Principles of Decorative Design Part 13

[Ill.u.s.tration: Fig. 96.]

Besides the collection here brought together, there is also in most of our manufacturing towns a large series of specimens of these cloths deposited with the Chamber of Commerce, and these can be consulted by all respectable members of the community. Speaking of these Indian fabrics, Mr. Redgrave says, in his Report on Design prepared for the Commissioners of the International Exhibition of 1851:--"These are almost wholly designed on the principles here presumed to be just ones--the ornament is always flat, and without shadow; natural flowers are never used imitatively or perspectively, but are conventionalised by being displayed flat and according to a symmetrical arrangement; and all other objects, even animals and birds, when used as ornament, are reduced to their simplest flat form.

When colour is added, it is usually rendered by the simplest local hue, often bordered with a darker shade of the colour, to give it a clearer expression; but the shades of the flowers are rarely introduced. The cloth of gold figured in the loom (Fig. 95), and part of an Indian scarf (Fig. 96), ill.u.s.trate fully these remarks. The ornament is geometrically and symmetrically arranged, flat, in simple tints, and bordered, as above described, with darker shades of the local colour. The principle of colour adopted is a balance of the complementaries red and green, in both cases with white introduced to give points of expression, and to lead the eye to the symmetrical arrangement of the ornament. In Fig. 95 purple is introduced to harmonise with the gold ground, a harmony very frequently used in the rich tissues of India. In Fig. 96 variety has been obtained by introducing two reds, giving an interchange of a lighter tint in every other flower in the border. The borders of these scarves are beautifully ill.u.s.trative of the simple and graceful flowing lines which characterise Indian ornament; and in Fig. 96 we can observe the difference between the Eastern and the mediaeval patterns--while the same principles are acknowledged in both, the latter are often stiffer and more angular than the graceful sprigs of this border. Both these works show how much beauty may be obtained by simple means, when regulated by just principles, and how perfectly unnecessary are the multiplied tints by which modern designers think to give value to their works, but which increase the difficulties of production out of all proportion to any effect resulting from them--nay, often even to the absolute disadvantage of the fabric. If we look at the details of the Indian patterns, we shall be surprised at their extreme simplicity, and be led to wonder at their rich and satisfactory effect; it will soon be evident, however, that their beauty results entirely from adherence to the principles above described. The parts themselves are often poor, ill-drawn, and common-place; yet, from the knowledge of the designer, due attention to the just ornamentation of the fabric, and the refined delicacy evident in the selection of _quant.i.ty_ and the choice of tints, both for the ground, where gold is not used as a ground, and for the ornamental forms, the fabrics, individually and as a whole, are a lesson to our designers and manufacturers, given by those from whom we least expected it."

Much that Mr. Redgrave here says is worthy of careful consideration, and I can do no more than recommend the student to study these beautiful Indian fabrics, and consider them in conjunction with the remarks which we have made respecting them and fabrics in general.

CHAPTER VII.

DIVISION I.

In this chapter I have to commence our consideration of pottery, and of hollow vessels especially; and this I do with considerable pleasure, as works in pottery enjoy a longer existence, though through the character of the material of which they are made they are more fragile, than those formed of almost any other substance. Many works of Greek pottery are known to us, and not a few such works by the ancient Egyptians, and these are preserved not as fragments merely, but as works in their entirety, and with the same beauty that they possessed when first they left the hands of the workman.

Clay is a most desirable material with which to form works of utility and of beauty, and this for many reasons. First, it is so inexpensive as to be almost valueless; secondly, it is easily formed into vessels of almost any required shape; thirdly, it is capable of being "worked"

into shapes of great beauty by a momentary exercise of skill; fourthly, clay is naturally of many beautiful colours; fifthly, it is capable of receiving by application to its surface any amount of colour, and of preserving such colours as are applied to it in an unimpaired state for ages; and sixthly, it is susceptible of the highest art-finish, or the bold sketchy touch of the modeller's hand.

I say that clay is a very desirable material for formation into vessels of various kinds, because of its inexpensive character. This quality of cheapness gives to the material an advantage over many other substances of a much more costly character, such as should not be overlooked, for the long existence which so many works of earthenware have had is mainly due to the worthlessness of the material of which they are composed. In my first chapter I gave an extract from the writings of Professor George Wilson, showing that gold and silver, while beautiful in themselves, and worthy to be fas.h.i.+oned into exquisite devices, are yet too tempting to the thief, and to all who are pressed for means, to remain long in the form of art-works. Families who have been reduced in circ.u.mstances, and have thereby been constrained to part with their old plate, have melted it, so as to hide their shame. To ill.u.s.trate this, let me quote from the "Handbook of the Arts of the Middle Ages and Renaissance, as applied to the Decoration of Furniture, Arms, Jewels, etc., translated from the French of M. Jules Labarte, 1856." After giving the names of many workers in the precious metals, the author says:--"We may form some idea of what artists these Italian goldsmiths were of the fourteenth, fifteenth, and sixteenth centuries, and what admirable works they must have produced. But, alas! these n.o.ble works have almost all perished; their artistic worth proving no safeguard against cupidity or necessity, the fear of pillage, or the love of change. But a very few names even of those skilled artists have descended to us, and in making known those preserved to us in the writings of Vasari, Benvenuto, Cellini, and others, we can rarely point out any of their works as being still in existence.

