BOUGHT WITH THE INCOME 
 FROM THE 
 
 SAGE ENDOWMENT FUND 
 
 TEfE GIFT OF 
 
 1891 
 A'SAinjD. /!^|9fg.3... 
 
^SiiffiffinJaLteghteman and designer- 
 
 olin,anx 
 
 3 1924 031 247 517 
 
Cornell University 
 Library 
 
 The original of tliis book is in 
 tine Cornell University Library. 
 
 There are no known copyright restrictions in 
 the United States on the use of the text. 
 
 http://www.archive.org/details/cu31924031247517 
 
THE 
 
 OENAMENTAL DEAUGHT8MAN 
 AND DESIGNER 
 
 BEING A SEMES OF 
 
 PEACTIOAL INSTETJCTIONS AND EXAMPLES OF FBBBHAND DRAWING IN 
 
 OUTLINE AND FEOM THE BOUND, EXAMPLES OP DESIGN IN THE 
 
 VARIOUS STTLBS OP ORNAMENT ADAPTED TO PRACTICE; 
 
 TOGETHER WITH A SERIES OP PRACTICAL PAPERS ON 
 
 FOEM AND COLOUR, 
 
 AS APPLIED TO INDUSTRIAL DECORATION 
 AND ART MANUFACTURES 
 
 BT SETEEAL PRACTICAL DRAUGHTSMEN AND DESIGNERS 
 
 A£RANGED B'S 
 
 ROBERT SOOTT BURN 
 
 Editor qf " The Illuilrated Drawing Book," " The Building and Mcuhine Draughtsjnan," etc., etc. 
 
 MxilS 19 ^aMns ftos »M3)f 75 ^mtxidaam 'm 9t^ 
 
 WAKD, LOCK, BOWDEN AND CO. 
 
 LONDON: WARWICK HOUSE, SALISBURY SQUARE, B.O. 
 
 NEW YORK: BOND STREET 
 MELBOURNE: BT. JAMES'S STREET. SYDNEY: YORK STREET 
 
 1892 
 
 {dtt rights raerved.) 
 
%}xe "fraxtical ^xchaitic" Sttite oi 
 
 Uniform with this Volwma, 
 Th& Btonemason and Bricklayer. 
 The Domestic Houae Planner and Sanitary 
 
 Arcliitect. 
 Xhe General Maclilnlst; or, MacMne-Maker. 
 Xbe Building and Machine Sraughteman. 
 Xhe Carpenter and Jotaer. 
 
 London: WAED, LOCK, BOWDBN AND CO. 
 
PEEFACE. 
 
 The art of delineating representations of the varied and ever- 
 varying objects which external Nature presents, as for example 
 in the foliage of the tree or the petal of the flower, in giving 
 place to the designs in the first instance, or of_ copies or 
 representations of objects already made of what are generically 
 designated as artistic, and finally in showing the various 
 combinations of lines, curved and straight — the only two 
 classes of lines in decorative design — has always occupied a 
 high place in the routine of what is generally known as an 
 artistic education. 
 
 The estimation, indeed, in which it has been held by a 
 people, the degree of efficiency or finish which those who 
 follow it have attained, have been often taken, and by 
 high authorities in history, as a mark of their civilisation 
 or that proficency in the arts at which they have arrived. 
 Without, however, claiming for it this high position as one 
 of the tests of social progress, one may with all safety give it 
 a forward place in what constitutes a finished education. No 
 system of tuition can be said to be complete which does not 
 include the art of drawing as a part — ah essential and im- 
 portant part — of it. It is scarcely necessary to add that it is 
 that branch or part of the general subject of drawing or 
 delineation to which the name of " ornamental " or, as it is 
 sometimes called, " freehand " drawing, that is here referred 
 to. This is obvious from the very title of the volume to 
 which these lines are the preface. 
 
IV PEBFACE. 
 
 At one period in the history of the education of our people 
 a knowledge of the art of freehand or ornamental drawing 
 was confined almost exclusively to the wealthier classes, or 
 to those who were intended to follow art in one or other of 
 its branches as a profession or means of livelihood. This was 
 the state of matters up to within a very recent period. It is 
 indeed only within the last decade or two that the public mind 
 has received an impetus on the subject — been impressed with 
 the importance of communicating a knowledge at least of the 
 principles of the art to All classes, of making it form a part 
 of every-day education. 
 
 This new, and in every way important and useful, view of 
 the subject has had its rise in a conviction that the art of 
 drawing per se — a capability to use the lead pencil or the 
 chalk crayon in delineation, in giving representations of 
 form in all the combinations with which it is met in nature 
 and in art with as much facility and readiness as one uses 
 the pen in writing or in figuring — ^is really of great practical 
 utility in every branch of business. It is not merely that this 
 facility to delineate forms of objects as they actually present 
 themselves to the eye is necessary in certain branches of 
 business, as, for example, in the art of the industrial designer 
 and decorator — in such cases it is simply essential — but it is 
 that the facility " to draw " (to use the popular expression) 
 gives a readiness to appreciate the beauty of " form " and to 
 apply such knowledge as one acquires of it to a wide variety 
 of useful purposes, many of which have no apparent connec- 
 tion with what is designated and known as art and artistic 
 work. 
 
 But while this is true, an extension of what is involved, in 
 it should not be ignored or overlooked — and this is, that a 
 knowledge of freehand drawing is of the greatest practical 
 value, even to those who are studying for, or are practically 
 engaged in, constructive work of different kinds. Thus the 
 
PREFACE. V 
 
 engineer, the macMnist, or the carpenter and builder, will find 
 a knowledge of freehand drawing calculated to aid his work in 
 the most directly practical of ways. It may indeed be said with 
 perfect accuracy that the conviction of this truth will forward 
 the purely constructive work of these branches of industrial 
 technical work in a way much more direct and practical than 
 could at one time have been conceived likely even by the most 
 sanguine of those who a few years ago began to advocate the ex- 
 tension of a knowledge of freehand drawing amongst all classes 
 engaged in technical work. It is of course quite unnecessary 
 to note that a knowledge of freehand or ornamental drawing 
 is absolutely essential to the Architect, and should in no case 
 be neglected by those who — as practical builders, masons, 
 carpenters, joiners — desire to gain this the higher position in 
 the art and science of architecture. 
 
 As regards the character of the present volume, and the 
 principle upon which its matter has been prepared and its 
 examples selected, little is needed to be said more than this : 
 — That the leading principle is the beginning with the 
 simpler lines and combinations of lines ; each example, or 
 lesson as it may be termed, is so designed specially as to lead 
 up to the example or lesson next in succession. Thus each 
 advanced lesson cannot be mastered until the pupil or draughts- 
 man has thoroughly understood and been able to draw the lines 
 which make up the example immediately preceding. The pupil 
 is thus led up by a regular gradation of lessons or examples 
 from the simplest to the most complicated of subjects ; and 
 having thus a foundation, he is able to build up, so to say, 
 with security and certainty of result the more important 
 departments of his study and practice. 
 
 This principle is carried out in every department or series 
 of lessons, and is rigidly insisted upon as being essential to 
 be followed if satisfactory progress be deemed desirable. In 
 addition to the lessons and examples of ornamental and 
 
VI PEEFAOB. 
 
 decorative work — all of which are designed upon the leading 
 principle above noted — it has been deemed advisable to add 
 a section illustrating the important department of " Form and 
 Colour applied to Industrial Decoration." Here, again,the same 
 principle is rigidly adhered to, of "beginning at the begin- 
 ning," and " laying a foundation " upon which all the examples 
 and lessons are based. . In addition to the large number of 
 illustrations given along with the text, a series of plates, 
 containing a very wide range of examples of ornamental 
 drawing, is given. These, together with the matter given 
 in the text and the remarks on colour, make up a volume 
 which, for richness of illustration and for the fulness and 
 the clearness of its instructions, will be found, the Editor 
 ventures to hope, of the greatest practical, business-like 
 utility to the numerous classes to which a knowledge of free- 
 hand or ornamental drawing is essential, as well as to the 
 perhaps still larger section of those who are being educated 
 in whiat is known generally as a liberal education, to whom, as 
 we have shown,, a facility to delineate objects of all kinds is 
 at once attractive and useful. 
 
CONTENTS. 
 
 THE ORNAMENTAL DRAUGHTSMAN. 
 
 PAOK 
 
 Introductory . 1 
 
 Design in its Teolinical Sense ... 2 
 
 Ornament — Ornamental Construction 2 
 
 The Art of Ornamented or Ornamental Construction, or the Technical De- 
 I partment of Art Manufactures, of but Recent Introduction . . . .S 
 Sundry Considerations affecting the Work of the Ornamental Draughtsman 3 
 Essential Importance of Mastering the Elements of Ornamental Drawing . 3 
 The Lines of every Form, whether in Nature or in Art, reducible to Two . 4 
 Ability to draw accurately the Two Classes of Lines essential to the Young 
 
 Draughtsman 6 
 
 The Materials employed in Ornamental Drawing — The "Tools" of the 
 Draughtsman in his Earliest or Elementary Work — DifEerent Materials 
 and the Methods of using them explained — Slate and Pencil System . 5 
 The Cheap Cartridge Paper and Charcoal Pencil or Crayon System for 
 
 Elementary or Groundwork Lessons in Ornamental Drawing . . 6 
 The Pen-and-ink and Scrap-paper System for Elementary Work of the 
 
 Ornamental Draughtsman 7 
 
 The Black-lead Pencil and Drawing-paper System for Beginners in Orna- 
 mental Drawing 8 
 
 The Kind or Class of Materials the Student is to be provided with . . 9 
 First Lesson in the Drawing or the Copying of Straight Lines— Vertical 
 
 Lines 9 
 
 Second Lesson in the Drawing or the Copying of Straight Lines — Hori- 
 zontal Lines 11 
 
 Third Lesson in the Drawing or the Copying of Straight Lines — Angular, 
 
 Sloping or Oblique Lines 12 
 
 Important Point to be considered by the Student at this Stage of his 
 
 Elementary Work 14 
 
 Fourth Lesson in the Drawing or the Copying of Straight Lines — Combi- 
 nations of the Glasses of Lines of the Three Preceding Lessons . . 15 . 
 Examples of Straight-lined Figures — Elements of Ornamentation or Artistic 
 
 Decoration 16 
 
 Importance of Straight-line Drawing to the Ornamental Draughtsman . 21 
 Lessons in the Drawing or the Copying of Curved Lines— Some Considera- 
 tions connected with them 24 
 
 First Lesson in the Drawing or the Copying of Curved Lines . . .27 
 
vm CONTENTS. 
 
 PAGE 
 
 Second Lesson in the Drawing or the Copying of Curved Lines . . .29 
 Third Lesson in the Drawing or the Copying of Curred Lines . . .29 
 Eecapitulatory Remarks on the Foregoing Elementary Lesson in Straight 
 
 and Curved Lines . 31 
 
 Sabjects for the Student to Copy 35 
 
 Continuation of Subjects for Copying — Vases and Fruit . . . .38 
 
 The Student's First Studies in Ornament 42 
 
 Shading 64 
 
 THE TECHNICAL POINTS CONNECTED WITH THE EM- 
 PLOYMENT OP FORM AND COLOUR IN INDUSTRIAL 
 DECORATION. 
 
 Introdiictory 79 
 
 Decoration of Form 79 
 
 True Decoration does not interfere with the Nature or Utility of Form , 81 
 The Principles of Surface or Flat Decoration. — Outline and Colour . . 83 
 
 Of Pure Outline or Form. — Principles of Decoration 85 
 
 Colour in Decoration. — Importance of the Subject 87 
 
 Definition of the Term "Colour" 87 
 
 The Three " Primary Colours," or " Primaries " of the Chromatic Scale . 88 
 The " Secondary" and " Tertiary" Colours, or the " Secondaries" and the 
 
 " Tertiaries " of the Chromatic Scale . . . . ' . . .89 
 The " Complementary Colours." — Definition of the Term. — Colours comple- 
 mentary to the Primary Colours 89 
 
 The Colours complementary to the Secondary Colours 90 
 
 Importance of attending to Tone of Oolours 90 
 
 " Warm " and " Cold " in Colour. — What is conveyed by these Terms . . 90 
 The True Shades and Tones of Colour only found in Natural Objects. — : 
 
 Defects of Colour in Pigments made by Man ..... 91 
 Important Points to be considered in connection with Colour in Natural 
 Objects. — Variety not obtainable only when more than One Colour is 
 present in the Object. — Variety of Shades or Tones even in One- 
 Coloured or Monotone Objects 92 
 
 Great Powers of Patient Observation necessary to the Bight Study of 
 Colour and Colouring Effects of Nature. — Study Essential to the 
 
 Decorative Artist 92 
 
 Patient, Observant Study of Nature essential to the Artist . . . .93 
 
 Gradation of Form 104 
 
 Effect of Distance in Drawing Objects 110 
 
 The Artistic BfEects of Natural Objects HI 
 
 Harmonious Treatment of Colour in Industrial Decoration . . . .115 
 General Principles, Canons, or Eules connected with the Application of 
 
 Form to the Decoration or Ornamentation of Objects of Industrial Art 118 
 The Adaptation of Natural Forms, and of those Forms Conventionalised or 
 Altered in their Original and Specific Characteristics to the Practical 
 
 Work of Industrial Decoration 12o 
 
 General Principles influencing the Adaptation of Form to Industrial Deco- 
 ration 12g 
 
THE OENAMENTAL DEAUGHTSMAN. 
 
