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the required

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,

he

fold

lines without '

Add

I

to 95

the

one half only of §W Hd

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plain dorrhle

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.

INITIAL

CYPHERS,

ESSAY ON

ORNAMENTAL ART AS APPLICABLE

TO

TRADE AND MANUFACTURES.

BY

JAMES BALLANTINE, AUTHOR OF "A TREATISE ON PAINTED

GLASS," ETC. ETC.

LONDON: W.

S.

PATERNOSTER ROW. EDINBURGH: JOHN MENZIES. ORR, &

CO.,

M.DCCC.XI.VII

PREFACE.

2

the lower but artists of their it

descended

still

most beautiful

own period and

Ornament, was not

field of

of succeeding times.

lost

on the other

From them, and by

their means,

and spread widely among, the people generally; and the

to,

the present day

is

seen in the

Continent for every thing that

all

result at

but universal love which prevails over the

associated with Ornamental Design, either in

is

art or manufactures.

In so far as this circumstance bears on the mercantile prosperity of our own country,

it is

pregnant with questions of vital interest;

to foreign countries, especially to

brought,

â&#x20AC;&#x201D;a

result greatly aided

known

that

France, has long been conceded a pre-eminence

branch of commerce, solely from the perfection to which

in this

states

for it is well

by the

it

has there been

that the governments of

fact,

many of

these

have ever been deeply impressed with the importance of the subject, and

fully alive to the necessity of giving every support to the theory

Ornamental Art.

policy at length prevails, and better system which

is

now

at

we

effects are easily perceptible;

are not only being organised

and

it is

but a wiser

are already beginning to reap the fruits of that

work

in aiding

and encouraging the energies of the

people to a successful rivalry of their Continental neighbours.

;

among

us,

Schools of Desi<m

but are extending their influence in

his calling, will

deem himself exempt from

the last few years in

Ornamental Design, are branch of art all classes,

is

many

;

The great advances,

too

of our manufactures requiring the aid of

sufficient proof of the

held by the public

however

the necessity of obtaining his

ticket of admission to the classes of these institutions.

made within

many

be hoped, that ere long the system will be so completely a

to

part and parcel of our national scheme of education, that no mechanic

humble

of

In this country, until a recent period, a different course has

been pursued, of which the injurious

directions

and practice

and

it

growing estimation in which

this

argues well for the improving taste of

that a tolerable appreciation of the Beautiful, as connected with articles

of household

and daily

matter of course.

use, is

now regarded not only

It is pleasing to reflect

how much

as desirable, but almost as a this is calculated to

to the happiness of society, in the increased comfort of

certain harbinger

;

and

which such a

in this light, a love for the refinements of

considered an essential and positive good,

â&#x20AC;&#x201D;

conduce

taste is the

Art must ever be

as an element, with other branches of

PREFACE.

3

increasing knowledge, in elevating the character and ameliorating the condition of the

human

Under

race.

these circumstances,

amount

reasonable to expect that every attempt having

improvement of our Manufactures, by instructing and

for its object the further

who

otherwise aiding those

it is

are engaged in their production, will receive the full

of encouragement due to its intrinsic merits

and

;

in this belief the present

publication, consisting principally of a series of Original Designs, modelled on the

highest authorities both ancient and modern,

In every means that

may

is

now

offered to the public.

be adopted to impart an accurate knowledge of Orna-

mental Design to the ordinary mechanic, too much care cannot be observed, both as regards the

examples

set before

him, and the

way

in

which the necessity

is

en-

forced of a strict adherence to the true principles of Art; for in cases where a certain

degree of excellence has been acquired, independent of a correct rule, the is

workman

not disposed to retrace his steps by undoing what he considers already sufficient

for his

purpose

;

and

in the case of others

who

are less advanced, the rules and

patterns of the shop are preferred to- the rules of Art, because

more easy

of attain-

ment, and more in accordance with their limited views on the subject.

no uncommon thing to

find, in

workshops where decorative art

daily occurring of a total disregard of every element

with the Grecian

â&#x20AC;&#x201D;the Elizabethan, the French

the Flemish, with the

Roman,

most cases being

practised,

examples

which constitutes either purity

see the Gothic

mixed

of the period of Louis

the Moorish, and the Egyptian

stantly overlaid with a variety of ject in

We

and oneness of design.

of taste or correctness

is

It is thus

ornament invented

;

and

at

XIV., and

all

for the occasion, the

to hide the defects resulting

random

these con-

main ob-

from an entire want of know-

ledge of the principles which ought to regulate the choice and arrangement of the various materials, and to arrive only at ficient in

good

taste.

Nor

is

the

showy

workman

effects,

however incongruous and de-

altogether to blame for this, seeing

how

little

has hitherto been done to draw his attention to the all-important but simple

fact,

that

mere natural

talent

bestow that chasteness of

and manual

are in themselves inadequate to

style, correctness of detail,

so absolutely necessary to insure success in

The

skill

object of the present

Work

is

to

and dexterity

in combination,

Ornamental Design.

remedy,

so far

as

it

may

be capable of

PREFACE.

4

doing

so,

these and similar errors and incongruities; and to supply to the public in

general, but especially to those trades in which a knowledge of is

Ornamental Design

required, a correct, simple, and copious guide in that beautiful art.

The CABINET-

MAKER, Ironfounder, Painter, Brassfounder, Silversmith, Paper-stainer,

Engraver, Wood-carver, Frame-maker, Damask-weaver, Bookbinder, and

many

others, will find in this

volume materials suggestive of an

infinite variety of

chaste and classical designs, arranged on principles so clear and comprehensive as to present it

may

examples capable of being appreciated and used by every workman

;

and

be noticed, as a peculiar and most important feature in the plan of the Work,

that in the arrangement of the Designs for each particular trade, care has been

taken to render the whole Series susceptible of being modified, re-arranged, and

adapted

to the use of

immediately

tradesmen in general; so that the patterns intended more

for the Ironfounder,

Bookbinder, Painter, or Cabinet-maker,

the greatest facility be transposed of

(if

we may

may

with

use the term) for the various purposes

any of the other Trades mentioned above.

In conclusion, one point above

the course of the publication

duced.

It is intended,

â&#x20AC;&#x201D;

all

viz.,

others will be kept steadily in view throughout

the

General Utility

from time to time,

of every Design intro-

to present copies of rare

and valuable

Etchings by some of the great masters, as in the beautiful group in Part after

Lucas Cambiaso ; an arrangement which,

it is

I.

by Guido,

believed, will be of great ad-

vantage to several of the ornamental trades, especially to the Silversmith, Housedecorator, Modeller in stucco,

and Wood-carver, and may not be unserviceable even

in the higher walks of Art.

These instances, however,

currence, the

will not be of frequent oc-

main purpose of the Work being of wider application than

more than a very limited proportion of such designs ; but tion cannot fail greatly to

enhance

to purchasers generally.

With

public,

its

to

admit of

their occasional introduc-

value to the Trades just mentioned, as well as

these brief remarks the

whose patronage no exertion will be spared

Work

to deserve

is

and

presented to the to obtain.

ESSAY ON ORNAMENTAL ART.

The

principal purpose of the following remarks

to those

is

and

to render clear

intelligible

engaged in the various departments of manufacture connected with Orna-

mental Design, the nature and peculiarities of the various modes of embellishment

and all

styles of decoration, invented

of

them have

between them to our

;

and practised by

their origin in nature

different nations

to point out the

;

;

and

to impress

them

objects,

it

careful examination of the present state of the larly into the general taste

of dress, of furniture,

the decorative

arts,

in

will also

in the

seem

details, or

all

suitable

beauty.

;

to inquire particu-

manufacture of

vertu, as well as that exhibited

working out the

as

exist

be necessary to enter into a

Ornamental Arts

and knowledge displayed

and of

that

upon the Ornamental Designer the

propriety of looking to Nature herself as the great primal source of

In seeking to accomplish these

show that

to

differences

to assist in the selection of such portions of

own time and country

;

by those who

enhancing the

effect

articles

practise

of public

structures, or private dwelling-houses, either externally or internally.

From what to

has been

said, it will

be seen that the ensuing remarks are intended

embrace a great variety of trades and manufactures

working

artist,

;

and

it

is

hoped that the

whether engaged in drawing, painting, modelling, carving,

casting,

down

at once

weaving, or dyeing, will find the principles applicable to these arts laid in

a plain, correct, and useful manner.

Simplicity

and truth are unquestionably the

and the foundation of

all

artistic

excellence.

principal elements of

all

beauty,

Objects addressed to the eye must

;

ORNAMENTAL

ESSAY ON

4

please at

first

Bight

they do not, no process of reasoning

if

;

ART. will

afterwards reconcile

To speak

us to them, far less invest

them with the beauty sought

for or expected.

of works of art growing

upon our

Persons may, and often do,

liking

is

absurd.

