Principles of Decorative Design Part 18

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 a.s.sured 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 ma.n.u.scripts 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 coa.r.s.eness, 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 a.s.sert 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 ma.s.ses 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 a.s.sociated 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.