 Introductory. 
 
 It is only of late years that the art of Ornamental Drawing has 
 taken a place as one of the departments of technical work ; or rather, 
 as it may perhaps be the more accurate way to put it, as an indis- 
 pensable adjunct to certain branches of the technical arts and manu- 
 factures, tending by its services to add that high value to their 
 products which correct design is so well calcula,ted to ensure. Nor 
 need this be much matter of surprise, for it is in truth only of late 
 years that what for lack of a better term, is called technical work 
 has occupied a well defined position, as one of the factors which go 
 to make up the sum of those national industries which minister 
 so markedly to the national wealth, and the comfort and the luxury 
 of our people. The term " design " here used may be, and is in its 
 fullest sense, applicable to all branches of industrial work, for where 
 there is anything to be made its making is obviously dependent 
 upon design of some kind. And design in its strictest sense is, as 
 its name indeed denotes, the product of mind as applied to the doing 
 of any kind of work. To all the constructive arts design is abso- 
 lutely essential, as in the making of a ■ machine, the building of a 
 house, or in the construction of its furniture. But the term 
 " design " is in all those cases used here in its restricted — some may 
 say its widest — sense. But it is restricted in so far as it reaUy is 
 applied to the purposes of construction only. The machine might 
 be designed and constructed to work well ; the house built so that 
 one might live "comfortably" in it| the chairs might be made to 
 sit upon, after some fashion, easy or uneasy as the case might be ; 
 the tables to sit at and eat from, or do designing work upon ; and 
 the beds might suffice to give sound sleep. And yet of each and of 
 all it might be said that in no sense were they good for the artistic 
 taste to dwell, nor pleasant for the artistic eye to look upon. In 
 brief, a construction might serve its purpose and be in very truth 
 well " designed," so far as that purpose was directly concerned j but 
 
2 THE ORNAMENTAL DRAUGHTSMAN. 
 
 might notwithstanding be as ugly as could well be. Or, to lise the 
 common expression, any one looting at the construction would almost 
 intuitively or instinctively say, that it had "no beauty" — ^that it 
 was not " beautiful." The term construction here used is applic- 
 able to an enormously wide variety of objects and things^ — to every- 
 thing, indeed, " made " and fashioned by the patience, the skill, and 
 the energy of man. !N"ow, when we come to take up the canons or 
 rules of art, we shall find that all-^even authorities presumed or 
 assumed to be, or in reaUty such — are by no means agreed as to 
 the definition of the term " beauty," or in other words, what 
 constitutes the "beautiful." 
 
 Design in its Teclmical Sense. 
 We here use the term " art " in its more restricted sense, as con- 
 cerned only with objects directly produced by one or other of the 
 branches of trades, manufactures, or businesses now flourishing 
 amongst us; and as only in the remote sense connected with what 
 may be called high or pure art — ^ia which imagination or fancy gives 
 birth to a conception which is recorded in what we call a painting, 
 picture, or drawing, — whether it be an inanimate subject, as a land- 
 scape, or representative of some phase of life. In this restricted 
 sense the term " design," receiving or having given to it a definite 
 phrase or a technical term, may be, as it has been and often is, called 
 Ornamented or Ornamental Construction. We shall see here after 
 that there may be other terms by which the branch of technical 
 study to which this and succeeding chapters under our general title 
 will be devoted may be defined. For present purposes the name here 
 given as definitive of what ornamental drawing is, or the duties 
 of the ornamental draughtsman are, will be sufficiently clear and 
 explicit, as conveying even to the popular mind a fair conception 
 of them. 
 
 Ornament — Ornamental Construction, 
 
 For there are but few who, if they could not explain what they 
 understand by the term " ornament," certainly can do so quite well 
 enough for their own satisfaction. And although, like the terms 
 "beauty "and " beautiful " above alluded to, those of "ornament" 
 and " ornamental " are not definite and precise, but rather relative 
 and conventional, so that different definitions will be given by 
 different minds, — stiU there is with nearly all a point or points at 
 which one object can be said to be ornamental, or at least to possess 
 some claims to it, and another that it is not. Nearly every one 
 knows pretty clearly what is meant to be conveyed by the word 
 ornament ; everywhere one hears the phrase, " that is no ornament " ; 
 
THE ORNAMENTAL DEAUGHTSMAN. 3 
 
 and although no two would probably agree as to what true ornament 
 is, they would have no disparity of opinion as to the truth or fallacy 
 of the application of the term to any object. A tub, for example, 
 or a barrel, few would pronounce to be an orCamental article ; but 
 another vessel — to hold an equal quantity of water or beer — could 
 be made of such a form that it would at once be pronounced orna- 
 mental. And this although two, agreeing thus far, might never 
 agree as to any standard which each might set up by which he judged 
 of the relative purity of the ornamented or ornamental form of 
 the newly " designed " vessel. Ample illustrations of these remarks 
 will be found in succeeding paragraphs of the present subject; 
 but enough has been given by way of introduction to it. 
 
 The Art of Ornamented or Ornamental Constmction, or the Technical 
 Department of Art Mannfactores, of but Becent Introduction. 
 
 The art, as a branch of technical study, had no practical existence 
 but a few years — comparatively — ago. It is difficult, if indeed it be 
 really possible, to point out, not half a dozen, but three or four 
 branches of arts and manufactures, in which there was, we do not 
 say an honest attempt made, but a thoroughly practical and success- 
 ful system in existence by which ornamental design was applied, two 
 or three generations ago. The period at which the new and vastly 
 improved state of things was begun dated from or about the opening 
 of the Great Exhibition of 1851 — a generation ago, or a little more. 
 Then almost every branch of our arts and manufactures was simply 
 waiting to obtain all the advantages which the ornamental draughts- 
 man and designer was able to impart to it. 
 
 Sundry Considerations affecting the Work of the Ornamental Draughtsman. 
 
 Before proceeding to give our remarks on the principles of orna- 
 mental drawing, and the details of its practice, we deem it right 
 to place before the student sundry considerations respecting the Art 
 of Drawing in its widest sense. This to the superficial reader, who 
 merely glances at the few pages which are to follow may appear to 
 be, on the contrary to this, but a very limited sense; being apparently 
 applicable to the general artist, or as he is sometimes called the 
 painter of the ordinary class of works of art termed pictures, whether 
 those of landscape, historical, or figure subjects, or of both. 
 
 Essential Importance of Mastering the Elements of Ornamental Drawing. 
 
 It is a very trite and commonplace thing to say that there can be 
 no sound building without a sure foundation. StiU. the lesson which 
 this conveys is not seldom lost sight of in everyday work. And 
 
4 
 
 THE OENAMENTAL DRAUGHTSMAN. 
 
 while the truth of that other saying, that it is best in any work to 
 begin at the beginning, is not disputed by any one, still we fear that 
 its lesson is also sometimes overlooked by those who begin the study 
 of Ornamental Drawing. It is quite necessary that we should be- 
 come thoroughly grounded in the first principles of this particular 
 branch of the art, if we intend to develop our knowledge of it with 
 any satisfaction to ourselves, or with any reasonable hope of ultimate 
 success. The practice of "skimming "over the elements upon .which 
 alone true progress is based, is, we hope, unknown to the readers 
 whom we are addressing. He who would attempt to study Euclid 
 without first u.nderstanding the definitions, postulates and axioms — 
 he who would design a bridge without taking the foundations into 
 account — he who would become a chemist without an acquaintance 
 with the bases of chemical combinations — is just the kind of man 
 whom, we should expect to hope to become an ornamental draughts- 
 man with a contempt for the elements of design. Certainly not 
 more senseless would such a man be, than the young ornamental 
 draughtsman who refuses to do so much of downright beginning or 
 elementary work as is necessary to enable him to draw lines and 
 curves with equal facility and accuracy. We shall emphatically 
 insist upon the general truth of this principle aU the way through 
 this paper — namely, that which costs one nothing is worth nothing, 
 and that the value of a victory is to be estimated by its difficulty of 
 accomplishment. 
 
 The- Lines of every Porm, whether in ITatnre or in Art, reducible to two. 
 
 Has it ever occurred to the young ornamental draughtsman that 
 all the forms and combinations of forms, whether in nature or in 
 art, are bounded or terminated by two kinds of lines only, one 
 straight, the other curved ? It is exactly with drawing as it is with 
 every other art or science which can boast of anything like method 
 or system, that there are certain great central principles which give 
 birth to others ; and these in their turn, being generative, produce 
 what we may call principlets, and so on ad infiait-wm. One leading 
 or certain leading principles lies or lie at the root of any science, and 
 every principlet of the complete system springs either directly or 
 through ascending steps of various degrees of removal from this or 
 from those principles. So is it true that every form, in every depart- 
 ment of drawing, whether figure, landscape, ornamental, architectural, 
 or geometrical, however complicated that form may be, is reducible 
 to the two classes of lines, straight and curved. 
 
THE OENAMBNTAL DRAUGHTSMAN. 5 
 
 Ability to draw accurately the Two Classes of Lines essential 
 to the Young Draughtsman. 
 
 But the great fact for the young ornamental draughtsman to 
 consider as a truth is the one at which we hinted in our opening 
 remarks — namely, that it is imperatively necessary that he be able 
 to draw these lines with something Kke mathematical accuracy, and 
 that he learn to do this at the very threshold or outset of his career 
 as artist or draughtsman. To imitate with decision and firmness 
 any object placed before him, or to " body forth the forms of things," 
 to know the right kind of line to employ, and to be able to employ 
 it, is quite essential. It is this fact which gives to such systems of 
 drawing as the one which Kumpa of Dresden claims with charming 
 simplicity to have been the first to introduce, their value and weighty 
 significance. It is the importance of this which alone excuses and 
 explains the dry drudgery to which most art students are subjected 
 in the beginning of their study. It is this complete mastery of 
 manipulative obstacles which we especially insist on ; and we earnestly 
 desire the student, through consideration for his own interests, not 
 to advance one single step up the ladder until he finds his foot firmly 
 placed on the one below. 
 
 ' The Katerials employed in Ornamental Drawing — The "Tools" of the 
 Draughtsman in his Earliest or Elementary Work— Different materials 
 and the Methods of using them explained — Slate and Pencil System. 
 
 It is here necessary that we should say a few words on the 
 materials which it will be advisable to use in commencing opera- 
 tions, before we proceed to our more specific instructions. This is a 
 point of much importance, and as it has created some difierence of 
 opinion, it may be well for us to present the notions of various 
 authorities on the point, and afterwards state which we think best. 
 