The perception

improve on acquaintance, but works of art never. rent in the irrevocable in

is

is

rapid in

arts,

and hence

;

it

is

that

we

find

him

The South Sea

attaining considerable

skill

in

more

Islander, with no better instru-

a piece of shell or talc, produces specimens of carving closely approach-

ing the most successful efforts of our best artists

fragments of ancient British

art,

the best specimens of Greece or

and

;

in

several

authenticated

ornamental details are exhibited nearly equalling

The savage who roams through the

Rome.

pathless

decks himself with the beautiful productions of nature, thus showing that

forest,

an appreciation of beauty

is

an innate principle of the human mind.

adaptation of natural objects to decorative

when

and perpetuate that

before he has acquired any knowledge of those which contribute

immediately to his social comforts.

ment than

inhe-

its decisions.

beautiful

ornamental

is

combinations, and prompt and

its

in his primitive state, feels a strong desire to imitate

Man, which

human mind, which

of beauty

this propensity

and

stage of refinement

of social improvement.

doubtedly an innate principle of the

of every style of ornamental decoration

is

be said

its

style of

Ornamental Art has

its

un-

and

its origin.

peculiar features,

and perhaps

it

may

also

peculiar beauties, although artists often betray a tendency to think lightly

their admiration

and the subject of

who comes unprejudiced

recommend

country in which

it

it,

and has become the object of

The

their studies.

diligent student, however,

to the inquiry, will soon discover that every style has

something which renders

it

that though the elements of beauty are few

some-

peculiarly adapted to the age

has been most generally practised

that beautiful combinations are to be found in each

diversified

is

to be found in the general aspect,

of every style but that which has struck their fancy,

thing to

more advanced

enables us to affirm, that the basis

natural productions, of the country wherein each style had

Every

evinces a

it

This development of what

human mind,

first

the adornment of the person

art, is in

extended to the dwelling-place,

is

The

:

he

and

will,

all

and

probably, also discover

of the various styles,

and

and simple, they are capable of the most

arrangements and combinations, and present, in their practical application

to the purposes of art, a boundless field for invention.

hereafter have occasion

more

fully to illustrate,

This proposition we shall

when examining the

peculiarities of

ESSAY ON OKNAMENTAL AET.

5

may

not be amiss that the

In the mean time,

the different styles of Ornament.

young student bear to

in

mind

that

we have

it

native plants

and flowers equal

in beauty

the lotus of the Egyptians, or the acanthus of the Greeks, and equally well

calculated to form the basis of a school of Ornamental Design.

It

is

evident that

the decorative artist has a knowledge of what has been done

if

in his art in other ages

and

in other countries,

and has been taught

to appreciate the

uses and spirit of these productions, he will be enabled to select such portions as suit his

If

own

peculiar views,

and harmonise with the general character of

he have the higher faculty of invention or adaptation, he

will,

may

his work.

from having such

information, be better able to avoid repeating that which was formerly done, and,

consequently, his work will be

all

the more original.

But

as this divine faculty

rare, so is the necessity proportionably great, for skilful manipulation,

knowledge of

workman.

his art, to

In the

compensate

difficulty

this

is

and a thorough

desideratum on the part of the

which every practical and inventive decorative

artistic

artist

has

experienced in getting assistants qualified to work out his ideas, we have a forcible

why

reason

our mechanical manipulators should be more thoroughly educated than

they have hitherto been.

Were

this the case,

they would be better able to work from

the sketch of the designer, and to bring out every minor feature which, in a hurried sketch,

may have been

The Marble-cutter,

omitted.

for example,

who has been

furnished by an architect with a slight sketch, on a small scale, of a mantel-piece in

the Louis Quatorze style, could never work out the detail in spirit,

full size,

and

in its true

unless he were thoroughly versant in the peculiarities of that kind of ornament.

Neither could the Brassfounder, Plasterer, Upholsterer, or House Decorator, produce

such

articles as

might be required in

their departments in connection with a building,

unless they were equally acquainted with the style to which the structure belonged.

In addition to

this information,

which they can continually

Without such

aids,

they also require to have at

refer,

artist's

to

and from which they can occasionally borrow.

without ready access to a copious and judicious selection of

examples from approved sources, such as the working

command examples

it is

hoped the present work

will supply,

resources will be incomplete, and his progress slow and unsatis-

factory.

Requesting the reader to keep these preliminary remarks in view, we now proceed, as proposed, to enquire into the nature

of embellishments,

and

styles of decoration,

and

peculiarities of the various

modes

invented and practised by different B

ESSAY ON ORNAMENTAL ART.

6

nations,

and

shall begin

arts, as practised in

original seat of the

by giving a

brief description

and

analysis of the ornamental

Ancient Egypt, now universally acknowledged to have been the

Arts and Sciences.

ON THE ORNAMENTAL ARTS OF THE EGYPTIANS. No

nation has ever surpassed the ancient Egyptians in the imitative and ornamental

arts

;

and

this

because their works were pure emanations of genius, embodiments of

high and original conception, and not copies of previous creations. structures of

there

is

Egypt

The

gigantic

continue to excite universal wonder and admiration, and

still

not a portion of these magnificent edifices wherein

imitation of natural objects.

The

lotus

we cannot

trace the

was a most important element

religious system, as well as in the daily

economy

simple and graceful form has received

many

of the ancient Egyptians

modifications at

;

in

and

The bottoms

like the calyx of a flower,

and the

of

many

lotus, the

its

the hands of the

Egyptian sculptor, who selected and adapted with great taste natural models architectural ornament.

the

for

of the pillars are gracefully rounded

palm, and the papyrus are visible both

ESSAY ON ORNAMENTAL AET. in their shafts

and

On

capitals.

7

the outside of the graceful curvature of the capitals

are frequently to he seen also the bulrush

and the vine

and

;

in

some

cases

we

find a

near approximation to the volute of the Ionic, and the leafy foliage of the Corinthian capital.

In the imitation of natural objects the Egyptians were eminently successful, they

manufactured and coloured glass in such a way as to be mistaken for the amethyst

and other precious stones

more common

and when

;

â&#x20AC;&#x201D;the

way

various knots

medium

art of casting

silver vessels,

and by

silver plate

quantities of jewellery,

elegant form and exquisite workmanship. imitations of shells

common on

common

these manufactures

skill in

and

precisely

materials,

show that the

civilisation.

and engraving gold and

enlightened people, whose

pearls,

were made of the

and grains being indicated

of the most

Egyptians had attained a high degree of

and

sofas

These successful imitations of rare and

practised in the present day.

costly articles, through the

The

and

descriptions of wood, they were painted, with the happiest effect, in

imitation of foreign varieties in the

their chairs, tables,

is

was

also well

to this

by numerous gold

attested

preserved,

still

known

all

of the most

Lotus flowers in enamel, amethysts,

numerous

leaves, with

figures

and

were

devices,

the bracelets, necklaces, and rings which once adorned the persons of

the ladies of Thebes.

The Egyptians were or

by inlaying

leaf,

it

skilled in all the

The method they had

with other metals.

which was extremely thin and

practised in Europe. gilded,

The

mented with

Many

was in

fine,

all

as well as the

in leaf

of beating out their gold

probability similar to that recently

mummies, and sometimes the

faces of

and the painted clothes

methods of applying gold, whether

wooden

coffins

entire bodies,

were

were profusely orna-

gold.

of the Egyptian vases bear so strong a resemblance to those produced in

the best epochs of Grecian

art,

after

some have imagined them

that

Greek

patterns.

sufficiently attested

executed.

shown,

is

to have

been designed

Their high antiquity, however,

is

by the remote periods when they were

The gold said to have

vase,

the form of which

is

here

been made 1500 years before the

Christian era.

Sculpture was walls of

much employed

which were covered with

in the decoration of the temples reliefs

or intaglios

:

and palaces

â&#x20AC;&#x201D;the

those of the temples repre-

ESSAY ON ORNAMENTAL ART.

8

senting religious subjects, while those of the palaces were delineations of battles,

hunting scenes, and occasionally the occupations of daily sculpturing granite was also well

known

The

life.

and the hieroglyphics on granite obelisks

;

and other monuments are scidptured with a minuteness and delicacy of

modern

compounding of though buried

metals,

for ages,

many

of their bronzes retaining

and afterwards exposed

The Egyptians were a domestic of their houses. in

The Egyptians were

have not yet attained.

artists

art of

difficult

people,

to the

skilled

also

smooth and bright

damp

of

European

and extremely attentive

which

finish

in

surfaces,

climates.

to the decoration

Their articles of furniture were at once rich in colour and graceful

form; and the commonest utensils were characterised by singular elegance.

chairs

the

and couches were about the same height with those now

nearly the same in form and construction.

At an

in use

Their

and were

;

early period the skill of their

cabinetmakers had obviated the necessity of uniting the legs with bars

and they

;

were generally formed in imitation of those of some animal, the foot raised on a small block or pin.

The back

of the chair was occasionally concave

of the large fauteuils a lion formed an fauteuils tissue,

arm on

either side.

and couches were of coloured cotton, painted

;

and

The cushions

leather, or gold

and

and the framework was frequently bound with ornamental metal

inlaid with ivory

and foreign woods.

the forms of the chair, the

camp

resemblance to those of the present

The

walls

and

ceilings of the

generally with exquisite taste.

The stool,

in

many of the silver

plates, or

cuts here introduced will give an idea of

and the couch, which bear considerable

clay.

Egyptian apartments were richly painted, and

The

ceilings

were

laid out in

compartments, each

having a geometric or foliated pattern with an appropriate border.

The

favourite

â&#x20AC;&#x201D; ;

ESSAY ON ORNAMENTAL ART. forms were the square, the diamond, the square within square,

and Etruscan

known

as the

circle,

9

and the succession of

scrolls,

and

Tuscan border, and so often found on Greek

vases, as well as

on similar ornamental designs that were afterwards

The

following forms are of an age 1600 years prior to

adopted by the Eomans. the Christian era.

The

walls of the palaces were inlaid with precious metals,

Lucan thus

describes the banqueting hall of Cleopatra

ebony, and ivory.

:

" Thick golden plates the latent beams infold, And the high roof was fretted o'er with gold.

Of solid marble

And onyx

all

the walls were made,

even the meaner

floor inlaid

While porphyry and agate round the court, In massy columns rose a proud support.

Of

solid

ebony each post was wrought,

From swarthy Meroe With

And

profusely brought.

ivory was the entrance crusted o'er,

polished tortoise hid each shining door

;

While on the cloudy spots enchased was seen

The

lively emerald's

never failing green."

