Principles of Decorative Design Part 2

'Uneasy lies the head that wears a crown.'

Were art to prosper, farewell to fire-proof, shapeless slippers, which bask like salamanders unharmed in the hottest blaze. An aesthetic pair, modelled upon Cinderella's foot, and covered with snow-white embroidery, must take their place, and dispense chilblains and frost-bite to miserable toes. Farewell to shooting-coats out a little at the elbows, to patched dressing-gowns, and hair-cloth sofas.

Nothing but full-dress, varnished boots, spider-legged chairs, white satin chair-covers, alabaster ink-bottles, velvet door-mats, and sc.r.a.pers of silver or gold. It is astonis.h.i.+ng how many people think that a thing cannot be comfortable if it is beautiful... . If there be one truth which the Author of all has taught us in his works more clearly than another, it is the perfect compatibility of the highest utility with the greatest beauty. I offer you one example. All are familiar with the beautiful sh.e.l.l of the nautilus. Give the nautilus itself to a mathematician, and he will show you that one secret of its gracefulness lies in its following in its volute or whorl a particular geometrical curve with rigid precision. Pa.s.s it from the mathematician to the natural philosopher, and he will show you how the simple superposition of a great number of very thin transparent plates, and the close approximation of a mult.i.tude of very fine engraved lines, are the cause of its exquisite pearly l.u.s.tre. Pa.s.s it from the natural philosopher to the engineer, and he will show you that this fairy sh.e.l.l is a most perfect practical machine, at once a sailing vessel and a diving-bell, in which its living possessor had, centuries before Archimedes, applied to utilitarian ends the law of specific gravity, and centuries before Halley had dived in his bell to the bottom of the sea. Pa.s.s it from the engineer to the anatomist, and he will show you how, without marring its beauty, it is occupied during its lifetime with a most orderly system of rowing and sailing tackle, chambers for food, pumps to keep blood circulating, ventilating apparatus, and hands to control all, so that it is a model s.h.i.+p with a model mariner on board. Pa.s.s it lastly from the anatomist to the chemist, and he will show you that every part of the sh.e.l.l and the creature is compounded of elements, the relative weights of which follow in each individual nautilus the same numerically identical ratio.

"Such is the nautilus, a thing so graceful, that when we look at it we are content to say with Keats--

'A thing of beauty is a joy for ever;'

and yet a thing so thoroughly utilitarian, and fulfilling with the utmost perfection the purely practical aim of its construction, that our s.h.i.+pbuilders would be only too thankful if, though sacrificing all beauty, they could make their vessels fulfil their business ends half so well."

Viewing our subject in another light, and with special reference to architecture, we notice that unless a building is fitted for the purpose intended, or, in other words, answers utilitarian ends, it cannot be esteemed as it otherwise might be, even though it be of great aesthetic beauty. In respect to this subject, Mr. Owen Jones has said: "The nave and aisles of a Gothic church become absurd when filled with pews for Protestant wors.h.i.+p, where all are required to see and hear. The columns of the nave which impede sight and sound, the aisles for processions which no longer exist, rood screens, and deep chancels for the concealment of mysteries, now no longer such, are all so many useless reproductions which must be thrown aside." Further, "As architecture, so all works of the decorative arts, _should possess fitness_, proportion, harmony; the result of all which is repose." Sir M. Digby Wyatt has said: "Infinite variety and unerring fitness govern all forms in Nature." Vitruvius, that "The perfection of all works depends on their fitness to answer the end proposed, and on principles resulting from a consideration of Nature itself." Sir Charles L.

Eastlake, that "In every case in Nature where fitness or utility can be traced, the characteristic quality, or _relative_ beauty, is found to be identical with that of fitness." A. W. Pugin (the father): "How many objects of ordinary use are rendered monstrous and ridiculous simply because the artist, instead of seeking the most convenient form, and then decorating it, has embodied some extravagance to conceal the real purpose for which the article has been made." And with the view of pointing out how fitness for, or adaptation to, the end proposed is manifested in the structure and disposition upon the earth of plants, I have written in a little work now out of print: "The trees which grow highest upon the mountains, and the plants which grow upon the unsheltered plain, have usually long, narrow, and rigid leaves, which, owing to their form, are enabled to bear the fury of the tempest, to which they are exposed, without injury. This is seen in the ease of the species of fir which grow at great alt.i.tudes, where the leaves are more like needles than leaves such as commonly occur; and also in the species of heath which grow upon exposed moors: in both cases the plants are, owing to the form of the leaf, enabled to defy the blast, while those with broad leaves would be shattered and destroyed.

