt edges, 2s. 6d. each. All
Illustrated throughout.
Wonderful Adventures. Wonders of Animal Instinct. Wonders of
Architecture. Wonderful Escapes. Wonders of Bodily Strength and
Skill. Wonderful Balloon Ascents.
Books for Boys. Crown 8vo, cloth, gilt edges, 3s. 6d. each.
The Story of Captain Cook. With numerous Illustrations.
At the South Pole. By the late W. H. G. KINGSTON. With numerous
Illustrations.
Soldier and Patriot. The Story of George Washington. By F. M.
OWEN. With Map and Illustrations.
Pictures of School Life and Boyhood. From the best Authors.
Edited by PERCY FITZGERALD, M.A.
The Three Homes. A Tale for Fathers and Sons. By F. T. L. HOPE.
The Romance of Trade. By H. R. FOX BOURNE. Illustrated.
_A Complete List of_ CASSELL, PETTER, GALPIN & CO.'S _Children's Books
will be forwarded post free on application_.
CASSELL, PETTER, GALPIN & CO.'S COMPLETE CATALOGUE, containing
a List of SEVERAL HUNDRED VOLUMES, including _Bibles_ and
_Religious Works_, _Fine-Art Volumes_, _Children's Books_,
_Dictionaries_, _Educational Works_, _History_, _Natural
History_, _Household_ and _Domestic Treatises_, _Handbooks_ and
_Guides_, _Science_, _Travels_, &c. &c., together with a
Synopsis of their numerous Illustrated Serial Publications,
sent post free on application to CASSELL, PETTER, GALPIN & CO.,
Ludgate Hill, London.
_CASSELL, PETTER, GALPIN & CO.: LONDON, PARIS & NEW YORK._
* * * * *
Transcriber's note:
Archaic syntax and punctuation and inconsistent spelling were retained.
Footnote [7]: "in order to this" modified to "in order to do this" to
fit context.