"Cellini tells us that while Pope Clement VII. was besieged in the castle of St. Angelo, he received orders to unset all the precious stones that were upon the tiaras, the sacred vessels, and the jewels of the sovereign pontiff; and to melt down the gold, of which he obtained 200 pounds. How many artistic treasures must have perished in the crucible of Cellini." We now see clearly that while clay is a much more fragile material than either silver or gold, its very worthlessness, despite its fragility, gives to it length of years.

We have said that clay is easily formed into vessels of almost any required shape. This is so within certain limits. Throughout these chapters I have lost no opportunity of insisting upon the importance of working every material in a befitting manner, and in the most simple and easy way in which the material can be wrought. Almost every material can be simply "worked" in some way, or while in some particular condition.

Gla.s.s has a molten state in which it can be "blown" into the most beautiful of shapes, and this process of blowing is the work of but a few seconds. Gla.s.s has also a solid condition, yet as it can be formed into works of great beauty by the exercise of momentary skill, it would be extremely foolish to take a ma.s.s of the solid gla.s.s, and by laborious grinding form it into a bottle or a bowl. It fortunately happens that if a material is worked in its most simple and befitting manner, the results obtained are more beautiful and satisfying than those which are arrived at by any roundabout method of production.

Gla.s.s should be formed into hollow vessels only when in its plastic condition, for it cannot be shaped into the form of such vessels as we require when in its solid state without the expenditure of much unnecessary, therefore wasteful, labour. But if a ma.s.s of crystal or marble is required to a.s.sume the form of a bowl or font, then the laborious process of grinding must be resorted to, for these substances have no plastic state.

The potter's wheel has been known from the earliest historic time, and this has at all times been the instrument with which the best earthen vessels have been formed. A ma.s.s of clay of suitable size is placed on a horizontal disc of wood, to which a rotary motion is imparted. The operator presses his thumbs into the centre of the clay, and then, by causing his fingers to approach his thumbs, manipulates the clay into a cup, a bowl, a vase, an earthen bottle, or whatever form he may please; and if skilful, the operator can form objects of marvellous beauty with a rapidity that astonishes all who see for the first time his mode of working.

If potters would but content themselves, in order to the production of such articles as we require in common life, with the "potter's wheel," we should be almost sure of a certain amount of beauty in domestic earthenware, but such is not the case. They make fancy moulds of plaster of Paris and of wire gauze, and roll out clay as the pastrycook does dough, and manipulate it as so much pie-crust, instead of applying to it simple skill. Neither a bowl nor a plate need have a scalloped edge, indeed they are much better without it; and if unnecessary, and even undesirable, absurdities were avoided, and a simple and natural method of working each material alone employed, a great improvement in art would speedily take place.

It is strange but true, that the worker in one material seems rarely to be satisfied with making his works look as well and as consistent as possible; he desires rather to form poor imitations of something else. We have all seen earthen jugs made in imitation of wicker-work, although to do so is obviously foolish, as no wicker vessel could hold water, and the thing imitated is much less beautiful than a thousand forms which clay is capable of a.s.suming. Men's heads without brains are, or were at least, favourite jugs. Well, that there are many models for this idea in Nature, I doubt not; yet why we should copy them by making a jug in the form of a hollow head, I know not. I have in my possession a milk-jug, such as is common in the district of Swansea in South Wales, in the likeness of a cow. The tail is twisted into a handle; by a hole in the back the milk is admitted, and through the mouth it is ejected. A more wretched and coa.r.s.e idea it is scarcely possible to conceive of, yet the vulgar admire this jug. Let us work the material in a simple and befitting manner, and satisfactory results are almost sure to accrue.

I have said that clay, as such, has many beautiful colours. Naturally clay is black, grey-white, red, brown, and yellow, and it is capable of a.s.suming many desirable tints by the agency of chemical means. We do not use coloured clays as we should do. We want so much white--everything to look so clean. All ornamental ware, at least, should be artistic, and the art-effect should supersede that cold whiteness which the Dutch and the English mistake for cleanliness. A clay of good natural colour is not a thing to be hidden, or ashamed of.