In concluding this brief analysis of the Ornamental Arts in Egypt, we cannot

but advert to the remarkable analogy between the construction of the hieroglyphic

names and standards in

modern

heraldry.

of the ancient Egyptian monarchs,

In the hieroglyphic inscriptions every king bears two names,

each enclosed within an oval.

In these ovals are blazoned the bearings derived

from the prenomen and second name of the similar to the

manner

and the quartering of arms

in

father, or

from the wife and her

father,

which the blazon of the husband and wife are impaled c

in

ESSAY ON ORNAMENTAL ART.

10

modern

shields;

and from these symbols of descent or

and extraction of the Pharoahs of Ancient Egypt. resemblance obtains through the whole system ostrich,

and flanked with the royal

escutcheon with

system

is

its

supporters.

It

basilisk,

;

alliance

Nor

is

we can

this the only analog}', the

and an ancient

was almost

trace the origin

oval, crested with its

identical

with a modern

seems probable, therefore, that our heraldic

an offshoot of the ancient blazonry of names and banners adapted to

European customs and requirements, and that the rudiments of of every other department of ornamental

art,

this, as well as

those

were known four thousand years ago.

ON THE ORNAMENTAL ARTS OF ANCIENT GREECE. The

extent to which the Greeks improved on the designs of the Egyptians

is

very

remarkable, and .eminently calculated to impress us with the highest opinion of their

In Egypt we find the rudiments of

genius and taste.

advance social refinement of beauty articles

and symmetry.

;

in

all

the arts that tend to

Greece we find those rudiments formed into systems

All the ornamental designs of the Greeks, whether in

of dress or furniture, whether in their private dwellings or their public

structures, were characterized

by great simplicity and elegance.

Having studied

thoroughly the principles developed in the works of the Egyptians, the Greeks

caught the

What

spirit in

which they were conceived, and quickly surpassed their teachers.

the lotus and palm had been to the former, the acanthus and honeysuckle

became

to the latter

ornamenting every

The source

An

stood.

;

and forms based on these indigenous plants were used

article of dress, as well as in the decoration of

of design being fully explored, the art soon infinite variety of graceful outline

in the public

if

structures

nature,

sufficiently

under-

temples and sculptures by which they were adorned; and the craftsmen

instinctively,

of unity.

became

edifice.

and exquisite proportion was exhibited

of Greece, thus familiarized to the sight of beauty, as

every public

in

became capable

of discriminating,

between what was incongruous and what possessed the charm

The contemplation

of the

ornamental sculptures on these matchless

would suggest to the mechanic the propriety of generalizing

and would enable him

to select

and arrange her productions

his ideas of

to suit the

ESSAY ON OKNAMENTAL AET. requirements of his particular branch of

art.

In

this

way alone can we account

the universal presence of that beauty which distinguishes

The Grecians seem not fine design

;

to have attached so

and even when

rich dresses

much

11

all

their works.

value to costly material as to

and gorgeous furnishings were used, they

were chiefly valued on account of their elegance and delicacy of execution. lamps, for example, were not of gold or

silver,

It

is

work

to be regretted that

Their

but of brass, wrought by the best

sculptor that the purchaser could afford to employ;

natural tarnish to show the

for

and the metal was

left

to

its

to advantage.

we have not been

able to obtain a

more complete

knowledge of the internal arrangements and adornments of the private dwellinghouses of Greece.

We

know, however, that

this singular people

were universally

animated by a desire to extend and perpetuate the national glory, and that

all

their

surplus wealth was voluntarily contributed towards the erection of those beautiful

temples, which have never been equalled, and which

the world.

There

is

still

remain the admiration of

every reason, therefore, to believe that their dwelling-houses

were furnished in a plain and unostentatious manner; but however homely the material of which their household utensils were made, the shapes into which they

were fashioned were singularly elegant and graceful.

The antique

jug, basket,

and

chair here shown, will give an idea of the exquisite taste of the Greeks in form, carried into the

most ordinary

If the ordinary utensils

utensils,

and developed

and common

in the

articles of furniture

most common

furniture.

were thus beautiful, the

vases which were set aside for sacred purposes or extraordinary occasions were emi-

ESSAY ON ORNAMENTAL ART.

12

nently so graceful their

;

and while they were exceedingly varied

and elegant

enrichment

;

in form.

in

design, they were invariably

engaged

in

art are to

be

Artistic talent of the highest order was

and many of the most choice specimens of Grecian

found adorning those interesting

relics of antiquity.

Nor

is

this to

be wondered at

and the high

the material of which they were formed was likely to endure for ever

;

purposes to which they were destined were calculated to

the energy and

enthusiasm of the

artists

employed

call forth all

in their production.

The

designs on the vases

for temples either illustrated the mythological history or the religious services of the

On

deity in whose worship they were engaged. at

the Olympic

virtuous

those which were awarded as prizes

games, the designs were generally allegorical, and represented

and heroic deeds.

Others used for funereal purposes were frequently

adorned with devices emblematic of the

and character of the deceased

life

these

the multiplicity of designs preserved in

monuments we

and from

;

derive

most

the

important information concerning the history, dresses, and customs of the ancient Greeks.

Recent discoveries

have

shown that

gorgeously decorated with positive colours

were so highly appreciated, and where principles of the

chromatic arrangements.

We

know

and gracefully arranged, embodying

in a country

where the

In the ornaments in the

Erechtheum, we

were

fine arts

harmony

of colour would be apparent in their

also that

groups of figures skilfully executed

lofty ;

conceptions

and elevated sentiments,

while ornaments, consisting of beautiful

and leaves of elegant form, were introduced with the most

manner that made them appear

nature.

and

of Greece

the national edifices were constructed on

all

adorned the chief places in their temples

in a

;

structures

finest

most perfect symmetry, there can be no doubt that the same

exquisite perception of beauty in the

flowers,

the

find, in

sources from which they

as

if

finest

fresh

and

of the

exquisite

glistening from the

Greek temples, such

had been derived.

Ornamental

hand of the

as

astragals, for example, are

used in female decoration

enriches the mouldings of the doorways

;

is

and

every portion of the detail, a strong resemblance to the

direct imitations of the strung pearls

the shafts of columns

skill,

the plait ornament at top and bottom of

a precise imitation of a plait of silk ribbon

resemblance which those foliated ornaments with which apices, are enriched, bear to the acanthus of these beautiful decorations.

and the honeysuckle, shows

The

the holly leaf

;

;

and the

friezes,

and

close

capitals

distinctly the origin

following remarks on Grecian Ornament,

by

ESSAY ON OKNAMENTAL ART. Mr

e

Kinnard, in the supplement to Stuart's

opinion

:

â&#x20AC;&#x201D; The elemental form '

contemporary specimens of Etruscan and .ZEginetan

nized, manners, arts,

and

religion.

The

in unison with this

Athens/ are

of such decorations

the Hellenic and Etruscan nations, carried with

13

to be traced in the earliest

is

art.

them

The

into the countries they colo-

similitude of the forms of the ornamental

sculpture of the distinct and distant nations they founded, renders

they originally referred to one

common

Greeks Cyamus, was probably the venerated

abandoned and forgotten anterior

it

called

object.

evident that

with Oriental

prototype as connected

and the sacred plant of the East,

idolatry;

who founded

Pelasgi,

Tamara, and by the ancient That prototype, however, was

to the age of the earliest relics of Grecian art,

wherein we find imaginary curves of capricious formation

;

but when the arts had

reached a higher state of refinement, we find their ornaments approximate to the principle of general vegetation, skilfully

of architecture

â&#x20AC;&#x201D;

until, in

accommodated to the

rectilinear formality

the hands of the sculptors of the Periclean era, amid a

people entertaining a remarkable passion for flowers, the Anthemion arrived at that character of elegance which established

The

it

as a

model

to posterior ages.'

following copies are given as illustrative of these inferences

most ancient,

is

there would be

of a hard

and

little difficulty

stiff style,

and there

in tracing the

is

detail,

No.

In other

cases, the

and teeming with new and

1,

the

;

but

change to richer embellishment, more

1.

of the Erechtheum.

â&#x20AC;&#x201D; No.

no imitation of any plant

imitative of vegetable nature, until perfection was attained in No.

:

ornament

is

No.

2,

Anthemion

2.

executed with

tasteful combinations.

the

many

The progress

varieties of

of ornamental

D

ESSAY ON ORNAMENTAL AET.

14

foliage in

At

Gothic architecture was similar.

have been contemplated gressively

;

more regarded.

but, as the style

The

no vegetable prototype seems

first

advanced to

perfection,

to

Nature was pro-

following account, given by Vitruvius, of the origin

of the capital of the Corinthian order, gives additional force to these remarks, and

may tend

to impress

more deeply on the mind

looking to nature as the primal source of '

A

trinkets which

had pleased her when

the whole with a

alive

beauty

all

young maiden of Corinth having

:

died, her nurse collected in a basket the

â&#x20AC;&#x201D;placed them over her

The basket happened

tile.

of the student the importance of

grave,

and covered

to be placed over the root of an

acanthus plant, the leaves and shoots of which grew up round the basket, and curled

round the angles of the

This interesting combination attracted the attention

tile.

of Calimachus, the architect,

who from thence designed

the beautiful capital of the

Corinthian column.'

The

ornament

characteristic of Grecian

flowing, its proportions are symmetrical,

and

we always

attractive, that

hail

is

and

them with

Its curvatures are

elegant simplicity. its

features are altogether so varied

delight,

whether enriching the archi-

tectural detail of our public or private buildings, or ornamenting our

most elegant

articles of furniture or vertu.