 Herr Kumpa, of Dresden, to whom we have just referred, recom- 
 mends the pupU to use, in his first attempts, either a slate and pencil 
 or cheap cartridge paper and charcoal. The advantages of the slate- 
 and-pencil plan are, that after the small first cost, the exp.ense is 
 practically nothing, and that mistakes are quickly and easily rectifi- 
 able. Two-pennyworth of slate-pencU, rightly used, will suffice — it 
 is claimed for this system — to make a man a finished ornamental 
 draughtsman, whilst the errors can be more rapidly erased than 
 committed. One seeming disadvantage of this plan is, that the 
 permanence of the drawing is entirely out of question. We have 
 said disadvantage, but it is more than questionable whether this 
 should not be included amongst the advantages. For the youthful 
 ornamental draughtsman may rest assured, that for quite a long 
 
6 THE OKNAMENTAL DRAUGHTSMAN. 
 
 time to come he will not be able to draw anything worth keeping. 
 His efforts wiU be weak, wavering, and wilful, and the permanence 
 of things possessing such characteristics is an evil under the sun. 
 Preserving first drawings, then, is by no means a very desirable 
 proceeding ; and it is one of the finest habits a man (whether artist 
 or not) can get, to use an eraser, when necessary, without flinching. 
 There is, however, always something, if not much, to be said on both 
 sides of a question. And there is this advantage in keeping the 
 efforts in drawing from the beginning, — that they afford, as it were, 
 a record of results at various stages, and in this way admit of 
 comparative observations being made as to progress. We know, as 
 the saying is, of " no end " of cases where " copies " of all work are 
 kept. Indeed, we may question if this be not the rule amongst the 
 best masters of schools of art throughout the United Kingdom. 
 But perhaps a real drawback to the use of a slate may be found in 
 the fact that the transition from slate to paper is not of the easiest ; 
 and as in practical working, drawings will be on the latter material, 
 it is decidedly better to become accustomed to use it as early as 
 possible. , One has, after all, to deal with paper ultimately, so one 
 may as well get over any difficulty as to its use at the beginning 
 — indeed, better, as time is in reahty gained. For there is but little 
 practical use in learning to use materials which are not, and indeed 
 from their nature cannot be, employed in the after practice of 
 ordinary work. 
 
 The Cheap Cartridge Paper and Charcoal Pencil or Crayon System for 
 Elementary or Groundwork LeEsons in Ornamental Drawing, 
 
 The charcoal-and-paper plan next claims attention. Mr. George 
 WaLis and also Herr Kumpa are at one in recommending the student 
 to adopt this method. Herr Kumpa tells us that "The student 
 should be supplied with paper of a coarse description. The pencils 
 should be charcoal, which has the double advantage of marking with 
 a small pressure, and of being easily obliterated, by which the pupil 
 is compelled to a light and free touch, and much paper will be 
 saved." Mr. Wallis says, " I approve of the charcoal upon paper." 
 We would, however, advise the beginner in ornamental drawing to 
 be careful how he follows the course recommended by our Dresden 
 authority — at least for the reason he gives. The use of charcoal, 
 he affirms, will compel the draughtsman to a " light and free touch." 
 Now, if one could make anything like a reasonable calculation of 
 the miles of good drawing-paper which have been wasted by " light 
 and free touches," it would make one pause before acting upon 
 Kumpa's advice. The reader, who is here supposed to have some 
 
THE OKNAMEiNTAL DRAUGHTSMAN. 7 
 
 knowledge of the art of ornamental or freehand drawing, has most 
 probably been requested at times to pass an opinion on the portfolio 
 sketches and " finished " pictures of amateur artists. If his views of 
 faithfulness in painting have in anywise coincided with those ex- 
 pressed by good authorities, — if he has come to regard it as an art, 
 in the practice of which downright toil and immense experience are 
 essentials to success, — if, in short, he has begun to estimate the 
 value of a picture by its nobleness of conception, and the amount of 
 earnest labour expended upon it, he wUl remember the pain with 
 which he witnessed the mortification of his amateur friends when he 
 •has tacitly condemned their " light and free " compositions by ab- 
 staining from passing judgment upon them. Do not let us be 
 misunderstood here. " Lightness '' and " freedom " of touch, when 
 they are the result of perfect mastery over the pencil, — a mastery 
 which is only to be acquired by long continued and painfully concen- 
 trated efibrt, — are admirable. Let an artist give the "Kghtness" 
 and " freedom " of a Gainsborough every kind of praise, by all 
 means J for of him Ruskin has said, "His stroke was as light as 
 the sweep of a cloud, as swift as the flash of a sunbeam." But 
 when these things are said to be characteristics of the drawing or 
 painting of one whose experience is bounded, say by that of a couple 
 of years, one may very safely, as a general rule, condemn them and 
 the system of which they are the result. So that one may with 
 some degree of prudence refuse to adopt a material which promises 
 "lightness and freedom" of touch without that perfect mastery over 
 the pencil above alluded to ; and which, as a rule, can be got only 
 by heavy struggle- and years of difficulty. But perhaps, after all, 
 Kumpa has been unintentionally overlooking the disadvantages 
 arising from the use of charcoal. The fault lies partly in his 
 erroneous statement ; but, we are bound to say, partly likewise in the 
 material he recommends. Its peculiar softness and friability may fit 
 it for rough sketches of subjects which have to be worked up in 
 another material ; but for the student to begin using it at the outset 
 of his attempts at line-drawing is not only " too rash, too unadvised, 
 too sudden," but it appears to us to be a pretty certain road to 
 artistic weakness in Work; 
 
 The Fen-and-Ink and Scrap-Paper System for Elementary Work of the 
 Ornamental Draughtsman. 
 
 The plan which Mr. Ruskin recommends differs widely from the 
 other two. He advises the student to supply himself with pen and 
 ink and any old scraps of paper within his reach. In this advice 
 may be traced, we think, the influence of some of Ruskin's noble 
 
8 THE OENAMENTAL DBAUGHTSMAN. 
 
 principles of thought. "Let us have," we can fancy him saying, 
 "the definite, the clear, the indubitable; give us truth direct and 
 unmistakable; but in nowise, good friends, forget that man has a 
 weird strange soul within him, which will grope, it may he blindly 
 enough, but wiU grope, nevertheless, after the infinite. Remember 
 this, in all things, courteous student. Choose pen and ink for clear 
 blackness and clear whiteness. Choose them, likewise, for minute- 
 ness and mystery." Now, we have tried this plan of Ruskin's with 
 somethiiig more of application than we have bestowed upon the two 
 previously mentioned, and it needed but slight experience to con- 
 vince us that it was immeasurably superior to either the slate or 
 the charcoal and paper. It is surprising to some who give this 
 method a fair trial for the first time to note how definiteness and 
 delicacy are within the limits of the pen's capability. It possesses 
 wondrous power of subtlety and mysterious refinement. The slightest 
 shades of meaning, so to say, in lines, are within its power of 
 expression, and in this most important respect the other two plans 
 will not bear with it a moment's comparison. And the expense is 
 next to nothing. We think very highly indeed of Mr. Kuskia's 
 system, and commend it to the careful consideration of the student. 
 
 The Black-lead Pencil and Diawing Paper System for Beginners in 
 Ornamental Drawing. 
 
 The good old-fashioned plan of black-lead pencil and paper we shall 
 treat of lastly. These are the materials which we suppose some of 
 our oldest readers, "whose heads are growing grey," used when 
 learning to draw at school in their early days. One can recollect 
 how the miserable trifles of well-thumbed " drawing copies " — the 
 only ones obtainable by the pupU in those times when the " press" 
 had done so little — were handed round without much reference to 
 individual capacity or idiosyncrasies. With reference to this black- 
 lead pencil plan, we may say that our opinion is favourable ; but that 
 in those characteristics which we have named as belonging to the 
 pen, it fails to attain to the pen's excellence of flowing softness and 
 distiactness. Now, the plan we would recommend the pupil to adopt 
 in the study of ornamental drawing is that in the earlier stages of 
 practice the black-lead pencil should be used, till some firmness and 
 facility of execution or handling be attained. This, however does 
 not prevent the pupil from using the pen and ink afterwards when 
 greater subtlety and intricacy are required than are expressible by 
 this material. He will, of course, accustom himself to the use of pen 
 and ink, whilst at the same period of his prg<;tice he is also busy 
 with making the curves and lines in black-lead. Let progress in 
 
:^HE OKNAMENTAL DKAUCfHTSMAN. 9 
 
 the mastery of the two be carried on simultaneously — that is, if the 
 two be used. 
 
 The Kind or Class of Materials the Student is to be provided with. 
 
 The pupil is supposed to have provided himself with an F or H B 
 black-lead pencil — costing from one penny up to fourpence or 
 sixpence, according to quality — a sheet of cartridge-paper, which may 
 be had for twopence, and a small drawing-board, the cost of which 
 need not be even a shOling, or at the most eighteenpence. The 
 cartridge-paper is stretched on the board after the following fashion : — 
 Damp the paper on both sides with a sponge dipped in quite clear 
 water, and afterwards smear a little common glue, or strong dissolved 
 gum arable, along the edges, about half an inch in width. Lay the 
 paper, after it is again surface-dry, on the board; and place it 
 thereon exactly square, or as nearly so as possible, and then with 
 a sponge press it gently down on the board. Let it lie, then, for say 
 a couple of hours, when the paper will be found dry, stretched, and 
 ready for use. 
 
 First Lesson in the Drawing or the Copying of Straight Lines — Vertical Lines. 
 
 Here the pupil is expected to copy these five lines precisely and 
 exactly as they are set down in fig. 1. A difficult task, undoubtedly ; 
 but also, we may say for his comfort, by no means an utterly hopeless 
 one. Let the board before the pupil be on a table, raised to an 
 angle of 30° if the pupil sits down ; or if he stands up placed upon 
 an easel, which he can easily make for himself. Then, with a pencil 
 tolerably finely sharpened, let him commence operations. 
 
 Let him measure with the eye, quite calmly and deliberately, the 
 length of the line a h, fig. 1, and try, with " all his mind set in 
 his fingers," to make one like it. Then, after the same fashion, let 
 him calculate the distance between a h and its right-hand neighbour 
 c d. The pupil should then draw this second line in the same way, 
 and proceed thus until he has managed to get through the whole 
 figure. Now let him set the original and the copy together, and 
 make a minute and searching comparison between them. He will 
 most ■ likely discover immediately a difference in the sizes of the 
 figures as wholes. The pupil has either estimated the length of the 
 line a h incorrectly, or the distance from a to c may be wrongly 
 calculated, or very probably both of these faults are to be found in 
 the drawing. Then let the pupil notice how very inaccurately he 
 has mentally measured the amount of space between the lines indi- 
 vidually. If he takes a pair of spring-dividers to test these dis- 
 tances, he will perhaps -find the space between the first two lines 
 
10 
 
 THE ORNAMENTAL DEAUGHTSMAN. 
 
 greater by a fourth than that between the fourth and fifth. And let 
 him observe, again, how much he has failed in attaining to the 
 parallelism of the lines with the edge of his drawing-board or cart- 
 ridge-sheet. The first one, for example, he discovers to be anything 
 but strictly perpendicular. It has a somewhat decided tendency to 
 incline a "leetle" too much either to right or left. He will notice, 
 like-wise, that instead of being parallel with each other, no two of 
 the lines can with any amount of strictness be called so. For the 
 meaning of the term parallel see the work on " The Geometrical 
 Draughtsman." In his copy the line e / may have some inclination 
 towards g h or c d. In the original none of these faults exist : not 
 only are the lines vertical, but they are parallel to one another. 
 
 Pig. 1. 
 The pupil should here note that we use the term "vertical" with a 
 purpose — a position of the line which is practically unvarying — 
 making a special distinction, which is absolutely essential to be made, 
 between this term and that known as perpendicular. For it is often 
 the case, even with those who ought to know better, that these 
 terms are used by them as being identical or meaning the same thing, 
 which assuredly they do not. A line may be perpendicular to 
 another line, yet that perpendicular line be horizontal — a statement 
 which, although it may appear odd to some, is nevertheless abso- 
 lutely true ; just as a line may be perpendicular to another, and yet 
 that other line may go in an^/ direction. For a further exposition 
 of this, and other like terms, the reader is again referred to the 
 work " The Geometrical Draughtsman." 
 
THE ORNAMENTAL DKAUGHTSMAN. 11 
 
 Let the draughtsman look, finally, at the unsteadiness and weak- 
 ness of the whole five as straight lines : we may suppose that a b 
 gives way in the centre ; c d begins with a slight curve, straight in 
 the centre, and curved again at the end ; e f may be worse, and g h 
 no better. And so on to the end of the lesson — wilfulness, inaccuracy, 
 imperfection, from beginning to its end. Do not let the pupil at 
 this point be guilty of throwing down his pencil and putting aside 
 his drawing-board, either in disgust or vexation. Certainly, we 
 admit that the examination of his first attempt has been most dis- 
 heartening. It is hard enough to be conscious of weakness generally, 
 without having all the particulars of that weakness thrust before 
 one's eyes. Let him rest assured that the right fashion of mending 
 matters in this case is boldly to try again. He may take heart at 
 
 Fig. 2. 
 
 being disheartened, for consciousness of weakness is really a step 
 towards strength — a somewhat paradoxical statement, the truth of 
 which youth and inexperience have great difiiculty in believing. Let 
 the beginner remember that the thing he has set himself down to do 
 demands, as we have all along told him, dogged determination, and 
 purposeful, thorough, conquering labour. Excellence is attainable ; 
 but he may rest quite confident that an ocean of downheartedness 
 will never fill one cup full of success. Let him start again, and yet 
 again ; let the extent of his wishes be the measure of his efforts, and 
 triumph is certain. 
 
