The Principles of Ornament

IT may not be amiss to point out the advantages of studying ornamental art even to those who do not mean to be artists. The course to be adopted, after acquiring the necessary geometry, is to draw or model plants and to learn their anatomy. This will make the student accurately acquainted with the forms of plants and of their parts, and as he progresses he will find out beauties which have escaped him in a cursory view; the further he proceeds, the more his admiration will be excited by those subtle beauties he finds so hard to render and so easy to miss. The student will then notice, how many illustrations of plants are near enough to the originals to be unmistakable, but that the grace of the plants has evaporated. As soon as he is sufficiently advanced to study with advantage the best examples of ornamental art, he will find out the difficulties the great ornamentalists have overcome in applying the beauties of nature to works of art; and will then take a deeper interest in these masterpieces, and receive a corresponding delight. He will learn from these studies to reverence the artists and to admire the nation that produced them; for “art is the mirror of a nation’s civilization.”

I have spoken only of floral ornament, though the highest ornament is the human figure, and after that animal forms. The severity, however, of the requisite studies to become a figure draughtsman, which demand a knowledge of the skeleton and of the muscles, unfortunately deters amateurs, and not unfrequently ornamentalists, from learning to draw the figure, so that their works fall short of the excellence of the Greeks and Italians, who were above all things figure draughtsmen. Amateurs too will greatly aid the art, for as a rule excellence is only attained when there are many educated lovers of it, who can appreciate a beautiful creation, and reward the artist by their judicious admiration.

For twenty years I have pointed out that Nature offers her beauties gratuitously to mankind for its solace and delight; perhaps, however, the following words of Emile de Laveleye, in his book on Luxury, will have more weight:—

“Might not the man of the people, on whom the curse of matter weighs with so heavy a load, find the best kind of alleviation for his hard condition, if his eyes were open to what Leonardo da Vinci calls la bellezza del mondo—‘the beautiful things of the earth’?... Pindar says, ‘In the day when the Rhodians shall erect an altar to Minerva, a rain of gold will fall upon the isle.’ The golden rain which falls on any people when literature and the fine arts are encouraged ... is a shower of pure and disinterested delights.”

I am tempted to say something on the prospects of ornamental art. Nothing in this world can be had without paying for it, but though we must all live, those who have devoted their lives to the creation of the beautiful, look more to the delight they give and the admiration they excite, than to mere pecuniary rewards. No art will ever flourish unless there are educated and enthusiastic admirers of its masterpieces. The artist will never devote his talents to an art, and undergo the ceaseless toil requisite to create beauty, unless he be rewarded by the praise of real judges. I fear we cannot as yet make the Greek boast “that we love the beautiful”; but until we do love it, we can hardly expect to rival those who did.

The whole ornamental art of the world is now before us, and it is not to be believed that artists would not elaborate something new and beautiful from all the knowledge they have gained, if there were a passionate desire for it among the people. This can never be so long as the public is content with paraphrases of deceased art, or merely asks for a jumble of discordant scraps. Novelty we must needs have, for this generation does not inherit the precise tastes of former days, not even those of its immediate predecessor, and it is this generation that wants to be charmed: it is true that it gets novelty, but it should want beautiful novelty, and not that which is commonplace or ugly. Novelty in art is not an absolute difference from what has gone before, for that is sure to be bad, but only that difference and that improvement which one instructed generation can give to the past excellence it builds on. It is therefore necessary for the student who is born an artist, and hopes to create new loveliness, to be steeped in the beauties of nature and of art. To attain this a profound study of nature and the masterpieces of former art are wanted, for, as Sir Joshua Reynolds said, “Invention is one of the greatest marks of genius, ... and it is by being conversant with the inventions of others that we learn to invent”; while to express our knowledge and invention admirable draughtsmanship is requisite.