ON THE OKNAMENTAL ARTS OF ANCIENT ROME. The Romans, who efforts

had the

perfected their arts by those of Greece, and

assistance of

Greek

artists,

who

ultimately engrafted on their original

models a richer luxuriance of leafy embellishment; and although in

works are deficient

nation that

conquered

in symmetrical proportion,

The Grecian

imposing.

style

in their early

many

cases their

they are invariablv gorgeous and

of ornament corresponds with the character of a

had enlightened the

world, the

Roman

with that of a people

who had

it.

The excavation

of

Herculaneum and Pompeii,

cities

which had been suddenly

buried in the midst of their prosperity, and had remained undisturbed for nearly

seventeen centuries, has revealed to us

many

of the most remarkable peculiarities in

ESSAY ON ORNAMENTAL AET.

15

the domestic economy of the ancient Romans, and has enabled us to ascertain the precise state of the arts as practised

From

these remains,

it

by them

at that eventful period of their history.

Romans had

appears that the

decorated in the most sumptuous manner.

The

walls

their houses furnished

and

were enriched with coloured

marbles and historical paintings, and the Arabesque style of decoration seems to This style was introduced in the time of Augustus,

have been universally prevalent. previous to which

was customary with the Romans to paint the walls of their

it

apartments one uniform colour, relieved by modelled ornaments.

One

peculiarity in the

of notice,

on account of

mode

its

Pompeian houses

of decorating the walls of

showing how well the

is

worthy

understood the true prin-

artists

In the natural landscape, we find that the dark masses are in

ciples of decoration.

the foreground, the middle tints in the middle distance, and the light

itself in

the

In the houses of Pompeii, the dark colours are placed lowest, the shades becom-

sky.

ing lighter as they approach the ceiling

In some instances,

to the rule observed in nature.

carried out

fail to

when employed

is

thus conforming

true, this is very crudely

effects

â&#x20AC;&#x201D;giving

at once airiness

taste,

and dignity

which they have been applied.

influence which Etruria exercised over the

to, is visible in

under well regulated

in internal decoration,

produce the most pleasing

to the apartment to

The

it

of, tint

but, even in such cases, the principles found in nature are adhered to,

;

principles which,

never

the arrangement

;

many

of the decorations ;

many

Roman

arts, at

the period referred

of the ornamental borders

and

scrolls

on the walls of the houses of Pompeii and Herculaneum bearing a striking resemblance to those tions,

In almost

on Etruscan vases.

though singularly bold and

all cases,

free,

seem

these decorato have

been

executed without any preliminary tracing or drawing, and the opposite sides of the same forms were, in consequence, seldom if

In many of the Arabesque combina-

ever precisely similar.

tions, representations of native plants

seen, showing

how

highly the

Romans

and

flowers are to be

appreciated, and

readily they introduced into their decorations,

A

I

A

and beautiful Gell's

It will

'

in nature.

how

the graceful

The borders here shewn

are from

Pompeii,' and are extremely elegant.

be observed that the leading lines of these borders are

they are Grecian in character.

It

may,

eliptical,

and that

therefore, be inferred that they were exe-

ESSAY ON ORNAMENTAL ART.

16

cuted

.at

a very early period.

In the enrichments and embellishments of

buildings at a subsequent period,

The Romans

circular.

preference

is

find that the arrangements

and curvatures arc

preferred the rose to the lotus or the honeysuckle, and the

and mouldings of

distinctly visible in the capitals, friezes,

ings, as well as in their

vases, so

we

Roman

ornamental wreaths and devices

many specimens

;

their build-

while those unique

Roman

of which have been discovered in almost every part of the

civilized world, are of similar character,

both in general design and in minor

detail.

This peculiarity constitutes the chief difference between the ornamental designs of the Greeks and Romans.

they are circular

;

and

In the former the leading lines are

as the elipse

animal and vegetable kingdoms,

it

is

may

found to be prevalent safely

Greece were superior to those of Rome. circle so

in every

the latter

branch of the

be asserted that the ornamental arts of

The Romans seem

to have preferred the

soon as they had freed themselves from the trammels of their predecessors,

the Greeks, and had begun to design for themselves trated

eliptical, in

by the following ornament from a

is

and

is

sufficiently illus-

wherein the leading

:

a very early specimen of the style in which figures and

foliage are connected, bears a striking resemblance to the

and confirms the

this

ceiling of Pompeii,

curves and general design are altogether circular

This ornament, which

;

Arabesques of Raphael,

belief that that great artist, in his decorative designs for the Vati-

can, followed the general character of the ornamental designs

found in the Baths of

Titus.

In no department of ornamental decoration did the Romans attain greater proficiency than in their Mosaic or tesselated pavements, which

must have been

produced at a very moderate expense, as a great number of the ordinary houses of

Pompeii have been

laid with this beautiful flooring.

These Mosaics are

chiefly

com-

â&#x20AC;&#x201D;

ESSAY ON ORNAMENTAL ART. posed of black

17

meandering patterns on a white ground, or white ones on a

frets or

black ground; but in some instances they are executed in coloured marbles, and

have a magnificent appearance.

Many

fine pictures, brilliantly

have also been found in Pompeii, and specimens of

them surpassingly

beautiful,

all

executed in Mosaic,

many of* London during

the different kinds,

have been dug up in various parts of

the last century.

The Romans were glass,

an

also acquainted with the art of

manufacturing and colouring-

which they applied to many purposes of household ornament.

artificer

who had invented

flexible glass,

but who was banished,

Pliny mentions the discovery

lest

should injure the working jewellers, by superseding the use of gold and ing cups.

Many

silver

drink-

of the ornamental drinking glasses found in Pompeii are of the

most elegant form, bearing evidence of a thorough knowledge and extensive practice of the art

which produced them.

In the working and mixing of metals, the ancient Romans possessed great

and the Silver

art of inlaying

one metal with another was

much

in repute

skill,

amongst them.

ornaments were generally inlaid with gold, and bronze lamps and candelabra

many occasions inlaid with silver ornaments. Among the numerous specimens of Roman art that remain to us, none are more curious than the lamps and candelabra.

On these utensils the Romans seem to have lavished all their powers of were on

fancy and invention, giving them the most graceful forms, and ornamenting them in

The

the richest manner. furniture

of

in

use,

candelabra, indeed, were one of the most elegant articles

and were generally models of

ornament, and execution.

many

In

cases the type

taste,

in

form,

proportion,

was preserved of the object

from which the design had been taken, as in the case of the stem or reed, used in early times for raising the light to a convenient height.

In such ex-

amples, the buds or shoots which adorn the shaft, in imitation of those on the original material, afford a firm grasp to the hand, shewing that the

Romans

well

knew

the art of making ornaments conduce to the utility of that which they served to adorn.

The manner

in

which the dining-room of a

been thus described by Mazois '

The

Roman

noble was furnished, has

:

walls, to a certain height,

were ornamented with valuable hangings.

portions were divided into compartments adorned with garlands of ivy Paintings, representing

high

festivals,

and

Other vine.

were surrounded with Arabesque borders.

E

ESSAY ON ORNAMENTAL ART.

IS

The apartment was

lighted

material, or raised

on

rested on ivory feet, exquisite

skill.

by bronze lamps, dependent from chains

richly

woven and embroidered with

Like

much

all

care

martial nations, the

upon

of citron-wood,

plate of silver, chased

and carved with

Tables,

Couches, which contained thirty persons, were made of bronze,

overlaid with ornaments in silver, gold, stuff's

same

made

wrought candelabra.

and were covered by a

of the

silk

and

tortoise-shell, the cushions

mixed with threads of

and imple-

ments of war, enriching them with every their

gold.'

Romans bestowed

their military costumes

appropriate ornaments

covered with

fancy

could

sort

of

suggest.

Their cuirasses, helmets, swords, and shields, were inlaid

in

the richest

manner.

Their war-chariots

were models of elegance, and their horses were caparisoned with the richest trappings.

on the portion of the

cuirass,

The ornaments

here shown, com-

bine the elements of the foliated and geometric designs of the

Romans, and give an idea of the place

the circle held in their ornamental decorations.

ON THE ORNAMENTAL ARTS OF THE ANCIENT INDIANS AND AMERICANS. It will not be deemed irrelevant to an inquiry of this kind, to advert briefly to certain points of resemblance

between the architectural and sculptural remains of

ancient Egypt, India, and America, as well as to the similarity in the forms of vases

and other tries.

articles of

manufacture found in these distinct and widely separated coun-

In the depths and solitudes of what were once believed to be the primeval

forests of Central

America, have recently been discovered huge pyramids, rivalling

in extent those of

Egypt

;

sculptural altars

and

idols

ornamented

in the

most beaut i-

â&#x20AC;&#x201D;

ESSAY ON OKNAMENTAL AET. ful

and elaborate manner, and

colossal

and expression those of Egypt and

heads closely approximating in magnitude

In Peru, vases of ancient manufacture

India.

have been found, ornamented with the Yitruvian

know

19

and Grecque border

scroll

;

and,

how these arts found their way in remote times from one distant nation to another, we cannot doubt, from the similarity in their leading features, that they had one common origin.

The similarity between the idols and altars of India and America is very remarkalthough we

able.

not

In both countries, the former are profusely adorned with trinkets and jewellery

â&#x20AC;&#x201D;the neck

and bosom generally displaying double and

triple

rows of necklaces

from which, in many instances, are pendant brooches of immense form.

The

waist

tassels, fringes,

encircled with richly embroidered sashes

is

The

and other ornamental appendages.

From

with quatre-foils, and other geometric figures. massive rings and drops

;

instances of resemblance.

is

and beautiful

and

belts,

closely.