 Second Lesson in the Drawing or the Copying of Straight lines— Horizontal Lines. 
 
 We pass on to fig. 2. The pupil will observe that its construction 
 
 is exactly similar in all points to that of fig. 1, except that in this case 
 
12 
 
 THE ORNAMENTAL DKAUGHTSMAN. 
 
 the lines are horizontal. The instructions which were given for the 
 drawing of fig. 1 apply to fig. 2, and a severe examination of this 
 latter lesson is to be carried on, after the manner in which the 
 former was criticized. The pupil should with all honesty and faith- 
 fulness test every line, until by repeated efforts his eye has become 
 honest and faithful likewise, and his hand firm, powerful, and delicate. 
 He will of course notice in these two figures the small arrows. These 
 indicate the direction in which the lines are to be drawn. He may, 
 in the first figure, draw the first three lines from top to bottom, the 
 others may be drawn from bottom to top ; and in fig. 2, in like 
 
 Fig. 3. 
 
 manner, the top three lines from left to right, the lower two from 
 right to left Let him be careful, if he does no more, to do at least 
 as muph _« as is set down for him," and in no wise neglect to practise 
 the drawmg of the figures after the directions given. 
 
 Third Leesou in the Drawing or the Copying of Straight Lines— Angular, 
 Sloping or Oblique lines. 
 
 We suppose now that the student has been grinding away at these 
 figures, until he has attained to such power and truth of mani- 
 pulation as will enable him to draw figs. 1 and 2, or subjects of 
 precisely the same character, with some degree of certainty and 
 
THE ORNAMENTAL DRAUGHTSMAN. 
 
 13 
 
 accuracy. He has toiled away, mayhap, until his hand has been 
 tired and his brain weary ; but let him look at the result which he 
 has attained. He can, as the result of his patient labour, draw a 
 perpendicular line. He can likewise draw a horizontal line. He 
 has a pretty correct notion of length. He can, to some extent at 
 least, calculate the distance between two or more points. He has, in 
 short, laid well and firmly the foundation of ornamental drawing, 
 and the toil attending his efforts has been far more than compensated 
 for by the increased power of his hand and eye. He should look at 
 
 Kg. i 
 
 the fact that all the figures do not possess for him the slightest diffi- 
 culty of imitation, and of course as much may be said of all the 
 infinite combinations of straight lines. 
 
 We shall now take figs. 3 and 4. The pupU will observe that the 
 lines in these figures are not parallel in either case with the edges of 
 his drawing-board, but incline at an angle. This, however, will 
 offer no great difficulty. He can draw a straight line, and the 
 direction of that line is a matter of but subordinate consideration. 
 Let not, however, the knowledge of his being able to do this have 
 any influence towards lessening the concentration of his efforts 
 towards the doing of the work of this special lesson well. < Let him 
 
14 THE OENAMENTAL DRAUGHTSMAN. 
 
 always keep clearly before him the fact that this work he is about 
 is anything but easy work, and that his triumph will be measured 
 by the constancy of his toU. He will carefully observe to draw the 
 first three lines in figs. 3 and 4 in the direction of the downward- 
 pointing arrows ; the last two in either case vice versd. Let him be 
 sure, likewise, that the acuteness or obtuseness of the angles with 
 the perpendicular edge of the drawing-board is correct. Let him 
 
 carefully compare his copy with the original, and let him master 
 every figure before he proceeds to the next. 
 
 Important Point to be considered by the Student at this Stage of his 
 Elementary Work. 
 
 At this stage we would insist upon the pupil remembering this 
 important consideration : that it is not the number of copies which 
 he may finish which will indicate -progress, but the manner in which 
 
THE ORNAMENTAL DEAUGHTSMAN. 
 
 15 
 
 they are finished. If he cannot firmly draw a straight line, let him 
 work at it until he can, — there is nothing gained by doing a dozen 
 copies in a careless or slovenly manner, but the great gain in being 
 able to draw a straight line correctly in any direction, a student 
 cannot over-estimate, and the drawing or working power which it 
 gives him is difficult also to exaggerate. Therefore if he master 
 this, the first step, well, all that follows will become the easier. Yet 
 do not let him for a moment think that we underrate the difficul- 
 ties that are to be overcome in learning to draw curved lines ; we 
 only wish to impress this fact, that they will become easier from 
 
 l^'ig. 6. 
 
 having mastered the difficulties of drawing straight ones. He will 
 also see that the insistence on a habit of strict observation is laying 
 down a basis on which his whole after studies depend. He must 
 remember that to educate the hand to draw and the eye to see any 
 object correctly takes a long time of very careful practice and 
 observation. 
 
 Fourtli lesson in the Drawing or the Copying of Straight Lines— Combina- 
 tions of the Classes of Lines of the Three Preceding Lessons. 
 
 A new combination involving points of practice of great impor- 
 tance to the pupil is illustrated in figs. 5 and 6. In those all the 
 elementary lines already given are combined in simple forms. Let 
 
16 THE OENAMENTAL DEAUGHTSMAN. 
 
 the pupil draw fig. 5, keeping the drawing in one position, and 
 change the position of the hand to suit the different directions of 
 thehnes. The same remarks apply to fig. 6. The reader will have 
 observed that a certain part of the above is italicised — "in one 
 position." The point here involved is one of considerable importance 
 in the practice of drawing. It may be assumed as true that while 
 one draughtsman has a readier facility to draw a line in one direction 
 than another draughtsman has, the latter may be able to draw with 
 accuracy a line in quite another direction. In either case the 
 draughtsman will be tempted to place his drawing or copy in posi- 
 tions, as he proceeds with different parts of his drawing, which will 
 enable him to follow that direction in which he can most easily draw 
 the line. But, seeing that one of the results of his practice is that 
 he should be able to draw with equal facility lines in different 
 directions, this method of meeting the case is , vitally wrong. He 
 must place his copy precisely in the same position as shown in the 
 figure — as in figs. 5 and 6 — he is copying from. This is what honest, 
 conscientious work demands of him. 
 
 And we trust that he will now here see the importance of drawing 
 straight lines, as the examples which follow from figs. 7 to 17 are 
 illustrations of the application of this class of lines to ornamental 
 purposes. Fig. 7, the zigzag, is the " Egyptia,n " mode of repre- 
 senting water, and this figure is used at a more acute angle in 
 decorating the coktmns and capitals of their temples, and later it was 
 used for the same purpose by the Greeks. All these applications 
 will be pointed out in their proper places. 
 
 Examples of Straight-lined Pigures — Elements of Ornamentation or 
 Artistic Decoration. 
 
 Fig. 8 is a simple fret or labyrinth ; this ornament is used in most 
 antiqdfe styles by the Egyptia,ns and the Greeks ; the Japanese and 
 Chinese also use it. The Greeks used it in a very elaborate way, as 
 will be seen in the accompanying figures, 10, 11, 12 and 13. The 
 fret in fig. 9 is wholly made up of straight lines vertically disposed. 
 The fret in fig. 13 is more elaborate, and introduces a new featiire 
 — ^namely, the panel — as at a as a. The pupil will observe that in 
 some of the ornamental arrangements the lines are vertical and 
 horizontal, whilst in others they are oblique. Should the student 
 extend his studies into the history of ornamental art, he will find 
 there a mine of interesting information; and using the term toit 
 in the sense in which Burns uses it, we can assure him 
 
 " There's wit there, ye'll get there, 
 You'll find nae ither where." 
 
THE ORNAMENTAL DRAUGHTSMAN. 
 
 17. 
 
 Bearing this fact in mind, and for example that the history and 
 habits of the Egyptians are written in their arts, one can see in their 
 picture-writing a history more clearly shown than words conld explain. 
 
13 
 
 THE OEKAMENTAL DRAUGHTSMAN. 
 
 
 ■v/z/.w/zA'/////;:^ 
 
 7 /////// ////M//m 
 
 W/// // ////// M M 
 
 
 In figs. 10, 11 and 12 the pupil will observe that in the frets 
 there illustrated the lines are at right angles, as the line a 6 to 
 6 e, or d c to c /. But in figs. 14, 15 and 16 the lines are oblique, 
 
THE ORNAMENTAL DRAUGHTSMAN. 
 
 ) 
 
 19 
 
 Xi 
 
 ^S ^ 
 
 ho 
 
 and in fig. 17 the lines cross. These frets, in ancient or classical 
 art, are as a rule met with as a painted decoration ; it is only excep- 
 
20 
 
 THE ORNAMENTAL DRAUGHTSMAN. 
 
 bo 
 
 tionally that they are used in cut or sculptured forms. The frets 
 are used as an ornament in all antique styles, but those we have 
 given are from the Gi-eek. The Chinese use the frets as an ornament 
 veiy extensively in their bamboo or cane work. 
 
THE OENAMKNTAL DRAUGHTSMAN. 
 
 21 
 
 Importance of Straight-line Drawing to the Ornamental Draughtsman. 
 
 And now we have gone with the pupil through these most impor- 
 tant subjects. The early ones may be said to be the essential, as 
 they form the basis of the practice of ornamental drawing ; but in 
 another sense the succeeding drawings are essential also, for they 
 constitute the basis of ornamental art, distinguished from what may 
 be, and is correctly enough, termed pictorial art. And this work we 
 have done, we trust, with a fair degree of honest and earnest 
 sndeavour to do it satisfactorily — that is, usefully to the pupil. He 
 has had the purpose of those drawings laid before him, and their 
 
 Fig. 13. 
 
 characteristics explained. With some little interest in his success, 
 we have put before him the inducements for studying their pecu- 
 liarities, and have not concealed from him the fact that those diffi- 
 culties are considerable. For it is certain that the men who have 
 the power to draw a straight line with absolute accuracy are, like the 
 proverbial angels' visits, " few and far between." Many artists are 
 woefuUy deficient in this direction. Line-drawing is not attended to 
 with one-half of the assiduity that it should be. A student here and 
 there begins to play with shade and colour, and sneers at stories 
 about Front's straight line or Giotto's circle. Nothing will then 
 satisfy him but wonderful effects in chiaroscuro, or glaring "Venices" 
 with impossible skies, Naples yellow and purple-red buildings, and 
 
22 
 
 THE OKNAMENTAL DEAUGHTSMAN. 
 
 golden boats on emerald-green -waters, etc., etc. The 3'oungster may, 
 perhaps, by some good piece of fortune, at last find out his foolish- 
 
THE ORNAMENTAL DRAUGHTSMAN. 
 
 23 
 
 ness and error, and the only possibility of artistfc salvation for him 
 is a return to such work as this — namely, the figures now before him. 
 
24 
 
 THE OKNAMENTAL DRAUGHTSMAN. 
 
 Wo cannot say too much on the importance of the student attend- 
 ing to the simple subjects we have 
 given. In all seriousness we advise the 
 pupil not to leave this first series of 
 lessons for the next until he has mas- 
 tered them thoroughly. Let him bear 
 in mind the lesson conveyed in the 
 adage, " Fear in argument the man of 
 one book." Equally may he fear in 
 execution the man of one accomplish- 
 ment. The great ornamental draughts- 
 man, simply as such, is he who can 
 drawperfectly straight and curved lines, 
 and both of them equally well. 
 
 The student will at once perceive the 
 object of these illustrations now to be 
 given. They are intended to give ex-, 
 ' amples of curved Unes, and examples 
 likewise of straight and curved lines 
 combined, just as the previous figures 
 commenced with straight lines. The 
 first figures, he will notice, are of the 
 simplest character. They gradually 
 assume greater complexity, until, in 
 the last, he has examples of no ordi- 
 nary difiiculty set him. Observe how 
 almost imperceptibly such difiiculty 
 increases from figure to figure, the 
 int,ention of which slow development 
 he will of course, or should, understand. 
 
 Lessons in the Drawing or the Copying of 
 Curved Lines — Some Considerations con- 
 nected with them. 
 