Clay is capable, when glazed, of receiving any amount of colour, and of preserving these colours in their beauty for almost any length of time. These qualities are invaluable to the ornamentist. Colour is not always at his disposal. The goldsmith has difficulty in getting it, but to the potter it is very accessible. Colour is capable of giving to objects a charm which they could not possibly have without it. Let us use the power thus placed at our disposal rightly and well, and then the enduring character of the colour-harmonies which we produce may gladden posterity in ages yet to come.

Clay is susceptible of the highest art-finish, or of a bold sketchy treatment. Finish is very desirable in some cases. The cup which my lady uses in her boudoir should be delicate and fine, for what is worthy to approach the sacred lips of the occupant of a fair apartment but such a work as is tender and refined?

As a rule, however, we over-estimate the value of finish, and under-value bold art-effects. Excessive finish often (but by no means always) destroys art-effect. I have before me some specimens of j.a.panese earthenware, which are formed of a coa.r.s.e dark brown clay, and are to a great extent without that finish which most Europeans appear so much to value, yet these are artistic and beautiful. In the case of cheap goods we spend time in getting smoothness of surface, while the j.a.panese devote it to the production of an art-effect. We get finish without art, they prefer art without finish.

[Ill.u.s.tration: Fig. 97.]

[Ill.u.s.tration: Fig. 98.]

[Ill.u.s.tration: Fig. 99.]

[Ill.u.s.tration: Fig. 100.]

We must now devote ourselves to a special consideration of the shapes of earthen vessels, and to the manner in which ornament should be applied to them.

In his primitive condition man appears to have used the sh.e.l.ls of certain fruits as drinking vessels and bottles; and to this day we find many tribes of uncivilised or half-civilised men using the same cla.s.s of vessels. "Monkey-pots" (the hard sh.e.l.ls of the _Lecythis allaria_), the coverings of the Brazil nut (_Bertholetia excelsa_), and especially the rinds of the calabash and many species of gourd (Figs. 97 and 98), have been used in this way.[26] The first efforts made at the production of earthen vessels were mere attempts at copying in clay the forms of the fruit-sh.e.l.ls which were in use as drinking vessels. After a power of forming earthen vessels, having a certain amount of perfection of manufacture, was gained, we still find the origin of the potter's art manifested by certain works. Thus in China, where the potter's art has so long been understood, we still find vessels made in the form of the bottle-gourd, just as was their custom in the days of their first manufacturing efforts (Fig. 99).

Before considering the shapes of vessels from a utilitarian point of view, I should tell the student that certain shapes are characteristic of different nations and of different periods of time.

[26] All who are interested in this subject are referred to a paper published in the "Transactions of the Edinburgh Botanical Society,"

for 1859, by Professor George Wilson, on the "Fruits of the Cucurbitaceae."

The Greek shapes, as we may call them--that is, the forms of those vessels which the Greeks produced--are of a particular cla.s.s, and the vessels produced by the Egyptians are of a different type; while those of the Chinese, Indians, j.a.panese, and Mexicans again differ from each other, and from those of both the Greeks and the Egyptians. For grace of form the vessels of the old Greeks stand pre-eminent (Figs. 101 and 102); for simple dignified severity, those of the Egyptians (Fig.

100); for quaintness, those of the Mexicans (Fig. 103); for a combination of grace with dignity, those of the Chinese (Figs. 104 and 105); and for a combination of beauty with quaintness, those of the j.a.panese (Fig. 106); while in many respects the Indian shapes (Figs.

107 and 108) resemble those of the j.a.panese. Fig. 109 is a water vessel from Ha, and Figs. 110 and 111 are jugs from Morocco.

I cannot enter into any details respecting the characteristic forms of vessels produced by these various nations, but must content myself by giving a few ill.u.s.trations of the various shapes, and leaving the matter with the learner for study. The British Museum, the South Kensington Museum, and the Indian Museum will aid him in his researches.

It has been said that the character of a people can be told by their water-vessels. As the consideration of this statement will lead us to see how perfectly a domestic utensil may answer the end which it should serve, I will extract from my "Art of Decorative Design" a few remarks on this subject.

This statement can well "be ill.u.s.trated by the Egyptian and Greek water-vessels, the former of which has sides tapering to the top and slanting inwards, a small orifice, and a rounded base, and the mouth of the vessel bridged by an arched handle, the whole being constructed of bronze (Fig. 112); the latter consists of an egg-shaped body (the broad end being above) resting upon a secure foot, which is surmounted by a large, divergent, funnel-shaped member (Fig. 113). It has no handle over the orifice, but has one at either side.