In

all

frequently diapered

the ears depend rich and

But there

these points the stone idols of India are

still

other and

more remarkable

In the monuments of both countries the

quently seated in the Oriental fashion, and in both,

also,

effigies are fre-

do we find the principal

figures of colossal size, while those of a subordinate character are of small sions.

The personages represented seem,

ordinary business of

life,

in

some

cases,

In

to be engaged in the

all cases,

sad, tragical or comical, the feeling or sentiment desired to

is

dimen-

but more frequently in the act of worshipping or amusing

the idol to whose service they have been devoted.

expressed.

having

while the arms and wrists are adorned with bracelets, and

the heads with lofty plumes of feathers.

and America approximate

dress

size

The humour displayed

singularly forcible; while the

whether merry or

be pourtrayed,

in the grotesque attitudes of

is

faithfully

some of the

figures

death's-heads and cross-bones, with which our

sepulchres were wont to be so profusely adorned, have their counterparts on the

monuments

A

of Central America.

knowledge of geometry, and a love

prevailed both in India

and America.

for geometrical decoration,

We

find in Dupaix's

ments,' an endless variety of circular designs cut in stone in the planes of the circles in every conceivable variety,

among

to have

'American Monu-

divisions being

made

and being divided invariably 1,

of a carved stone, from

sufficient evidence of the existence of

mathematical knowledge

The

according to geometric rules.

Dupaix's work, affords

â&#x20AC;&#x201D;the

seem

the ancient Americans

;

representation,

No.

while the representation, No. 2, of an ornamental

20

ESSAY ON ORNAMENTAL AKT.

stone on the gateway at Dipaldinna at Amrawutty, shows that geometrical decoration

was understood and practised by the ancient Indians.

In both of these examples, the

No.

1.

No.

2.

circle is divided

and subdivided

in

the most

;

ESSAY ON ORNAMENTAL AET. manner

scientific

;

the

21

exhibiting a strong resemblance to Moorish, the second

first

to Grecian ornament.

There

one remarkable feature in those interesting

is

Even a cursory

America, which merits special attention.

Dupaix

the illustrations of the works of

resemblance which

Many

tion.

many

relics recently

discovered in

observer, in looking over

must be struck with the strong

or Stephens,

of the ornaments have to the Elizabethan style of decora-

of these ornaments,

had they been found

claimed as beautiful specimens of that

and

style,

in England,

will

would have been

certainly bear comparison

with the best ornamental forms of that period.

An

inquiry, which

might not be unprofitably followed

Might not the Elizabethan rican

Ame-

have been founded on, or borrowed from the

seems not improbable that some of the English adventurers of that

It

?

style

out, suggests itself here.

period, being struck with the novelty

and beauty of the architecture

of the

New

World, may have brought home drawings of the specimens they met with there

and

to such circumstances the Elizabethan style of ornament, so full ef wild

irregular fancies,

architecture

may

and decoration

Rome had become which of

it

have been indebted for

unpopular, and with

Mr

was associated.

symmetry and grandeur

artificial

terrace in

at that time,

Hyde

;

amounted

it

The

its origin.

desire for novelty in

The Church

to a passion.

Stephens describes these American structures as

and remarks of one

at

Uxmal, that

Park, or the garden of the Tuilleries,

If the general effect of these buildings

detail similar to that generally

owe

this style to

what period,

is

America.

it

if it

stood on

unknown, and

however, have been built in

many

full its

would form a new

Roman

was so imposing, and the ornamental

termed Elizabethan,

By whom

of

the beautiful style of architecture with

order not unworthy to stand beside the remains of Egyptian, Grecian, and art.

and

it

is

not improbable that we

these ancient structures were raised, or at

will in all probability ever

remain

so.

They must,

centuries before that style of ornament was

known

Europe.

The remains

of the ancient structures of India

and America

afford conclusive

evidence that the art of decorative painting had been extensively practised in adorning the buildings of both countries.

In almost

pagodas, vestiges of gilding and colouring are the artist

who accompanied Mr Stephens on

all still

the ancient Hindoo temples and traceable

;

and

his interesting tour

Mr

Catherwood,

through America,

on inspecting minutely the extensive ruins of Palenque and Uxmal, found that the F

ESSAY ON ORNAMENTAL ART.

22 chief portions

had been decorated

detail of the relieved

The

rich

most gorgeous manner,

In the

ornament having been picked

in

the elaborate

all

with gold and colour.

costume represented on the monuments of Hindostan and Yucatan,

shows that those arts which administer to the elegancies and refinements of

been extensively patronised and practised

some of the most lers,

workmen

both these countries

interesting illustrations in Dupaix's

feather embroiderers,

avocations, their

in

mode

had

life

and perhaps

;

work arc those wherein jewel-

and other tradesmen, are seen engaged

in their various

of working having been very similar to that practised

by the

of the present day.

Having now given a

nations of remote antiquity, from which the rudiments of

have been derived, we proceed to

ment which have

by those

brief account of the ornamental arts as practised

offer a

many modern

seem

arts

to

few remarks on the various styles of orna-

recently been employed in decorative works

;

and, in doing

so,

we

naturally begin with that invented by the Saracens or Moors, after the decline of the arts in

Rome.

The Moorish

m

was extensively employed at an early period

style of decoration

Spain and the adjoining countries

and the principles on which

;

having been universally recognised as very general use in style seems,

wainscoting figures,

correct,

the

style

itself

of buildings.

has come into

It

presents

sunk portions of the ornament being on a

although

level,

lines,

is

concerned

It ;

makes no

the raised or

and the decorations depending

on harmonious combination of

The leading

line,

and judicious balancing

however complicated, are always harmonious

rectilineal, angular, circular,

and

harmonious combinations of geometrical

attempt at deception, in so far as inequality of surface

of colour.

This

for decorating the ceilings, walls, floors,

with happy arrangements of rich and exuberant foliage.

effect

based

countries where the decorative arts are cultivated.

all

on the whole, best adapted

mainly for their

is

it

and

;

and

irregular figures, as. well as every variety

of foliage, are frequently introduced into the

same composition, the

relation which

every part bears to another has been so well understood and considered by the designer, that the whole seems to have been the result of one conception, at once

instantaneous and perfect. shows, on the part of the

The colouring artist,

developed in the works of nature.

of the ancient specimens of this style also

a thorough acquaintance with those principles

Hence we

find, that those portions

intended to

be brought prominently forward, either to enhance some point, or to give

effect to

ESSAY ON ORNAMENTAL ART.

23

the general design, have been gilded or painted in light colours, while those to

appear of

less

importance have been painted in gradations of

and colours

tints

the former heightened with brilliant leaf-gold, the latter sobered

meant

down

to

;

dusky

purple.

Here we cannot help adverting this style of

the

human

of the

ornament, namely, the uniform and entire absence in these designs of

figure,

and of

Romans and

rations,

all

animal

life.

Demi-figures springing from

Italians,

and which are

we cannot help regarding and

taste,

still

frequently used in

foliage,

able source of original

;

and graceful ornament.

from favourite plants and

in nature latter, in

;

and suggestive

lines

and

employing the former

Those nations that have excelled

department of

figures,

first

art,

by combining an intimate

with a high appreciation of the beautiful

filling

up the

various arts, such as bookbinding, metal casting, &c.

generally understood, there can be

little

and appreciated in others of the decorative

doubt arts.

it

and when

;

will

it

for instance,

configuration of Moorish

more appropriate

ornament,

with positive colours, and defined by decided outline.

flat

specimens of paper-hangings, which have been admired for their delicate blending of colour, appear petit

so frequently

bouquets of flowers

is

made

injudicious,

and out of place

skilful

Many

manipulation

in large apartments.

in such cases to represent a repetition of small

and suggests

more legitimate kind of ornament

to

be more extensively used

For paper-hangings,

than the

style

becomes more

there cannot be a

style

and the

detail.

work show adaptations of the Moorish

Several of the plates in this

The attempts

in

and purest composi-

in tracing the leading features of designs,

the shape of leaves and flowers, in

filled in

of end-

flowers, the legitimate source of decorative design.

therefore, excelled in this

knowledge of geometrical

varieties of

thus presenting at once an inexhaustible and unobjection-

the ornamental arts have collected the materials of their

The Moors,

modern deco-

The vegetable world abounds with

to right feeling.

lessly diversified design

and

cen-

as a barbarism, obnoxious to the principles of

beautiful forms, susceptible of exciting the purest feelings,

tions

finest features in

mermaids, and other nondescripts, so frequently introduced into the grotesques

taurs,

pure

what we consider one of the

to

ideas of

for the walls of

meanness and vulgarity.

A

rooms can scarcely be conceived

than well balanced geometrical combinations of leading forms, relieved by

foliage,

the configuration of which has been carefully copied from nature, and which cannot

be too homely nor too familiar.

In this way, by following the example of the

ESSAY ON ORNAMENTAL ART.

24 Moors, every nation

may

because drawn from

its

be able to establisb a stylo of decoration peculiar to peculiar sources,

most pleasing and delightful

and fraught,

at the

same time, with the

associations.

In concluding these remarks on the Moorish style of decoration, tioned, that in the palace of the ceilings

ivory

may

men-

be

in the thirteenth century, the

fitted into

each other so accurately, that the joinings could

The

walls were covered with mosaics of similar cha-

not be detected by the eye. ;

Alhambra, founded

it

were richly stuccoed and ornamented with arabesques of exquisite beauty,

which had been cast and

racter

itself,

and the furniture was made of

citron, sandal,

and aloe woods,

inlaid with

and mother-of-pearl, intermixed with burnished gold and cerulean blue

of costly

and curious workmanship were formed of

and sardonyx

;

;

vases

porcelain, rock crystal, mosaic

and the whole of the furnishings and decoratians of

this

wonderful

palace show that the ornamental arts had been as thoroughly understood and practised

we

by the Moors

as ever they were at

any period of the world's history with which

are acquainted.