 In the preceding paragraphs we gave 
 
 various lessons in the drawing of 
 
 straight lines, and illustrations of their 
 
 application to the simpler forms of 
 
 ornamentation m difierent known and 
 
 accepted " styles," by which name the 
 
 various classes are distinguished. We 
 
 " '^' ''"' now take up the department of " curved" 
 
 lines ; and in this, as in the simpler lessons of the earliest stages in 
 
 the art, we would impress upon the pupil the importance of mastering 
 
THE ORNAMENTAL DRAUGHTSMAN. 
 
 25 
 
 each Ifesson thoroughly before he proceeds to the succeeding one. 
 
 I 
 
 Pig. 19. 
 
 Hastily-done is almost certain to be badly-done work, and he must 
 
26 
 
 THE ORNAMENTAL DEAUGHTSMAN. 
 
 have a strangely constituted mind who would look upon this as the 
 desired-for result of any labour. The Romans had a proverb which 
 somewhat paradoxically declared that progress was all the quicker 
 the slower it was made. The same lesson is taught us in our own 
 proverb, " Slow and sure," or " Slow and steady wins the day." 
 And the lesson these sayings teach us, as well as the experience of 
 all who have succeeded in life — of which, indeed, those proverbs are 
 but the concrete experience, embodying as so many of our proverbs 
 do, the wisdom of ages, or generations — is simply this, that patient 
 
 Mg. 20. 
 work is necessary to the accomplishment of good work. And the 
 more that patience is exercised, and the longer, therefore, the time 
 taken in learning to do work well, the greater is the facility with 
 which the good work is done, and in proportion the less demand 
 there is made for the exercise of patience and the outlay of time. 
 It is thus, and only thus, that true dexterity in the doing of any 
 work is obtained. And in this truth the pupil should take comfort, 
 if comfort he needs, in view of what claim work will make upon 
 him for patience in learning to do it well. Por he will find that 
 each step carefully and' firmly taken will give him precisely the 
 
THE ORNAMENTAL DKAUGHTSMAN. 27 
 
 strength he requires to take the next and more difficult one. The 
 young blacksmith's arm becomes the stronger the more he wields 
 the heavy iron hammer, till at last it becomes as if its muscles were 
 themselves bars or rods of iron, capable of showering down blows 
 fierce and long, sustained in a way which he himself in his beginnings 
 could scarcely have believed possible. So in like manner, although 
 his work is as delicate as that of the other is forcible, will the young 
 draughtsman find that the longer he practises in the right way, the 
 easier wiU his practice become, till at last he becomes a " deft and 
 clever workman, worthy of his work and of his hire." We say, " in 
 the right way," for if not, progress is just so much time wasted, 
 leading him, as every step of it must lead him, farther and farther 
 away from the point he wishes so much to reach. The art of the 
 ornamental draughtsman, like every other work to be done, has its 
 apprentice period ; and if the pupil earnestly make up his mind to 
 face what is called the " drudgery of 'prentice life," with a determina- 
 tion to do it cheerfully and well, he will find that it is no drudgery 
 at all, but a mere necessity of the work — as little to be called 
 drudgery, seeing it is the very basis of all higher work, as the 
 foundation of a building is to be pronounced unnecessary or useless, 
 since it is out of sight and is the first part of the work which has 
 been done. 
 
 Such considerations, and the thoughts to which they ought to 
 give rise, are of the utmost value to the art pupil. We do not for 
 a moment conceive that any of our readers have that unfortunate 
 con.stitution of mind we have alluded to, which permits them willingly 
 to accept of bad work as a necessary result of labour, or to be satisfied 
 with it when it is done. Few indeed have their judgment so warped 
 or their minds so filed ("For Banquo's issue have IJUed my mind" — 
 Shakespeare in Macbeth) as this. Still one may have his morale not 
 thus debased, indeed, have it high and pure, and yet be tempted, in 
 his haste to be a successful ornamental draughtsman, to overlook or 
 overrun those wise and prudent precautions by which alone success 
 can be won. What, however, we have here and elsewhere said, 
 should be enough to show him how this danger can be avoided ; and 
 avoid it he must if he wishes to be a successful and useful draughts- 
 man. For success now-a-days more than ever is only measured by 
 the extent of its utility. 
 
 First Lesson in the Drawing or the Copying of Carved lines. 
 
 In commencing our lessons on curved lines, let us take fig. 18 in 
 hand. One simple-looking curve enough here, certainly : as simple 
 as the pot-hooks and hangers of our schooldays. But in no case 
 
28 
 
 THE ORNAMEKTAL DRAUGHTSMAN. 
 
 will it be prudent for the young ornamental draughtsman to regard 
 them as so easy of imitation that he may sensibly "slur " over them. 
 His experience of the subjects in figs. 1 to 6 (straight lines) will 
 
 have given him some notion of the difficulty of copying seemingly 
 "simple" examples; and it is therefore, we hope, unnecessary to 
 ^ caution him here against shirking the faithful drawing of what we 
 place before him in this figure. 
 
THE 0RNAMJ5NTAL DRAUGHTSMAN. 29 
 
 With great care, then, let him try to copy the curve in fig. 18, 
 starting at a. Set about the work slowly. "Do not fancy" — let 
 us say to him — "that you can draw that curve with a dash of the 
 pencil, like the pen-and-ink floiTrish of a writing-master. The figure 
 you are copying was not drawn so. Keep the whole bend of the 
 line in your eye, and as you deliberately progress towards h compare 
 strictly what you are doing with the beginning of the curve, as well 
 as with the original." It is absolutely certain, though, despite all the 
 students pains, that his first copy will not bear for a moment the seveie 
 scrutiny to which, in accordance with the instructions given con- 
 cerning figs. 1 to 6, it will be subjected. But the habit of dogged 
 perseverance, which frowns down all difficulties and tramples down 
 all obstacles, will sooji teach him the direction in which success lies. 
 It has been said by a deep thinker that " there is no such thing 
 in this universe as genius, in the common acceptation of the word. 
 Profound skill in anything is impossible without downright hard 
 work. The philosophy on this matter is synonymous with that of 
 one who said, ' Genius is the transcendent power of taking trouble.' " 
 
 Second Lesson in the Drawing or the Copying of Curved Lines. 
 
 The curves in fig. 19 the young ornamental draughtsman will 
 draw and criticise after the same fashion, remembering, however, to 
 begin at the top; figs. 18 and 19 being formed on exactly the same 
 principle, and being, in a measure, the same curves, but standing 
 differently related to the edge of the sheet. . Fig. 20 is a lesson on 
 the same direction of curve as in fig. 18, and the lines of it are 
 related to each other as in fig. 19, but joined at foot by a convex 
 curved line as shown. The dotted lines in these three figures, as 
 also in figs. 21 and 22, show how straight lines may be put in by 
 which the pupil may, as it were, " chalk " out the leading lengths, 
 etc., of the curved lines. These test lines, as they may be called, 
 are of course to be put in, in the lightest pencil line, and their rela- 
 tions to each other must in all cases be decided by the eye. This 
 accurate estimation of lengths or spaces is one of the things first 
 to be learned by the pupil. But upon this point we have already 
 enlarged. 
 
 Third Lesson in the Drawing or the Copying of Curved Lines. 
 
 Fig. 21 is an illustration of a different order of curved hne. In 
 copying this the pupil should first draw a light line corresponding 
 to the dotted line a h ; and on this, estimating with the eye as 
 accurately as he can, giving to the depth a h of the figure, the 
 distance 6 a — and through point a, of course at right angles to a b, 
 draw a line c d, estimating, again by the eye alone, the width of the 
 
30 
 
 THE ORNAMENTAL DKAUGHTSMAN. 
 
 curve of figure at top : half of this is set oflP, on each side equally 
 of the point a, to c and d. The pupil is now prepared to put in the 
 curves. The first put in is that to the left hand, beginning at the 
 upper left-hand corner c and drawing to the point b. This being 
 
 «^ _ - JL „ 
 
 done, he puts the right-hand curved line in by drawing from upper 
 right hand corner d to the point 6, making the curve to match 
 precisely the other. After he has finished he Inust conscientiously 
 compare his copy, not merely with a view to test the accuracy of his 
 
THE ORNAMENTAL DRAUGHTSMAN. 31 
 
 curved lines, but that of the distances which give what is called the 
 size or dimensions of the drawing. The pupU should copy fig. 22 
 in the same manner, observing that the lines incline inward a little 
 more at the top than fig. 21. Now let him proceed, at the top left- 
 hand corner, a, to draw the waving or wavy hne down to the bottom, 
 h, and make the right-hand side to match it ; and then carefully 
 examine the drawings and see that they are like the copies. The 
 draughtsman must not be satisfied if they look like the originals : 
 they must be absolutely the same. 
 
 Becapitalatory Bemarka on the Foregoing Elementary Lesson in Straight and 
 
 Carved Lines. 
 
 Let us, before dismissing these early or rather earliest lessons of 
 the young ornamental draughtsman, pass briefly in review what we 
 have already accomplished. The result may be stated in few words. 
 The pupil can now draw a straight line, and he can draw a curved 
 one. Now, as these are the only lines possible — for an irregular hne 
 is but a combiaation of straight or curved lines, or both — he has 
 acquired what has at any rate something of importance about the 
 art of ornamental drawing." Let the pupil consider that the appli- 
 cation of these two classes of lines — the straight and the curved — 
 are practically iafinite. From the endless objects of nature down to 
 the slightest carving of the chair on which we aue sitting, does their 
 power of expression range ! Every class and style of architectural 
 work — Egyptian, Greek, Roman, Moorish, British, Classical, Gothic 
 or semi-savage, with their infinitude of ornamentation — are all repre- 
 sentable by these two species of lines ! In a word, the whole temple 
 of Ornamental Drawing is now open to the pupil, and he has with 
 him a key which will unlock its doors and admit him to its apart- 
 ments, however seemingly dissimilar they may be. This labour of 
 his has not been in vain. Rather, in truth, has it been essential ; 
 for it has given him a potent power, with only the trifling inconveni- 
 ence of struggling and disappointment and occasional downhearted- 
 ness through which he has gone. The healthy working influence 
 of this wholesome " drudgery " or " apprentice work " he has gone 
 through will be felt during the entire course of his artistic career, 
 and it will be with something of satisfaction that he is able to 
 recollect that he had the good sense to " begin at the beginning," 
 and do its hard work patiently and with a thorough determiaation 
 to do it well. 
 
 Do not, however, let him delude himself with the notion that he 
 has accomplished everything required to make him an able oma- 
 mentist. He has simply begun to know ; and although he has an 
 
Mg. 23. 
 
THE OKNAMENTAL DRAUGHTSMAN. 
 
 33 
 
 accurate knowledge of the alphabet of the art, and can form its 
 letters into simple words, the boundless field of its diversified litera- 
 
 ture, so to say, still needs exploring, 
 given, we have placed the pupil on 
 tQmple, and handed him the key of it. 
 
 To use the illustration before 
 the threshold of a splendid 
 It is on himself now, chiefly. 
 
34 
 
 THE OENAMENTAL DBAUGHTSMAN. 
 
 that the work of progress must depend. It is his own powers 
 of observation, aided as these must be by the cultivation of the 
 
 accuracy of the eye and the dexterity of the hand, which must 
 mainly guide him. In the examples which will follow in succeeding 
 chapters, he will find a much fuller development of the instructions 
 
THE OENAMENTAL DEAUGHTSMAN. 35 
 
 ■which have been already laid down. And these examples we com- 
 mend to his careful consideration and diligent copying, both as 
 specimens which will afford him good practice, and as excellent initia- 
 tions into the purely technical work of ornamentation. 
 
 Fig. ae. 
 
 Su'bjecta for the Student to Copy. 
 We have just stated that we should give various drawings which, 
 as examples, wUl be necessary for the student to master in order to give 
 him that facility for "copying" which is the first essential in "de- 
 signing." But those drawings which we now- proceed to place before 
 
36 
 
 THE OENAMENTAL DRAUGHTSMAN. 
 
 him, while they have this essentially useful purpose, are prepared 
 with another view — namely, to communicate to him a knowledge of 
 the leading characteristics of the chief styles of ornamentation. The 
 whole have heen carefully designed and prepared specially for the 
 pages of this work. And this much at least may be said for them : 
 that they are the outcome of such practical experience as is likely 
 to be obtained from the work of a lifetime devoted to the teaching 
 of design, with special application to what is now widely known as 
 Art Manufacture. 
 