"Not only is the form of leaf such as fits these plants to dwell in such inhospitable regions, but other circ.u.mstances also tend to this result. The stems are in both cases woody and flexible, so that while they bend to the wind they resist its destroying influence by their strength and elasticity. In relation to the stem of the papyrus,"

which is a plant constantly met with in Egyptian ornaments, "the late Sir W. J. Hooker mentions an interesting fact which manifests adaptation to its position. This plant grows in water, and attaches itself to the margins of rivers and streams, by sending forth roots and evolving long underground stems in the alluvium of the sides of the waters. Owing to its position it is exposed to the influences of the current, which it has to withstand, and this it does, not only by having its stems of a triangular form--a shape well adapted for withstanding pressure--but also by having them so placed in relation to the direction of the stream, that one angle always meets the current, and thus separates the waters as does the bow of a modern steam-s.h.i.+p."

I might multiply ill.u.s.trations of this principle of _fitness_, or _adaptation to purpose_, as manifested in plants, to an almost indefinite extent; but when all had been said we should yet have but the simple truth before us, that the chief end which we should have in creating any object, is that of rendering it perfectly fitted to answer the proposed end. If those works which are beautiful were but invariably useful, as they should be; if those objects which are most beautiful were also the most convenient--and there is no reason why they should not be so--how the beautiful would become loved and sought after! Cost would be of little moment, the price would not be complained of, if beautiful objects were works of perfect utility.

But, alas! it is far otherwise: that which is useful is often ugly, and that which is beautiful is often inconvenient to use. This very fact has given rise to the highly absurd fas.h.i.+on of having a second poker in a drawing-room set of fire-irons. The one poker is ornamental, possibly, but it is to be looked at; the other is for use, and as it is not to be looked at, it is hidden away in some corner, or close within the fender. I do not wonder at the second poker being required; for nineteen out of every twenty pokers of an ornamental (?) character which I have seen during the last few years would hurt the hand so insufferably if they were used to break a lump of coal with, that it would be almost impossible to employ them constantly for such a purpose. But why not abolish the detestable thing altogether?

If the poker is to be retained as an ornament, place it on the table or chimney-piece of your drawing-room, and not down on the hearth, where it is at such a distance from the eye that its beauties cannot be discovered. It is no use saying it would be out of place in such a position. If to poke the fire with, its place is within the fender; if it is an ornament, it should be placed where it can be best seen--in a gla.s.s case, if worthy of protection.

I hope that sufficient has now been said upon this all-important necessity, that, if an object is to be beautiful it should also be useful, to cause us to consider it as a primary principle of design that all objects which we create _must_ be useful. To this as a first law we shall constantly have to refer. When we construct a chair we shall ask, is it useful? is it strong? is it properly put together?

could it be stronger without using more, or another, material? and then we should consider whether it is beautiful. When we design a bottle we shall inquire, is it useful? is it all that a bottle should be? could it be more useful? and then, is it beautiful? When we create a gas-branch we shall ask, does it fulfil all requirements, and perfectly answer the end for which it is intended? and then, is it beautiful? And in relation to patterns merely we shall also have to make similar inquiries. Thus, if drawing a carpet design, we shall inquire, is this form of ornament suitable to a woven fabric? is it suitable to the particular fabric for which it is intended? is the particular treatment of the ornament which we have adopted the best possible when we bear in mind that the carpet has to be walked over, as it is to act in relation to our furniture as a background does to a picture, and is to be viewed at some distance from the eye? and then, is it beautiful? Such inquiries we shall put respecting any object the formation of which we may suggest: hence, in all our inquiries, I shall, as I love art, consider utility before beauty, in order that my art may be fostered and not despised.