The Gothic

style of

ornament comes naturally

Moors, to which, in some of

its

viously to doing so, however,

it

style of style

to

be considered after that of the

bears considerable resemblance.

Pre-

seems requisite to advert to one peculiarity

in the

features,

it

embellishment adopted at an early period in the churches of Byzantia

from which much that

is

excellent in Gothic

;

a

ornament has been borrowed, and

on which the Moorish mode of decoration was originally founded.

When

Christianity was

first

embraced by the

Roman

emperors, the Pagan

relics

of antiquity, consisting of sculptures, bronzes, and pictures, were destroyed, and

all

attempts to introduce such decorations into churches were strictly prohibited.

In

Rome, however, which contained many tic

of these ancient

Pagan

relics, this

Iconoclas-

order was not obeyed, and hence the division of the early Christians into the

Greek and Latin churches.

At length some

desiderated at Constantinople,

and

effigies

tangible symbols of religious faith were

of saints or martyrs, or symbolic figures

belonging to some holy persons, or symbolic pictures relating to some of the attributes of Christianity, in mosaic work, of marble, enamel, or coloured glass, were exe-

cuted on the walls of the Byzantine churches.

This soon became popular, and the

symbolism thus invented spread with great rapidity among the early Christians, and continued to be used through succeeding ages in architecture.

The

cross, the

palm branch, the

all

the modifications of ecclesiastical

eagle, the dove, the lamb, the fish,

ESSAY ON ORNAMENTAL ART. and other emblems

Church of Rome were

in the calendar of the

duced by the Byzantines into the Mosaics of sculptured

effigies

rations of the

from the

â&#x20AC;&#x201D;the

latter constituting the chief difference

entire absence of

between the deco-

decorations connected with the Gothic style of architecture are

by every

variety of geometrical combination,

and

perfect imitation of natural leaves

more varied

their churches

originally intro-

all

Greek and the Latin Churches.

The ornamental characterised

25

excellencies

;

no

No

ornament

style of

and delicacy

fancy, correct taste,

foliage.

is

execution.

of

and enriched by the most

style of architecture

characterised

can boast of

by more exuberant

Every ornament

in the pointed

structures of the best period was pregnant with meaning, every enrichment full of

design

and, from the golden vane that glittered on the summit of the spire, to the

;

pavement that adorned the

tesselated

was in perfect harmony, each and

all

floor,

every portion of the ornamental detail

tending to enhance the general

effect,

which

was at once gorgeous and overpowering.

On

examining the progress of Gothic ornamental design,

it is

easy to trace

its

gradual advancement from imitations of existing models to original adaptations, and

combinations from nature and from geometry. ings used in

Norman

structures,

Most

of the ornamental

mould-

Rome

or from

were borrowed either from Ancient

specimens existing at that period in France and Lombardy. wreaths of the bay, the vine, and the

ivy,

found in the early

Those sculptured

Norman

churches, have

a close resemblance to similar devices used in the decorations of Ancient

and the grotesque heads on tbe blocks and corbels of some of the structures

had been previously prevalent

France and

in

early

new

feature introduced

nexion with natural

â&#x20AC;&#x201D;namely, the use

foliage.

;

Italy.

In the ornamental decorations of the early English, or primary pointed find a

Rome Norman

style,

we

of simple geometric figures in con-

Four-leaved flowers are displayed on square panels.

Circular spaces are filled with trefoils and quatrefoils tals,

and the crockets running along the edges

that

it

;

while the foliage on the capi-

of spires or pinnacles, bear evidence

has been imitated, although somewhat clumsily, from nature.

rated and perpendicular styles of Gothic,

we have an

In the deco-

endless variety of geometric

combinations, and a profusion of natural foliage, skilfully and delicately carved

â&#x20AC;&#x201D;the

natural form of the plant or leaf imitated being closely followed in every instance,

and every

and the

peculiarity minutely

and

carefully delineated.

fern, together with the leaf of the

The

oak, the ivy, the vine,

dock and parsley, were sculptured with

ESSAY ON ORNAMENTAL ART.

2G wonderful

fidelity,

and introduced with the most

more

representations of homely objects being delineations of leaves, plants,

whole range of ornamental art

felicitous effect

readily

the value of these

;

and appreciated than

felt

and flowers of foreign production.

than the free combinations of

finer

is

Nothing

in the

soft luxuriant

which the chief points of these Gothic structures were adorned.

foliage with

Crockets, pinnacles,

finials, capitals,

bosses and pendants, were

all directly

copied

from nature.

The ornaments were judgment.

also selected with singular taste,

and arranged with great

So judiciously, indeed, were they distributed, that a celebrated writer

has remarked, that

'

the ornaments, although profusely used, might have been

In connexion with these

out, without impairing the general effect of the building.' skilful

adaptations from nature, the structures of the period alluded to were enriched

by an endless foils,

left

variety of geometric figures, such as circles, trefoils, quatrefoils, cinque-

&c, suggesting

ideas of correct construction

and symmetrical harmony.

In the

proportions of these beautiful edifices, in the groinings of the ceilings, in the tracery

symmetry of the

shafts

and columns, and

of mouldings, capitals, string-courses, niches,

and canopies, we

of the windows, in the

tion of geometrical forms with natural foliage

most admirable

effect.

a designer's taste

is

Such specimens,

regulated by the

how

to enrich

combina-

abundant proof, that when

principles of proportion,

Let him

too largely from the great storehouse of nature.

symmetrical form, and then study

find the

constantly occurring, and with the

therefore, yield

first

in the enrichments

it

first

he cannot draw

learn to produce a

with befitting adornment.

In the colouring of Gothic decorations, the positive colours were invariably used in their fullest intensity,

and with the

richest

and most harmonious

times they were used sparingly, at others profusely to ceiling, with red, blue,

and

gold.

key-note to the general harmony, and ceilings,

and

floors,

;

The painted its

power and

effects.

Some-

the structure glowing, from floor glass in the

windows gave the

brilliancy required that the walls,

should either be studded or entirely covered over with the most

vivid colours.

This necessity doubtless suggested the introduction of those oi'na-

mental

many specimens

tiles,

in ancient

so

of which have been from time to time discovered

Gothic churches, and the manufacture of which

extensively in England.

is

now

carried on so

In the colouring of the ornamental decorations, care was

always taken that prominence should be given to the chief points and features of the edifice, the receding and minor portions being painted in subdued tints, or in a

ESSAY ON ORNAMENTAL ART. less obtrusive

manner

;

and the decorators seem

to have

27

worked on

similar principles

with those formerly adverted to in connexion with the arabesques of the Alhambra,

and other Moorish decorations.

The

All the leading forms used in Gothic ornaments had a symbolic reference. trefoil

and

equilateral triangle, for example,

inclosed within a circle, the Trinity

and monograms were

also

much

were emblems of the Trinity

and Unity of Deity was referred

The

in use.

decorated in every conceivable manner

similar devices

were repeated

;

on the

and the

was introduced every where, and

cross

and monograms and emblems, having

;

and

robes, mitres,

aim of

chief

tical decorations was, to place continually before

On

all

croziers of the priests,

these splendid ecclesias-

In the palaces and man-

faith.

sions of that period, the ornaments are also full of appropriate

heraldic blazon of the noble families to

prominent feature

;

and the

the fur-

the eye signs or embodiments of

the leading and peculiar features of the Christian

The

and when

Emblems

to.

reference to the three persons in the Godhead, were largely employed. niture of the churches, as well as

;

whom

emblems and symbols.

they belonged always forms a

entire system of Gothic decoration

may

with propriety

be termed an extended and comprehensive system of heraldry.

The

illuminated missals of the Middle

beautiful, in

more

Ages are characterised by much that

Nothing can be conceived

form and colour, in design and execution.

delicately

elaborated than

some of these

is

exquisite

teeming with thought, and pregnant with meaning, there

is

Always

productions.

no source from which

a

designer can derive more benefit, than from these storehouses of design.

The gradual blending

of the castle with the mansion, which took place in the

reigns of the latter Henrys, led to a

demand

for

ornamental decorations in con-

nexion with domestic architecture, which had never previously obtained in England,

and which houses,

at length

known by

produced those comfortable and highly-ornamental mansion-

the term Elizabethan.

In the reign of Elizabeth, the nobility and gentry vied with each other in the erection of splendid

and profusely decorated mansions

tions are not always characterised lity of invention,

;

and although these decora-

by harmonic proportion, they display great

and have a picturesque

effect,

ferti-

which renders them exceedingly

attractive.

The complexity markable, rendering

of form and enrichment in Elizabethan ornament it

extremely

difficult

to

is

very re-

discover on what principles

it

was

ESSAY OX ORNAMEXTAL ART.

2S based,

combines a greater variety of leading forms than any other school of

It

decoration

;

and

foreign styles,

several of

and

diately preceded

its

features

The

introduction.

and

seem

to

have been selected from a variety of

have been grafted on the home-bred Tudor, which imme-

to

are peculiarly English dants, pinnacles,

its

;

chief portions of the architecture, however,

and although most of the mouldings

ceilings are essentially

are

Eoman,* the pen-

Gothic in their leading features, while

the ornamental window-tops and brick chimneys were features in the street architecture of that period not found any where but in England.