"Not only do these vessels differ in form, but a.s.sociated circ.u.mstances differ also; and it is this variation in circ.u.mstances which brought about the difference in form of the two water-vessels.

"The peculiarities of the Egyptian water-vessel are its formation of bronze, the roundness of its base, which renders it unfitted for standing, the narrowness of its mouth, and the handle arching the orifice; and of the Greek, its being wrought in clay, the secure base, the wide mouth, the contraction in the centre, and the handle at either side. We should judge from these vessels that the Egyptians drew water from a river, or some position which required that the vessel be attached to a cord and cast into the source of supply, for the roundness of the base at once points to this, it being a provision for enabling the vessel to fill by turning upon its side (were its base flat it would float on the water); it is also formed out of metal so as to facilitate this end. The arched handle not only points to the attachment of the vessel to a string in order that it be cast into the water, but also to the carrying the vessel pendent from the hand in the manner that pails are at present carried, and the contracted mouth restrains the splas.h.i.+ng over of the water: and what this simple water-vessel points to we find to have been the case, for the Egyptians derived water from the Nile in the very manner that the vessel would indicate; but with the Greeks circ.u.mstances were different, and the shape of the vessel varies accordingly. The base is here flat, in order that the vessel may stand; the mouth is large, in order to collect the water which fell from above,--from the dripping-rocks and water-spouts. This being the manner in which water was gathered, a vessel formed of heavy metal was unnecessary; the contraction prevented the water from splas.h.i.+ng over when carried, and up to this point the vessel was filled, and no higher; and the handles at the side show that it was carried on the head. But, in conjunction with this mode of carrying, there is another consideration of interest, which is, the centre of gravity is high. If we attempt to balance a stick, having one enlarged end, on the finger, it will be found necessary that the weight be at the top; and in balancing anything, it will be found that the object, in order that it ride steadily, have its point of greatest weight considerably elevated above its base. In the Greek water-vessel, which was carried balanced on the head, we find this condition fully complied with, the centre of gravity occupying a high position, while in the Egyptian vessel the centre of gravity was low; but where the vessel is to be carried underhand, it is as great an advantage to have the centre of gravity low as it is in the case of a coach, where security is thus gained just as the centre of gravity is lowered. The Greek water-vessel, then, consists of a cavity for holding water, a funnel to collect and guide the water, a base for the vessel to rest upon, and handles to enable it to be raised to the head, and the centre of gravity is high in order that it be readily balanced; and we should judge from this vessel that the Greeks procured water from dripping-rocks and water-spouts, and this is exactly what did occur. These are the direct teachings of the Egyptian and Greek water-vessels; yet how many circ.u.mstances and incidents of common life can be conceived as a.s.sociated with these different forms of vessel. There is the gossip round the well, and the lingering by the river-side where the image of the date-palm is mirrored by the gla.s.sy surface of the waters. The effect of the noise of the splas.h.i.+ng water upon the mind in the one case, combined with the comparatively loud and energetic speaking which would be necessary in order that the voice be not drowned by the noise, and of the calm tranquillity of the river-bank in the other, where the limpid water is ever flowing on in silent majesty, must be considerable. Then we have the potter's art essential to the production of the vessel in the one case, and the metal-worker's in the other--the digging of clay, the mining of metal, the kilns and smelting furnaces. We will not continue this portion of the subject further, and have brought forward this ill.u.s.tration in order to show how well-considered objects reveal to us the habits and customs of the peoples and nations in which they originated."

[Ill.u.s.tration: Fig. 101.]

[Ill.u.s.tration: Fig. 102.]

[Ill.u.s.tration: Fig. 103.]

[Ill.u.s.tration: Fig. 104.]

[Ill.u.s.tration: Fig. 105.]

[Ill.u.s.tration: Fig. 106.]

[Ill.u.s.tration: Fig. 107.]

[Ill.u.s.tration: Fig. 108.]

[Ill.u.s.tration: Fig. 109.]

[Ill.u.s.tration: Fig. 110.]

[Ill.u.s.tration: Fig. 111.]

[Ill.u.s.tration: Fig. 112.]

[Ill.u.s.tration: Fig. 113.]

It will now be apparent that even a common object may result from such careful consideration that its form will at once suggest its use; but the object will only reveal the purpose for which it was created with definiteness of expression when it perfectly answers the end proposed by its formation. The advice which I must give to every designer is to study carefully exactly what is required, before he proceeds to form his ideas of what the object proposed to be created should be like, and then to diligently strive to arrange such a form for it as shall cause it to be perfectly suited to the want which it is intended to meet.