There are many subjects yet not named in these pages which we ought to consider, but I must content myself by merely mentioning them, and you must be willing to think of them, and consider them with such care as their importance may demand. Some of them, however, we shall refer to when considering the various manufactures.

A principle of great importance in respect to design is, that _the material of which an object is formed should be used in a manner consistent with its own nature, and in that particular way in which it can be most easily "worked."_

Another principle of equal importance with that just set forth, is this: that _when an object is about to be formed, that material (or those materials) which is (or are) most appropriate to its formation should be sought and employed_. These two propositions are of very great importance, and the principles which they set forth should never be lost sight of by the designer. They involve the first principles of successful designing, for if ignored the work produced cannot be satisfactory.

_Curves will be found to be beautiful just as they are subtle in character; those which are most subtle in character being most beautiful._

The arc is the least beautiful of curves (I do not here speak of a circle, but of the line, as a line, which bounds the circle); being struck from one centre its origin is instantly detected, while the mind requires that a line, the contemplation of which shall be pleasurable, must be in advance of its knowledge, and call into activity its powers of inquiry. The elliptic curve, or curve bounding the ellipse, is more beautiful than the arc, for its origin is not so strikingly apparent, being formed from two centres. The curve of the egg is more beautiful still, being formed from three centres.[8] As the number of centres necessary to the formation of a curve increases, the difficulty of detecting its origin also becomes greater, and the variety which the curve presents is also proportionally great; the variety being obviously greater as the number of the centres from which it is struck is increased.

[8] The ellipse and egg-shape here spoken of are not those which are struck by compa.s.ses in any way, for the curves of such figures are merely combined arcs, but such as are struck with string, or a "tramel."

_Proportion, like the curve, must be of a subtle nature._

A surface must never be divided for the purpose of decoration into halves. The proportion of 1 to 1 is bad. As proportion increases in subtlety it also increases in beauty. The proportion of 2 to 1 is little better; the proportion of 3 to 8, or of 5 to 8, or of 5 to 13, is, however, good, the last named being the best of those which I have adduced; for the pleasure derived from the contemplation of proportion increases with the difficulty of detecting it. This principle is true in relation to the division of a ma.s.s into primary segments, and of primary segments into secondary forms, as well as in relation to the grouping together of parts of various sizes; hence it is worthy of special note.

_A principle of order must prevail in every ornamental composition._

Confusion is the result of accident, while order results from thought and care. The operation of mind cannot well be set forth in the absence of this principle; at least, the presence of a principle of order renders the operation of mind at once manifest.

_The orderly repet.i.tion of parts frequently aids in the production of ornamental effects._

The kaleidoscope affords a wonderful example of what repet.i.tion will do. The mere fragments of gla.s.s which we view in this instrument would altogether fail to please were they not repeated with regularity. Of themselves repet.i.tion and order can do much. (Figs. 13 and 14.)

_Alternation is a principle of primary importance in certain ornamental compositions._

In the case of a flower (as the b.u.t.tercup, or chickweed, for example) the coloured leaves do not fall over the green leaves (the petals do not fall over the sepals), but between them--they alternate with them.

This principle is not only manifested in plants, but also in many ornaments produced in the best periods of art (Fig. 15).

[Ill.u.s.tration: Fig. 13.]

[Ill.u.s.tration: Fig. 14.]

[Ill.u.s.tration: Fig. 15.]

[Ill.u.s.tration: Fig. 16.]

_If plants are employed as ornaments they must not be treated imitatively, but must be conventionally treated, or rendered into ornaments_ (Fig. 16).

A monkey can imitate, man can create.

These are the chief principles which we shall have to notice, as involved in the production of ornamental designs.

DIVISION III.

Some other principles of a less n.o.ble character than those which we have already noticed as entering into ornament yet remain to be mentioned. Man will be amused as well as instructed; he must be pleased as well as enn.o.bled by what he sees. I hold it as a first principle that ornamentation, as a true fine art, can administer to man in all his varying moods, and under all phases of feeling.