At an

early stage of Elizabethan architecture, heraldic badges were adopted as

leading ornaments; and the rose, thistle, fleur-de-lis, and pomegranate, are very freely used, either as central points to window-tops, or as finials to the pedimented fronts of that period.

much

in use;

Grotesque and

and on the

scroll shields, containing armorial bearings,

scroll turnings of the shield, pinnacles

perched, while at other times they projected

characteristic are perforated,

bethan and,

for the

directions from the various

all

and bound round the centre with

scrolls are generally imitations of

when used

were frequently

Pinnacles are possessed of great variety of form

angles of similar ornaments.

most

in

were also

ground- work of

paper or parchment

fillets.

scrolls, half

shields, their effect in light

;

the

Eliza-

unrolled

and shadow

;

is

picturesque and powerful.

In Elizabethan ornament,

fines are to

be found at every degree of obliquity.

Oblong squares and angular diamonds are often placed or

bound together by

trefoliated or zig-zag borderings,

every conceivable variety and combination.

in rows, relieved, surrounded,

which are to be met with

in

Squares, ellipses, circles, and rigfit-

angled figures are inlaid or surrounded with bands and garters, which are either perforated or interlaced, or appear to be fixed on with bolt-heads of various shapes

and

sizes,

The

ellipse is

sometimes resembling bosses, sometimes square or octagonal nail heads. very frequently used as a centre, surrounded with scroll-work, and

studded with numerous

bolts, which,

idea of timber framing, morticed

when used even

and bolted

are also copiously imitated, both in carving this

is

together.

in stone-work, suggest the

Jewels and precious stones

and colouring

;

and

carried to such an extent, that the entire detail of the

in

some instances

ornament seems an

imitation of jewellery.

*

The egg-and-dart moulding

of the Elizabethan style

is little

removed from that of the Eoman.

ESSAY ON ORNAMENTAL ART.

29

Elizabethan ceilings are pannelled in every conceivable manner, richly moulded, with an immense number of angles

and

;

in

many

of the richly carved oak ceilings of

that style, a great variety of geometrical figures are apparent, although in arrange-

ment and proportion they are

deficient in that

harmony and symmetry

Moorish and Gothic decorations are remarkable. have generally a rich perforated

which are enriched by

pilasters,

holes,

effect,

Soffits,

and

for

corbels or brackets

and the backgrounds of many pannels and

fret or

scroll

ornament, are pierced with small

which gives the ground a frosted appearance, and by contrast, renders the

ornament more

The

effective.

intermixed, perforated, and bolted ornaments, found in the window-tops of

Elizabethan mansions, are sufficiently eccentric, and are chiefly composed of

and

which

volutes, joined

centres,

by horizontal, perpendicular, and angular

surmounted with pinnacles, and interlaced with

scrolls

bars, with jewelled

The

laurel or flowers.

inter-

twining of the different members, in such cases, gives the ornament a soft and plastic effect

which

is

exceedingly agreeable.

All sorts of quaint devices, generally finished in the most elaborate manner, are to be found in the carvings of that period.

Grotesque heads,

nondescripts, are frequently introduced, the effect of which

is

satyrs,

and other

sufficiently graphic

;

investing the design with a conversational character perhaps not otherwise attainable.

Still,

however, such expedients are questionable, suggesting incongruous and

discordant associations.

It has

been frequently asserted, that the Elizabethan

produced by a blending of the Italian with the Tudor, that in the former there are

some

to believe that the trifoliated

observable

style of

â&#x20AC;&#x201D;and we have

features undeniably Italian

and

ornament has been

;

already admitted

but we

incline

tasselled terminations, with other peculiarities

throughout Elizabethan designs, had been originally imported from

Central America, and a careful perusal of the works already adverted

nexion with the recent discoveries in that interesting country, to

still

produce a general conviction that

many

New

without due consideration.

Spain

will

we

con-

think, go far

of the details in Elizabethan ornament

are founded on the examples found in ancient America.

from Dupaix' work on

will,

to, in

show that

The

this opinion

following example

has not been formed

ESSAY ON ORNAMENTAL ART.

30

The ornamental decorations estimation.

They

elegancies of

life

bines

many

of Italy have been long

and

are at once elegant

found among a

lively

in high

and harmonize well with those

and refined people.

Italian

ornament com-

of the beauties of the ornamental decorations of ancient Greece and

Rome, and without aiming

at

flowing and luxuriant.

composed

It

is

classical

ceilings,

—

simplicity or symmetrical

chiefly of leaves, tendrils,

nothing can be finer than the foliated

on the

lively,

and deservedly held

scrolls

on the

friezes,

proportion,

and flowers

—the

;

is

and

pateras or roses

or the enrichments on the cornices of Italian apartments.

Angles

are rarely found in these compositions, their leading features consisting chiefly of

ovoid and circular curves.

ornamented

friezes,

playfully twisting

among

Figures are frequently introduced into the foliated

and are generally represented sportively engaged and twining the leaves and

the foliage or flowers

;

and

the effect exceedingly pleasing. are given in this like those in

work

—

in all

The

tendrils,

are characterised

—

some game,

or concealing themselves

such examples, the design

pateras or roses

in

scroll

is

graceful,

and

of which several specimens

by great richness and

variety,

Gothic pendants or bosses, are plastic and natural

—the

—the

leaves,

flowers rich

ESSAY ON ORNAMENTAL ART. and

and doors are panelled

Ceilings, walls,

varied.

in the

31

most elegant and

manner, and these panels are enriched by every variety of arabesque, characteristic painting.

geous manner

and

cones,

and every portion of the

;

well as decorated in a

degree of

Domes,

soffits

and

and a high

state of social refinement,

artistic excellence.

cultivation afterwards

its

Italian style of architecture

by Wren, tended

Many

elevate the artistic feeling of the country.

mansions and palaces are in

this

and a

style,

to refine the

large proportion

of the beautiful

and door-pieces, which adorn these

are admirable, both in conception

and execution.

immediately preceded of design,

and

structures,

Like the Elizabethan, which

the Italian style admits of almost every

introduction,

its

modern

of our fine

balconies, balustrades, window-tops,

variety

therefore attractive to artists of inventive genius,

is

prefer following the dictates of fancy to obeying the stern injunctions of rule.

accordingly, that

find,

and

interiors of Italian villas are furnished as

manner evincing a high

England by Jones, and

taste

historical,

are embellished in the most gor-

There can be no doubt that the introduction of the into

fanciful

it

has always been a favourite with painters

Raphael himself not deeming

it

unworthy of

The

decorations on the walls of the Yatican.

Grruner, gives a vivid idea of the rich interiors of Italian palaces are adorned,

who

We

;

the divine

his genius to execute the

ornamental

celebrated

work recently published by

and harmonious colouring with which the

and may be perused with much

profit

by

those whose tame and insipid taste would banish every thing like colour from the

and

walls

ceilings of our apartments.

The arabesque

or grotesque style of decoration anciently practised in

afterwards imitated by Raphael,

withstanding are

its

is

generally associated with Italian art, and, not-

intermingling with

its

playful

combinations.

appears to have taken a correct view of the matter, thus describes is

now represented on

place

walls but monsters, instead of true

of columns there are slender reeds,

nothingness.

and execution,

incongruities, paintings of high merit, in conception

often found

;

all

Yitruvius, it

â&#x20AC;&#x201D;

:

and natural

'

who

Nothing

objects.

In

and temples are supported on mere

Demi-figures spring from flowers

with the heads of beasts

Rome, and

â&#x20AC;&#x201D; some

with

human

faces, others

things which never have, or ever can be.

Such

designs are not to be esteemed, inasmuch as they are not consonant to nature and reason.'

There

is

great force and truth in these remarks,

and they are

as applicable

ESSAY ON ORNAMENTAL ART.

32 to

some

own

of the decorations recently executed in our

country, as they were to

those in the time of Vitruvius.

whether

Italian ornament, alto

in

in marble, stone, plaster, or painting, in has relief, or

always aims at complete deception

relief,

harmonious flow of

and balance of

line

and

;

by which the

colour,

Italian structures are pervaded, always renders

them

made up

of the

trosities are introduced,

the colouring brightest gold

may be offended, the eye is By way of introduction to

an offshoot of the

Italian,

is

most unnatural combinations,

invariably delighted. to a brief notice of the it

may here

French

be mentioned that

have obtained the admiration of

combined nature and laid

Even when mons-

pleasing.

always agreeable, and although the ^Esthetic taste

be admired, they were those of Watteau, whose

sitions,

interior decorations of

the light and massive portions of the composition are so gracefully

linked together, that the effect

is

detail

together with the

containing every tint from the deepest purple to the

so rich,

is

;

and the

this,

art so gracefully,

if

â&#x20AC;&#x201D; rendered

ornament, which

ever any grotesques were

lively designs,

No

nations.

all

style of

and elegant compo-

painter, perhaps, ever

extravagance so pleasing,

flowers,

and

hills

and

valleys, streams

trophies of peace

waterfalls,

and war, scenes of

Take

compositions.

all

it

in

all,

and

trees, plants, leaves

merriment and of courtly

rustic

make up

pageant, diversified by scenes of touching pathos or broad humour, delightful

or

Rocks

such a variety of objects under contribution to effect his purposes.

and mountains,

â&#x20AC;&#x201D;

we know no

his

style better suited for

boudoir or arbour decorations than the charming compositions of Watteau, and his success in that department shows that no artist, whatever be his standing, ought to

consider the decorative art beneath him. exercise of genius, attributes of high art

and genius can ;

â&#x20AC;&#x201D;

at

grace, dignity,

decorators are artists of eminence

;

It

seems an admirable

any and

at

all

and expression.

field

times invest

it

the

for

with the

Many of the modern French

and the decorations of

and

palaces, theatres,

public buildings in France, are remarkable for beautiful and appropriate design, as well as for rich

and harmonious colouring.

