Chapter XI: 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 advancement of Technical Education, so that at the present time there is a widespread demand on the part of technical students for text-books. The object of this series is to meet this demand by furnishing books which describe _the application of science to industry_, which translate the language and results of science into the language of the workshop, and will thus bring to the benefit of the English Industries the workman's acquaintance with the scientific principles which underlie his daily work.

These manuals of Technology are not intended to teach _pure_ science. Nor are they intended to enable the reader to dispense with learning, by actual practice in the workshop, the handicraft of the various trades. They will form a link between these two designs. They will give the reader an intelligent grasp of the complicated machinery of the factory. They are designed to make workmen thinkers, and not merely human tools.

No special knowledge of mathematics or of science is necessary to the student of this series, but it is expected that he will have been observant of the processes carried on in his workshop, which will be here scientifically explained. The subjects will be treated analytically rather than synthetically; that is to say, the machine, as the workman knows it, will be taken as a whole and analysed, and special care will be taken to avoid the method too common in scientific books, according to which a number of abstract principles are first developed, while their practical application is deferred to the end of the book, which, probably, the practical man never reaches.

As text-books for the large and increasing number of candidates at the Technological Examinations of the City and Guilds of London Institute, with which many of the authors are connected, these Manuals of Technology will be especially valuable. An author in each case has been selected who was able to comprise a well-grounded scientific knowledge with a practical familiarity with the minute details of the trade treated of in his book. Consequently, while the latest and most approved processes of manufacture will be found described, the exact scientific reasons for the superiority of these modern methods over the older ones will be given in full, as well as such indications as science would suggest for improving the present processes.

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ELECTRIC LIGHTING AND TRANSMISSION OF POWER Professor Ayrton, F.R.S.
APPLIED MECHANICS Professor Perry, M.E.
CUTTING TOOLS WORKED BY HAND AND MACHINE Professor Smith.
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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College Boys. My First Cruise. Lottie's White Frock. The Little
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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
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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
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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.

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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.