 Fig. 27, 
 
 The lines which the student has hitherto drawn were what might 
 be called elementary lines of ornament. We shall now proceed to 
 draw " form," or apply the Unes to the shapes of objects. The first 
 is a conventional form of a leaf (fig. 23). After drawing the shape, 
 making both sides equal, the student will then carefully draw the 
 veins, and balance them, making both sides equal : this is very essen- 
 tial. Following the last figure, the student will draw very carefully 
 the Cypro-Phnenician wine cup in fig. 24 ; it is drawn the same s-ize 
 as the original, from a cup made three thousand years ago. The 
 student will observe how-the lip turns in, to prevent spilling. We 
 
ris. 29. 
 
38 THE ORNAMENTAL DRAUGHTSMAN. 
 
 have drawn in fig. 25 the section, in order that he might see the 
 inside shape, as well as the outside. 
 
 Fig. 30. 
 
 Continuation of Subjects for Copying. — Vases and Fruit. 
 In continuation of our examples for " copying," and serving ako 
 as bases for work in designing of ornamental subjects, we now come 
 
THE OENIMBNTAL DRAUGHTSMAN. 
 
 39 
 
 to a beautiful simple form of a Greek vase (see Plate I.), which 
 it is hoped the student will very carefully draw, and study its form. 
 It is drawn the size of the original, as is fig. 25, and like it is made 
 of Ught red earth, and unglazed. 
 
 "|^|. 
 
 Fig. 26 is a small Phoenician vase or jug with one handle. It has 
 two lines round the neck, and two more below the handle ; there is 
 also a line running round on the flat part of the top ; they are of 
 
40 
 
 THE ORNAMENTAL DRAUGHTSMAN. 
 
 a brown colour, while the clay is a warm drab. Plate II. is also a 
 PhcEnician jug, but very dissimilar to the last ; the neck is decorated 
 with irregular bands drawn round it, while the lines on the body are 
 
 vertical, running into a broad band round the middle of the jug, and 
 not continued below it ; the lines below alternate — that is, there is 
 
THE ORNAMENTAL DRAUGHTSMAN. 
 
 41 
 
 blank space below and above the vertical lines. It is drawn the 
 same size as the original, and a shows plan of upper surface of 
 
 mouth. Kgs. 27, 28, 29, and 30 are outline drawirgs of fruit from 
 nature, which we hope the student will very carefuily copy. Figs. 
 
42 
 
 THE OENAMENTAL DEATTGHTSMAN, 
 
 27 and 28 the apple, side and top view, fig. 29 a lemon, and fig. 30 
 a pear. 
 
 The Student's First Studies in Ornament. 
 Egs. 31 to 36 inclusive bring before the student his first study 
 
THE OENAMENTAL DRAUGHTSMAN. 43 
 
 of ornament. Kgs. 31 and 32 are the well-known moulding called 
 the "egg and tongue," or " egg and dart," in ordinary practice; in 
 
 p^ 
 
 architectural works and in lectures on ornament it is called the 
 " echinus " moulding. 
 
44 
 
 THE OBNAMENTAL DRAUGHTSMAN. 
 
 In figs 31 and 32 we gave the student his first studies in orna- 
 ment, beginning with examples of the "egg and dart" ornament. 
 
 The example there given is Eoman, but it was used both by the 
 Egyptian^ and the Greets; in the Greek it is different in Bhape,, 
 
THE ORNAMENTAL DRAUGHTSMAN. 45 
 
 In fig. 32 the lines are of purpose badly drawn, of which the student 
 should take note, and correct in his copy. Figs, 33 and 34 show 
 how to draw leaf .ornament used on moiildings of a different form 
 to the last — a shape that is called the " ogee " in practice. Mgs. 35 
 and 36 show how to draw the " acanthus " leaf moulding, and are 
 used on the same shaped mouldings as the last example (figs. 33 
 
 Fig. 37. 
 and 33). As this is a most important form in ornament, we give 
 in Plates XXI. and XXII. (block), an example of the leaf. 
 
 We refer to the above Plates as examples of the "acanthus" 
 leaf, of which also fig. 36 is an example, fig. 35 being the block. 
 The student will find this form of ornament — the acanthus — per- 
 vade the Greek, Roman, Venetian and Renaissance styles, and he 
 will do ^^ell to study carefully its form, as we shall have to speak 
 of this again. 
 
46 
 
 THE ORNAMENTAL DRAUGHTSMAN. 
 
 Kg. 38, 
 
THE OBNAMENTAL DRAUGHTSMAN. 
 
 47 
 
 We shall proceed now to a new subject, and give the student some 
 drawings of leaves from nature. These play an important part ia 
 ornamental art. With the exception of one (fig. 39, the mallow), 
 they are frequently found in decoration. The first is the ivy leaf 
 (figs. 1 and 2— fig. 2 being the "block" of fig. 1— Plate V.). 
 This leaf the student will find is used to decorate mouldings very 
 
 frequently. Fig. 38 is the oak leaf, which the student will draw v.ery 
 carefully. Of this fig. 37 shows the block shape, on a smaller scale. 
 It will be good practice if the student will get an oak leaf and draw 
 it from' nature, after he has drawn the copy. He cannot too soon 
 accustom himself to draw from nature. At whatever time of his 
 practice he begins to draw from it, he will find it so difficult, that 
 the sooner he begins to face the difficulty, and to overcome it, the 
 
48 
 
 THE ORNAMENTAL DEAUGHTSMAN. 
 
 better for himself, as it will hasten his progress. The student will 
 observe these leaves are what is technically termed " blocked in." 
 
 In the examples given in figs. 27 to 36, in figs. 1 and 2, Plate V"., 
 and in figs.~ 37 and 38, and described in the preceding paragraph, the 
 student will have observed that each "study" or subject is illustrated 
 by two drawings, one composed of a simple outline only, straight 
 lines alone being frequently employed. These outlines are what are 
 termed the "blocking in" of the subject to be drawn or copied. 
 This work, preliminary to making the finished drawing, with all its 
 details more or less minute, should be done by the student in every 
 
 Kg. 40. 
 
 case. This part of the student's practice is so important — although 
 some altogether, and to their great loss as draughtsmen, omit it— 
 that we specially draw attention to it. 
 
 The student has now had some practice in straight and curved 
 lines. The example, figs. 1 and 2, Plate V., before him, is a new 
 departure : he will see that the form he is about to draw (fig. 2, 
 Plate V.) is composed of straight lines, giving something like the 
 shape of the leaf in fig. 1, Plate V. This we call the " blocking in " 
 of the leaf. We would particularly direct the student's attention 
 to it, for he will find all his su.bsequent studies blocked in, and this 
 
THE ORNAMENTAL DRAUGHTSMAN. 
 
 49 
 
 is done in order to save his time and hasten progress. Therefore 
 let him draw the blocking in very correctly, and it will save time, as 
 it is easier to rub out a simple shape, which takes less time to draw, 
 should it be wrong, than a more complex one. He ought not to 
 begin the finished drawing until he has done his blocking in rightly. 
 When he has finished his block correctly, let him proceed to draw within 
 it his curved lines. When he has drawn all his curved lines correctly, 
 having compared it with the copy, he may rub out the block and 
 finish the drawing like the copy. Whether it be a simple leaf, like 
 the copy in fig. 1, Plate V., or a complex design, such as in 
 
 Kg. 41. 
 
 Plates VI. and VII., the shape should be blocked in first, so that 
 the pupil may see what space the design will cover on the object 
 to be decorated. He can then fill in the block with any shapes 
 he pleases. He will find this blocking in extremely useful in 
 practice, and when he comes to draw the " human figure," which he 
 must do if be is going to be an ornamental draughtsman,'he will 
 find blocking in indispensa,ble, for the figure should stand right upon 
 its legs, blocked in in straight lines, before ever he attempts to draw 
 the shape of a single part. 
 
50 THE ORNAMENTAL DEAUGHTSMAN. 
 
 The pupil will observe that we say, he must learn the " human 
 figure." We say so, from the knowledge of the history of ornamental 
 art, that there never was a good school of ornament which was not 
 founded on a knowledge of the human form. And observe, we say 
 " draw" the human figure : it is not necessary that the pupil should 
 paint it, for that is a long process, but he should draw the figure 
 both from the antique and from life. For drawing from the living 
 model will teach him to appreciate the antique, and will also show 
 him what use the ancients made of the human form, and how 
 beautiful they made it. He can compare the shapes of each part of 
 his models with the antique, and he 'will see that they made each 
 part beautiful and well shaped, so that they appear to have selected 
 the best developed forms of each part of the human body. 
 
 ■We recommend the student to draw from the life and the antique 
 together ; beginning to draw from the life from the first. - Thus, say 
 that the draughtsman is going to draw a head, we would recommend 
 that he should draw a skull, and compare all the planes of the skull 
 with the planes of the human head. We have said thus much in 
 order to impress on the student the importance of the study he is 
 entering on. We are addressing students who mean to be oma- 
 mentists or art workmen, and whose aim, we hope, is to raise the 
 art industry of the country and to establish a national style in 
 ornament. But there is one outlook for them, and we tell it them 
 candidly here, and that is "hard work.'' To learn art they must 
 remember the words of Milton, and "scorn delights and live laborious 
 days," and they will find happiness in them. We shall have more 
 to say in succeeding paragraphs on the subject of figure drawing. 
 
 We would now direct the student to a practice which too often 
 retards the progress of those learning to draw. We allude to 
 measuring the lengths of lines either by a pencil or bits of paper. 
 What we would impress on the student is, that he should first draw 
 the line as exactly as he can, and then, measure it. By that means 
 he will learn to draw accurately by his eye, and he will find that 
 this delicate organ of vision, if he will cultivate and train it, will 
 measure more accurately for him than any compass or other artifice 
 or mechanical help. For the last court of appeal in all drawing is, 
 or ought to be, the eye. The drawing when finished must look right. 
 The student may measure his Unes, and find that they measure right 
 in length, and so far as he can test them by mechanical measurement 
 they are right, and yet his drawing does not look right. The student 
 must cultivate his eye from the first, and he will find that after some 
 practice he wQl not think of measuring, as he wiU regard it as waste 
 of time. 
 
THE ORNAMENTAL DRAUGHTSMAN. 51 
 
 We have just referred to the importance of cultivating the eye in 
 the drawing of lines without actual measurement of them. When 
 a student depends upon any mechanical means for measurement, of 
 course he does not depend upon his eye, and therefore he does not 
 cultivate or train it, or use it as he ought to do ; and in so doing 
 he is neglecting a very important element in his art education — 
 namely, the cultivation of his eye. We hope the student sees the 
 importance of adopting the course recommended — that is, of drawing 
 the line first and then measuring it. By the first means he is test- 
 ing his accuracy of measurement by eye and is training it ; by the 
 second he is depending solely on mechanical means, and is neglecting 
 the training of his eye and retarding his own progress, or not learning 
 as much as he ought to do. 
 
 Eeferring now to the various examples or " studies '' we have 
 prepared specially, as guides to the student in the acquirement of 
 his art, we proceed to describe them in their order. The figure next 
 in consecutive order is fig. 38. This is the leaf called mauve in 
 France, and with us known as a mallow leaf. The varieties of 
 mallows are very numerous, and the student will observe that the 
 shape is not unhke the geranium leaf. Now we come to a leaf that 
 very much resembles the acanthus leaf (the chrysanthemum, figs. 
 3 and 4, Plate V.) : the student will observe the divisions of the 
 leaf and the " loops,!' and very carefully draw them, as he wiU have 
 a shape somewhat similar very frequently in his practice. When 
 we come to describe the " acanthus " we shall point out the difierent 
 treatment of the leaf. 
 
 In Plate VII [. we give a drawing of a "vine" leaf, with the 
 blocking in at two stages, b and c, in figs. 40 and 41. 
 
 In copying a, Plate VIII., the pupil should begin by drawing the 
 pentagonal figure b, figs. 40, 41, giving the shape of the leaf with 
 straight lines. He ought to be sure, before he draws more, that he 
 has got the proportions of the leaf right — that is, its width as com- 
 pared with its height ; he will find that the height and the width 
 are nearly equal. When he has succeeded in getting the proportions 
 right, let him proceed to draw the curved lines into the straight 
 ones, as at the half -leaf marked c, fig. 41 ; and having got all the 
 curves correctly drawn, then finish the leaf as at a. He will observe 
 that at the loops of the leaf — that is, that part of the leaf where one 
 lobe joins another — the lines go into a point above a in Plate VIII., 
 and do not form a part of a circle or an ellipse. The vine leaf here 
 given was carefully drawn from nature, and the loops were drawn 
 with great care. 
 