Decoration, if properly understood, would at once be seen to be a high art in the truest sense of the word, as it can teach, elevate, refine, induce lofty aspirations, and allay sorrows; but we have now to notice it as a fine art, administering to man in his various moods, rather than as the handmaid to religion or morals.

Humour seems to be as much an attribute of our nature as love, and, like it, varies in intensity with different individuals. There are few in whom there is not a certain amount of humour, and in some this one quality predominates over all others. It not unfrequently happens that men who are great thinkers are also great humorists--great talent and great humour being often combined in the one individual.

The feeling for humour is ministered to in ornament by the grotesque, and the grotesque occurs in the works of almost all ages and all peoples. The ancient Egyptians employed it, so did the a.s.syrians, the Greeks, and the Romans; but none of these nations used it to the extent of the artists of the Celtic, Byzantine, and "Gothic" periods.

Hideous "evil spirits" were portrayed on the outside of almost every Christian edifice at one time, and much of the Celtic ornament produced by the early monks consisted of an anastomosis, or network, of grotesque creatures.

The old Irish crosses were enriched with this kind of ornamentation,[9] and some of the decorative embellishments of these works are of extraordinary interest; but those who have access to the beautiful work of Professor Westwood on Celtic ma.n.u.scripts will there see this grotesque form of ornament to perfection. As regards the Eastern nations, while nearly all have employed the grotesque as an element of decorative art, the Chinese and j.a.panese have employed it most largely, and for it they manifest a most decided partiality. The drawings of dragons, celestial lions (always spotted), mythical birds, beasts, fishes, insects, and other supposed inhabitants of the Elysian plains, which these people produce, are most interesting and extraordinary.

[9] Casts of one or two of these can be seen in the central transept of the Crystal Palace at Sydenham.

Without in any way going into a history of the grotesque, let us look at the characteristic forms which it has a.s.sumed, and what is necessary to its successful production. We have said that the grotesque in ornament is the a.n.a.logue of humour in literature. This is the case; but the grotesque may represent the truly horrible or repellent, and be simply repulsive. This form is so seldom required in ornamentation that I shall not dwell upon it, and when required it should always be a.s.sociated with power; for if the horrible is feeble it cannot be corrective, but only revolting, like a miserable deformed animal.

I think it may be taken as a principle, that the further the grotesque is removed from an imitation of a natural object the better it is, provided that it be energetic and vigorous--lifelike. Nothing is worse than a feeble joke, unless it be a feeble grotesque. The amusing must appear to be earnest.

[Ill.u.s.tration: Fig. 17.]

[Ill.u.s.tration: Fig. 18.]

In connection with this subject I give here a series of grotesques, with the view of ill.u.s.trating my meaning, and I would fain give more, but s.p.a.ce will not permit me to do so.

The initial letter S, formed of a bird, is a characteristic Celtic grotesque (Fig. 17). It is quaint and interesting, and is sufficiently unlike a living creature to avoid giving any sense of pain to the beholder, while it is yet in a most unnatural position. It is, in truth, rather an ornament than a copy of a living creature, yet it is so suggestive as to call forth the thought of a bird. It should be noticed, in connection with this figure, that the interstices between certain portions of the creature are filled by a knot. This is well--the whole thing; being an ornament, and not a naturalistic representation.

Fig. 18 is a Siamese grotesque head, and a fine sample it is of the curious form of ornament which it represents. Mark, it is in no way a copy of a human head, but is a true ornament, with its parts so arranged as to call up the idea of a face, and nothing more. Notice the volutes forming the chin; the grotesque, yet highly ornamental, lines forming the mouth and the upper boundary of the forehead, and the flambeauant ears; the whole thing is worthy of the most careful study.

[Ill.u.s.tration: Fig. 19.]

Fig. 19 is a Gothic foliated face; but here we have features which are much too naturalistic. We have, indeed, only a hideous human face with a marginal excrescence of leaf.a.ge. This is a type to be avoided; it is not droll, nor quaint; but is simply unpleasant to look upon.