British artists do so likewise?

unworthy

them

rival to that

in this

more

The Reading

useful

They have

of France,

And

why,

it

may

be asked, should not

established a school of high art,

and why should they not endeavour

though perhaps more humble department of

art

to equal

?

character and general detail of the French style of ornament

be described very

briefly.

It

is

much more

irregular than the Italian,

no

and

may

full

of

ESSAY ON ORNAMENTAL ART.

33

Angles and curves, of every possible kind, are found

quaint conceits and devices.

thrown together without method or arrangement, and pannels are met with of the

most irregular form, and in many instances without correspondence or balance between the opposite

Flowers,

sides.

into these irregular spaces,

and redundant ornament.

fruits,

animals,

and landscapes, are introduced

which again are surrounded and surmounted with flowing Yet, strange as

it

may appear,

notwithstanding this want

of rule, of balance, and of consistency, the effect of these compositions pleasing

;

nay, in

many

cases, the greater the contrast

regular design the ballancing portions, the sorts of volutes, scrolls, shells, foliage

of ornament,

style

and

more

between what

striking

figures, are

is

is

generally

termed in a

is

the general

All

effect.

introduced into the French

and the centre points are frequently composed of

shells half

covered with foliage, suggesting a similar idea to that of the Acanthus and the basket

Fish

in the Corinthian capital.

are also

much used

scale, lattice-work,

The

in brackets, tables, shields, &c.

ribbed, others perforated, others

composed of

and eccentric curved panneling,

shells,

others of flowers and fruit.

the arrangement of the different members, every liberty

the various portions of detail If they are well

may

colouring.

taken, and in some cases

effect is invariably agreeable.

In colouring, the. French are not so outre as

many

is

In

be cut asunder, and re-arranged in various ways.

drawn and contrasted, the

Paris, exhibit in

bodies of some designs are

is

generally imagined.

The Cafes

in

instances, specimens of chaste simplicity, both in design

and

heightened with gold, was

first

It is well-known, moreover, that white

introduced in connection with the French style of decoration

one opinion of the delightful

effect

;

and there can be but

produced by that light and beautiful combination.

In drawing-room furniture, the French style has been extensively adopted, and the

drawing-room or boudoir seems

its

legitimate

place.

It

appears, however, an

incongrous association, when we find mirror-frames, candelabras, couches, chairs, tables, books, curtains

"

La

and

carpets, rejoicing in the fantastic forms

and gay colours of

Belle France," in juxtaposition with the architectural ornaments and details of

classic

Greece.

We

have now, as originally purposed, given a brief account of the nature and

peculiarities of the various

modes

of embellishment and styles of decoration invented

and practised by

different nations

principles which

seemed worthy of

;

and, while recommending certain features and imitation,

we have endeavoured

to impress

upon

ESSAY ON ORNAMENTAL ART.

34

the ornamental designer, the propriety of looking to Nature herself as the great

primal source of It

was

.also

beauty.

all

originally intended to have entered into a careful examination of the

present state of the ornamental

and of

dress, of furniture,

arts, in

connection with the manufacture of articles of

vertu, as well as with the decorations of public structures

and private dwellings, both externally and

As

internally.

this

important inquiry,

however, could not be comprised within the limits to which this work for the present,

has been deemed advisable to reserve

meantime, to conclude

in the hints,

it

may be found

which

it

whom

restricted

for another occasion, and,

remarks and practical

this essay with a few general

useful to those for

is

this publication is specially

intended.

On

looking at the productions of Nature,

of colour

and design.

mountain

its

the stream

The grey crag has

we

its

wild flowers

;

and adorn, and suggesting,

them

its

glossy foliage,

at the

same time, how much ornamental

materials for their development.

the higher departments of as well as

more elegant

art,

to

make

In

and from her storehouse

this,

however, as well as in

the artist will be enabled to produce more original,

designs,

by being intimately conversant with these works,

which have been long and generally admired. first place,

en-

detail

art.

decorative arts, then, are evidently founded in Nature,

we must draw the

and the banks of

showing the constant propensity of nature to beautify

hances the attractions of the most symmetrical works of

The

exhibiting every variety

green moss or verdant lichens, the

purple heath, the bough of the tree

its

find

The

decorator ought, then, in the

himself familiar with the various styles of embellishment, and

afterwards endeavour to obtain a clear idea of the elements of symmetrical proportion, as applicable to

various ways, but writers

is

ornamental composition.

by no means

recommend the study

This knowledge

so easily acquired as

is

the elements of beauty and harmony.

We

be attained in

generally imagined.

of geometry for this purpose;

diligent application to Nature, asserting that in flowers

may

Some

others, a close

and

and plants may be found

all

should say that both are necessary, and

that the progress of the artist will be materially facilitated

if,

while studying Nature

and geometry, he makes careful observation of the approved models of

antiquity.

In treating of geometry in connection with symmetrical proportion, writers have differed widely, ellipse,

some giving the preference

however, seems

now most

to one figure

and some

generally preferred, and

its

to another.

The

importance in orna-

;

ESSAY ON ORNAMENTAL ART. mental design

now

is

Our own

universally acknowledged.

another treatise connected with

art,*

35

opinion, as expressed in

that the preference of the ellipse to the

is,

an advanced stage of refinement, as evidenced by the prevalence of

circle evinces

ovoid curves in Egyptian and Grecian architecture, as well as in the celebrated

The

vases of Etruria.

circle

generally preferred

is

by man

in his primitive state

but, after a careful examination of the productions of Nature, he

becomes sensible of

the prevalence of the ellipse in every branch of the animal and vegetable kingdoms.

However of

all

circular their

arrangements

plants are elliptic

;

may

be, the petals of all flowers

and hence the introduction of the

compositions always produces a pleasing

and the leaves

ellipse into

ornamental

effect.

Perhaps, however, the most important element in symmetrical arrangement in

ornamental composition,

is

monic proportion, and the arranged and ellipse,

an

classified.

always

ellipse,

make

capabilities different

a harmonious combination

the leading principles of proportion

by

artists of

;

but

if

circle, or

rhomb and

a square be placed beside

and you have a pretty accurate idea of

â&#x20AC;&#x201D;a knowledge without which

undoubted

the

a discordant or inharmonious arrange-

is

this principle to other forms,

are committed, even

forms possess of being harmoniously

For example, the square and the

or a circle beside a rhomb, there

Extend

ment.

the relation which one form bears to another in har-

egregious blunders

talent.

After a symmetrical leading form has been obtained, the ornamental decorations with which

it is

be adorned ought to be carefully considered.

to

crude, inharmonious, or incongruous, the faults are rendered

more apparent

quence of their contrast to the symmetry of the general design. of elliptic or ovoid curves, suggests elliptic or ovoid leaves cular curves

is

suggestive of circular arrangements

trifoliated or quatrefoliated

position

is

to a picture.

entire sentiment It

ought

ornament.

Without

and conception

also to

broken and

a form composed of cir-

is

to

ornament what com-

no concentration, no unity, and the disjointed.

The

finest

work of ornamental

decoration.

lines

is

The one enhances

forms in Nature are composed of similar combinations

* Treatise on Painted Glass, showing Ballantine.

is

composed

while an angular form suggests

This combination there

A form

in conse-

be remembered, that a balance of straight and curved

indispensable in every extensive

the other in value.

is

it,

;

;

If the detail be

London, Chapman and Hall

;

its

applicability to every stylo of Architecture,

Edinburgh, John Menzies.

;

by James

ESSAY ON ORNAMENTAL ART.

36

and without such contrasts, the general Variety, as well as regularity,

insipid.

A

knowledge of botany

is

effect of

ornamental designs

is

tame and

requisite in all symmetrical compositions.

is

indispensable to the ornamental designer.

He

ought

not only to be familiar with the form and colour of the different plants and flowers,

but he ought also to be acquainted with their nature and qualities, and he

will

thus

be enabled to avoid those incongruous associations of poisonous weeds and healthy flowers which

we

find often marring otherwise

The

good designs.

trophies of war

now

are no longer in repute as emblematic decorations, their place being

supplied by more agreeable objects of Nature, suggestive of peaceful

â&#x20AC;&#x201D;by

observed, that

'

this

improved and improving

the

first

grand

system of rules borrowed from Nature alone. ideal, and,

and other productions

fruits, flowers, plants,

and pleasing thoughts, and the aim of the decorator

ought to be, to foster and encourage

"Wmckleman has

happily

taste.

style of the arts consisted of a

Afterwards

artists

plunged into the

having abandoned truth in their forms, worked after the adopted style

rather than Nature.'

To

this

it

may

be added, that the main use of studying other

ourselves acquainted with their peculiarities,

are the leading characteristics of the antiquity.

is

to learn that

styles,

Nature and simpkeitv

most approved specimens of the works of

To copy them without knowing and

feeling this truth,

merely mechanical process, from which no. useful improvement can can be no good reason, in a country like

and where the beauties of nature are

and making

this,

where a love of home

is

to perform a

result. is

There

so prevalent,

so abundant, that our dwellings should be

adorned with an indiscriminate and slavish adaptation of the ornamental embellish-

ments of other times and other countries. tion

from Nature; and hence that truthfulness of delineation

excellence

and

consists,

for

which

While, therefore, the decorative

they have

artist appreciates

designs of other times and countries, he to Nature.

of

all

Hogarth and Wilkie drew

art

â&#x20AC;&#x201D;

By no

in

their inspira-

which their great

obtained universal

approbation.

the excellence of the ornamental

must eventually go

to the fountain-head

other means need he hope to attain the paramount excellence

originality.