 In Plate IX. we gave the "blocking in," and in Plate X. the 
 
52 THE OKNAMENTAL DEAUGHTSMAN. 
 
 finished drawing, of the Greek ornament known technically as the 
 "honeysuckle," the form being conventionalised from the natural 
 form of the plant or flower. The ornament is also known as the 
 "anthemion," and the student will find this form quite common in 
 ornament, used in various ways and in great variety. 
 
 The ornament known as the honeysuckle, technically the " anthe- 
 mion," is very much used by the Greeks in all their decoration, in 
 their architecture and on their pottery. We give two or three illus- 
 trations of it, for the purpose of directing the student's attention to 
 it, and we hope he will study it very carefully. We also give an 
 illustration of the Assyrian honeysuckle, to show the difference of 
 treatment. 
 
 In the example placed before the student in Plates XI. and XII. 
 he will see the manner in which the Greeks used the honeysuckle 
 and tulip form, and how beautifully the lines harmonise and run 
 into each other without any break. The student wiU find the 
 honeysuckle in other styles, and especially in the Assyrian ; but he 
 will always be able to distinguish the Greek honeysuckle by the 
 length, beauty and regularity of its leaves, and the intrinsic beauty 
 of its curves and form. It would weary the student were we to 
 describe the peculiarities of each plate : what we would recommend 
 him to do is, as soon as he gets a new copy, to compare it with the 
 one just finished, and note all the differences in the arrangement ; 
 let him carefully compare the plate before him with the honeysuckle 
 in Plate VIII., and note the different way in which it is used. He 
 will find the Greeks did not limit themselves to number, while in the 
 Assyrian honeysuckle they are limited to seven. 
 
 The student's next example is preparatory to the one immediately 
 following, and we need only say that he is now entering on a new 
 order of line, and he cannot be too careful in mastering all its details. 
 Having carefully drawn Plate XIII., he will finish his drawing from 
 the following one, Plate XIV., observing that all the lines flow har- 
 moniously. The examples that follow will become more complicated. 
 
 It will be unnecessary at this stage of the student's progress to do 
 more than merely ask him to draw his examples or copies correctly ; 
 for by this time he ought to be able to do so. We here only direct 
 his attention to' a new form introduced — namely, the " scroU " (see 
 Plates XVII., XVIII., XIX., XX., and flgs. 1, 2, Plate IV.). 
 These forms rarely occur in Egyptian ornament, although the student 
 may find some development of its peculiarity in that style ; but the 
 Greeks use it in a most beautiful way, as indeed they do all their 
 ornament. In the Eoman ornament the student will find it more 
 fully developed, and assuming an importance in their decoration 
 
THE OKNAMENTAL DEAUGHTSMAN. 53 
 
 which it never reached before. Now, as the scroll forms an important 
 feature in ornament, let the student here " get it off by heart," so 
 to say, as he has done his alphabet, that he may draw it well and 
 correctly, without any break or bend, but let every line run correctly 
 and harmonise with all the others. This he should do without a 
 copy, and not rest satisfied until he has mastered it and can draw it 
 easily and with satisfaction to himself, as it will form, if one may 
 use the phrase, one of the letters of his alphabet of art. 
 
 The next example of the scroll, in Plate XIX., block line, which is 
 the blocking of the drawing in Plate XX., forms part of the decora- 
 tion of a Greek vase. The student will observe how beautifully it 
 is arranged, how well each part agrees with every other part, and 
 how accurately it is balanced. When he has drawn it very correctly, 
 we would recommend him to draw it from memory, and not look at 
 the copy until he has quite finished it, then compare it with the 
 copy, and if it should be wrong, put it away and draw another, and 
 then compare the second drawing with the copy, and also with the 
 first drawing ; by this means he will measure his progress. The 
 student may here think this a slow process. Well, we hope he will 
 take our word for it, but we recommend it simply to hasten his 
 progress ; and from this stage we would very earnestly recommend 
 him to draw all his copies from memory, so that he can produce 
 them at will whenever he may find use for them. In Plate XX. 
 (XIX. is the blocking) we give a " scroll " taken isom a cast of part 
 of the " Choragic " monument of Lysicrates. 
 
 In figs. 42 and 43 the student will find a drawing of the acacia 
 leaf with a small block shape, which he will be enabled to draw 
 now to the containing size without any instruction. In the next 
 example, Plates XXI. and XXII., the stiident will draw the leaf 
 referred to above (see figs. 35 and 36) — namely, the acanthus leaf. 
 This leaf is found extensively in Greek, Roman, and Eenaissance 
 ornament ; in the Greek it is drawn with sharp points, whUe in the 
 ■Homan it is more rounded. The student will find examples of it 
 in subsequent plates in all the styles referred to above ; he will then 
 be able to note the different treatment of the same leaf in different 
 countries. We have in England an extensive flora : surely we ought 
 to be able to find some leaves that we could treat decoratively, without 
 always falling back on this acanthus ; and the object of these examples 
 and remarks is to direct the student's attention to the desirability of 
 establishing a national style which shall be as distinctly known to be 
 English as the Greek is Greek. 
 
 In Plate III. the student will find another mode of using the 
 " anthemion " or honeysuckle, referred to in Plates IX. and X. He 
 
54 
 
 THE OENAMBNTAL DRAUGHTSMAN. 
 
 ■will observe that only one-half is here used, and also how beautifully 
 it is bound together by ornamental bands. This example" is from the 
 
 ^ 
 
 painted decoration of a Greek vase, and there is another illustration 
 of Greek vase decoration, also painted, in figs. 1 and 2, Plate IV. 
 
THE OENAMENTAL DEAUGHTSMAIT. 55 
 
 Before concluding the present division of our subject we deem it 
 necessary to state that all the subjects we have given should, without 
 any exception, be drawn to a larger scale or size than that given. For 
 example, subjects occupying the space of one of our pages or there- 
 abouts, or as given in the various Plates under one heading, should 
 be copied to a scale tvdce, at least, or two-and-a-half times as large. 
 
 We insist upon this practice of drawing subjects to a large scale, 
 as essential to the correct progress of the ornamental draughtsman. 
 It wUl be time enough for him to execute those "pretty little 
 sketches," which some pupils are so fond of producing, when he is 
 master of his art. What he has while but a pupil to concern himself 
 with, is to gain freedom of execution and accuracy in " lining," as 
 well as a capability to estimate distances and lengths with facility 
 and correctness. And this dual ability, the deftness of the hand to 
 put down what the educated precision of the eye dictates, is what 
 constitutes a true ornamental draughtsman. And those capacities or 
 capabilities wUl best — can only, we maintain — be secured, by drawing 
 in his first or pupil practice on the large scale. When a line or 
 curve is extended over a greater space, inaccuracies can be most 
 readily detected, whUei the very space gives a freedom from manual 
 exertion which is utterly denied by the niggling necessities of those 
 petite sketches some so delight in. Had space been granted us, we 
 should have , given our examples to a larger scale; as it is, they 
 occupy more space than is usually given to them in published papers 
 of a character like the present. But we maintain that the space 
 taken up by them, such as it is, is well bestowed ; and it is in the 
 interests of our readers that we have given it upon principle. In 
 concluding this section of our papers the student will take note that 
 each example has been selected, and every line in each drawing is 
 done with a purpose and has been drawn with a specific object in 
 view. The examples given embody points to be studiously and 
 carefully followed, as well as those which are to be avoided. The 
 student wUl find valuable practice in detecting the points which are 
 wrong and correcting them in his own copies. 
 
 Before taking up the important department of our studies com- 
 prising lessons in shading of drawings, we would again impress upon 
 the student the importance of attending to what we have more than 
 once alluded to in preceding paragraphs — namely, the doing of his 
 work thoroughly. If he has the conviction that in any one of the 
 lessons we have \vp till now given, he has not done this, we would 
 earnestly counsel him to be honest with himself in the matter, , to 
 bring himself to the bar of his own conscience and sternly deal 
 out judgment upon himself. He wUl thank us for giving him this 
 
56 THE OENAMENTAL DBAUGHTSMAN. 
 
 counsel if only he faiily carries it out. He will be not only all the 
 better draughtsman for the doing of it, but very much the better 
 as a man. The matter is not, indeed, lightly to be treated, from 
 any point of view. This vitally important principle of doing work 
 of any kind lies at the root of success in it. And so far as regards 
 the ornamental draughtsman, it should not be lost sight of in the 
 doing of his work. The principle is expressible in the well-known 
 motto of an old and noble house — '' thorough " — amplified in the 
 text of Scripture, which, by the way, odd as the remark may here 
 seem to some, is full of grand and noble lessons applicable to art, 
 "Whatever thy hand designeth to do, do it with all thy might." 
 Nature is always, as we have said, thorough. " Fool ! " says a writer, 
 somewhat warmly — and in truth it is not easy for one always to be 
 cool in view of inept, conceited vanity — " fool ! thou thinkest thou 
 seest but a dull clod of the valley ! well, down on thy knees, examine 
 it closely, and if thy dull eyes can but see, and thy duller Ijrain can 
 understand what they see, thou wilt rise mayhap with clay-coloured 
 pants which may vex thy soul, still with some, if only a faint con- 
 ception of a truth other than that thou first thoughtest of. Thou 
 wilt indeed be very dull if thou then thinkest it still a dull clod, if 
 thou hast not seen in it a beauty, yea, a grand beauty, which may 
 perhaps bring to thy mind some vision from memory of some Alp 
 region thou mayest at one time have visited, wild and yet lovely 
 plaee, with its gentian-coloured slopes, its glades and rich valley, 
 green-grassed and flower-bespangled — ^for colour there is, and that 
 of the richest, in the clod-of-clay region of hill and dale, of stream, 
 mountain, and shaggy peak — for form, grand and majestic, yet in 
 many of its aspects wonderfully minute, is there : deep, dark gorges, 
 sun-dazzled slopes — for light and shade are there. And all, and 
 more than all this, lies on the surface of that clay clod thou didst 
 call dull. It may be that in thy brain-pan may come the thought 
 that the dulness did not lie in the clod, but in thyself." All this, 
 no doubt, is the exaggeration of warmth, but it is the expression of 
 a great truth notwithstanding ; and till the student fully grasps it, 
 and determines to make its principles his own, he can scarcely hope 
 to take rank with the true artists. They are ever laborious, hard- 
 working men, ever studying the great book of nature, ever striving 
 to learn what lessons it teaches and to accept them in their practice. 
 The true workman need not to be ashamed, but for him it is still 
 necessary to learn patient labour by going to the ant, painstaking 
 completeness from the flower of the field or the clods of the valley. 
 
 This, then, is the shape which we hold this question of truthful 
 detail to assume — " That which is worth doing at all is worth doing 
 
THE OENAMENTAl DEAUGHTSMAN. 57 
 
 well"; and he who pretends to draw a rose should in everywise 
 represent it so that we can distinguish it from a poppy or a dahlia. 
 If he be not willing so to represent it, let him in no case put what 
 is not truthful on his canvas or his paper, but let him consider 
 whether it will not be better to leave such untruth out altogether. 
 This does not, of course, as we have already said, preclude or forbid 
 the artist conventionalising any natural form, any more than it 
 denies him the right to give us some representation of the workings 
 of his imagination, however strange his fancies may appear, unlike 
 aught that is in earth or air or sea. Only let the conventionalising 
 he does be so done that it tells its own story, and plainly doing so 
 is not likely to convey an untruth ;'at all events, so represented that 
 it will be at once known that he does not mean to deceive. As for 
 the pencnUngs of his fancy, there is little chance of their being taken 
 for truth. 
 
 We commenced hy saying that the art of Drawing is concerned 
 with the representing of any object. But in order that we may 
 represent, it is of the highest importance that we shall first know 
 what it is we really wish to represent. In other words, the first 
 thing the artist, or draughtsman — we take the terms to be synony- 
 mous, as no one deserves the title of draughtsman who is not an 
 artist — ought to do, is to acquire a knowledge of the object to be 
 represented. And there are two or three points in relation to the 
 character of this knowledge which we shall examine, now that we 
 have practically drawn the student's attention to the objects of it. 
 It is essential to the reader as an art student that these said points 
 should have his best attention, that kind of attention which he would 
 bestow on some object he was determined to win for himself. 
 
 We remark, then, in relation to this knowledge, that it should 
 be an acquaintance with the highest or representative specific forms 
 of the things the artist or ornamental draughtsman wishes to draw. 
 Let the student mark the words. We do not write anything in 
 this sentence but what we mean. "Highest or representative specific 
 forms " are what is necessary ; the student should know minutely, — 
 in a word, perfectly. Not " individual " forms, not a knowledge of 
 the shape of every cloud in the sky you gaze in wonder or in awe 
 at, or of the smallest curves in your tarn, or of each leaf on your 
 tree, each grass- blade in your field. Not that you should "count 
 the hairs on a donkey's hide, or the spicula in a haystack," and with 
 Flemish patience seek to draw them, until you throw up the pencil 
 in disgust, and cry " Vanity of vanities — this is a vexation of spirit ! " 
 
 Let us understand, then, minutely, the character of this specific 
 knowledge. We would define it, in reference to art, as " an exact 
 
 5 
 
58 THE OENAMENTAL DKAUGHTSMAN. 
 
 acquaintance with the most perfect forms of those species of objects 
 which enter into pictorial composition, or into any specific work which 
 popularly, if not accurately, is called a design." Thus, in a noble 
 landscape the trees will be noble, quite difierent in every essential 
 point, as much from the small niggling of certain schools of art, 
 as the outrageous bhirring or blotting work of others. The artist 
 draughtsman will draw his rocks so that we may not only be able 
 to say whether they belong to the older or newer formations, but 
 that we may feel their sublimity or their ruggedness — characteristics 
 of which some artists of the old school seem to have been altogether 
 ignorant. In a word, the artist will represent those objects in his 
 landscape which will most conduce to nobleness in general plan, 
 nobleness in truth of highest detail. 
 
 We remark also, in relation to this knowledge, that, whilst entirely 
 distinct from that acquaintance with mean and vulgar individuality 
 which characterises generally the work of some artists, it should still 
 be minute, and extend to the specific character of every object repre- 
 sented. It is necessary, we repeat, that this knowledge should be 
 minute, and extend to the specific character of everything repre- 
 sented. In other words, in drawing any object, the artist should 
 know what he is drawing. He should not be influenced by vague 
 conjecture, or an indefinite hope that the drawing will " come out 
 right in the end." The specific idea should be distinct from every 
 other idea, and should stand out clearly before the artist's mind with 
 all the definiteness and precision which results from this treatment 
 — as something known, something understood. The "motive and 
 guide " should not be the " intellectual initiative " which is required 
 in inductive experiments, but the settled conclusion of a syllogism, 
 whose major and minor premises the artist is thoroughly acquainted 
 with, and of the correctness of which he is as assured as of the 
 correctness of a mathematical axiom. He should know and repre- 
 sent with equal certainty. Every object he draws will be thus 
 understood by him ; and he will by no means draw it unless he thus 
 vinderstands it. Indeed, it will be infinitely more correct to say that 
 without understanding he cannot really draw it. He may attempt ; 
 but this will be a failure. 
 
 We have also afiirmed that this symbolism and its consequent 
 sympathy will be the cause of an augmentation of the insight of 
 the artist into form and colour. In so far as it desiderates exami- 
 nation, and thus does away with ignorance, it tends towards this 
 insight, but in a higher sense this may be asserted of it. This 
 symbolism forces him to love, so that the objects of his symbolism 
 become the objects of his closest study; for what one loves one likes 
 
THE OBNAMENTAL DKAUGHTSMAN. 59 
 
 to know, and the artist gets in time acquainted with them in their 
 detailed specific character, because it is a delight to him to make 
 "their acquaintance. 
 
 It is not our intention to treat of this specific and symbolic 
 knowledge as they influence artistic details. In the course of 
 these chapters on Design it will be our task, or, honestly to say, 
 our privilege and pleasure, to sketch the character and meanings of 
 certain objects, which are of a widely representative character. Such 
 minutiae as it may be necessary to examine, in carrying out our idea 
 of giving initiative facts, will be described with so much of specific- 
 ness as their representative quality will allow ; but our main purpose 
 wUl be best fulfilled by confining ourselves to general considerations, 
 which, whilst imperatively demanding attention and obedience from 
 all, will still admit of the widest development of all true artistic 
 idiosyncracies or likings, and be applicable to all branches of design. 
 We do not, however, and for obvious reasons, say much on the 
 subject of colour in the present series. This is gone into in the 
 separate paper " On Form and Colour in Industrial Decoration," to 
 which the reader is referred. It will, of course, be seen that the 
 principles which have been laid down in relation to specific knowledge 
 and the symbolism of nature apply as well to colour as to form. 
 The infinite is in both, but certainly the subtler and the more noble 
 atd suggestive is colour. 
 
 We have stated that an embryo artist, setting himself down to 
 think over the vocation to which he was called, would consider first 
 what he had to know, and afterwards how to express his knowledge. 
 But an acquaintance with the right modes of expression should be 
 contemporaneous with the learning of theory. For there is so much 
 to learn, that how to represent is scarcely less important than wlvit 
 to represent. And although this knowledge is glorious in itself, 
 even if it were incommunicable, it becomes vastly more so when we 
 not only possess, but can likewise give it, — when, in a word, our 
 riches become usable. Indeed, is it not its being capable to be used 
 somehow, and for the good of some one in this world, that a man 
 should carefully consider in his attempt to get learning of any kind % 
 
 It wUl be well for us, then, to begin by learning what Nature 
 teaches us, and afterwards to learn how she teaches. And it is to 
 this point of the manner of her teaching that we would now direct 
 attention. We wish, therefore, the reader, or rather, as we should 
 say, the student — for it is study, not merely a mechanical reading of 
 what we say, that is demanded here and throughout of him — to 
 notice under this head the various characteristics of Nature's ex- 
 pressional power, and would advise him to seek to secure a mode of 
 
60 THE ORNAMENTAL BKAUGHTSMAN. 
 
 representation which shall possess as nearly as possible the same 
 characteristics, — this being the best possible guarantee of success in 
 ■what may be called the mechanical part of the art of drawing. We 
 use this term to indicate what is to be done by the deftness of the 
 hand and the quickness of the eye, as distinct from that which has 
 to be grasped by the mind or dictated by the imagination or the 
 fancy. 
 
 The first point that we shall attempt to illustrate is the complete- 
 ness of Nature's expressional power. About her way of showing her 
 meanings there is no appearance of rude hurry, no traces of confused 
 incompleteness. Everything is done after the most careful fashion ; 
 and her general plans, her main ideas, perfect though they be, are 
 never allowed to interfere with the entireness, in every point, of her 
 minutest detail. The mountain, the shadow of which throws darkness 
 upon the earth for miles beyond its base, may be purple-clad with 
 heather, whose every bell shall have beauties far beyond discovery 
 by the keenest vision. The ocean, which stretches away on all sides 
 inimitably, might employ the power of the noblest painter to express 
 the measureless meaning of a single yard of its surface. No deficiency, 
 no random purposeless lines, no uncertain wavering tints, no miser- 
 able attempts to fill up a landscape with foolish falsehood, or practis- 
 ing of ignoble " economy " in any kind of expressional effort, are 
 ever found in nature. Now, apply this principle to the method of 
 drawing or painting. In artistic compositions, everything therein 
 will be complete. The strokes will 3,11 have their meaning, distinct, 
 decided, indisputable. Every form, whether it be animal, vegetable, 
 or mineral, cloud-flakes, coast-shadows, and ocean-foam, will be com- 
 plete, entire, perfect. No shuffling, no evasion, no laziness, but a 
 straightforward looking at all the facts of the drawing or picture, 
 and a rendering of them after the fullest fashion consistent with 
 nobleness and truthfulness. An honest method of work this ; indeed, 
 the only honest method. One of the greatest mistakes which stu- 
 dents commit is to believe that the valuable may be obtained without 
 some equivalent at all, generally. Practically, in a thousand ways, we 
 throw in seed by the wayside, and- fold our arms contentedly, lolling 
 out the summer, and hoping that things "will come right in the 
 end." But when the " harvest time is gone and the summer ended " 
 we shall find, alas ! that whatever reaping there has been for some, 
 there has been none for us — save the sorest of all reapings, the saddest 
 of all sowings, that of the whirlwind and the wind. Nature is no 
 niggard in the .bounties, she offers — she is the freest of all givers ; but 
 we must go to get her gifts, and both the going and the getting 
 speak of labour, not seldom of pain, although in very truth he who 
 
THE OKNAMENTAL DEAUGHTSMAN. 61 
 
 goes will find in his getting how true it is — to quote the fine language 
 of that Book where the finest language is embodied in the most 
 beautiful and suggestive of similes — that he who " now goeth forth 
 on his way weeping and beareth good seed, shall doubtless come again 
 with joy and bring his sheaves with him." And, in sober fact, the 
 artist who is true to his vocation — and that he is sure to be if he be 
 true to himself — will find not seldom that he will go forth to his 
 labours sorrowing. For it is only the inept or the conceited who is 
 satisfied with his work. The true artist is ever "sighing for his 
 ideal." It is not given to him to be satisfied with his work. Work, 
 indeed, considered as a thing done, and done well — the only true and 
 honest conception of work, be it noted — ^is what he never feels thsit 
 he has done. At the best he has but honestly attempted to do his 
 best. For, as one of the greatest — greatest because so morally and 
 religiously noble in his thoughts — of our authors has finely said, as 
 the schemes and hopes of the brain go fast and far ahead of th& 
 dexterity of the hands or the nimbleness of the feet, so the true artist 
 ever finds that his high and noblest conceptions of art are but rarely, 
 if ever, realised ; the height he vainly hopes to reach to-morrow he 
 finds to be but a vantage-point from which he sees but too clearly 
 that the point he aimed at is unfortunately higher than he thought 
 of. But the true artist, like the true man, is not daunted by difficul- 
 ties, sitting to cry over them as th^y surround or lie before him. 
 They are things but to be overcome. So that is all, and so much in 
 sober practicality is it, that should any of our students conceive 
 success will be obtained without his realising it, he will be sorely 
 disappointed. Should, indeed, he be inclined to be daunted by it, 
 and not possessed of the bravery to meet it, the best counsel we can 
 give him is to throw up his pencil and " try some other trade." 
 
 We have said that the artist must go to Nature for his best teach- 
 ings. This, however, does not preclude, as some might deem it does, 
 his going also to the " works " of artists who have gone before him, 
 or who are his contemporaries. The true and the good amongst these 
 are worthy of being set up as teachers. For they who did those 
 works have done the same thing we here write about. They have 
 been to Nature's school, and it is only in so far as they have been 
 apt and willing scholars that what they have done is good. Nature, 
 as we have said, is infinite in the variety and the fulness of her 
 expressional power. The fields for the display and the study of this 
 are as wide as they are endless and inexhaustible. Even so, and that 
 in almost the smallest of her subjects. There is a year's study in a 
 group of stones lying on the face of some precipice, which have been 
 weathered by the storms and the sunshine of centuries; a year, 
 
62 THE ORNAMENTAL DRAUGHTSMAN. 
 
 indeed, would not exhaust the beauty of that which might be covered 
 with your extended hands. Artists have been known to spend year 
 ^fter year in some favourite spot, the area of which might be 
 measured by a pebble cast from a strong man's hand, tiU after they 
 had become grey-headed in the loving service they have confessed 
 that, so far from having exhausted the beauties or learned all the 
 lessons which they could give, they had only begun to discover how 
 infinite and inexhaustible they were. A young artist wiU learn 
 much — it- is not given to any one that he should learn all — from an 
 hour or two's study of the clouds. Let him lie down on some fine, 
 warm, genial May day, or in the " leafy month of June,'' when the 
 very air he breathes is, as Hawthorne says, "something to thank 
 God for," and look up into the sky. Let him honestly, in a loving, 
 trusting spirit, try to see as truly as he can what is spread out 
 before him. And if he does not rise from this patient study with 
 some conviction of the truth that he had till then not even a faint 
 conception of what the clouds show and teach, we shall be much 
 surprised. Nor will he be henceforth surprised when he hears on all 
 sides of him the popular expression of opinion as to what cloudland 
 and its glories are, for he will then have a knowledge of his own 
 previous ignorance to fall back upon to explain the reason. And 
 assuredly he will have learned how exhaustless of artistic lessons this 
 much-neglected region of wondrous beauty is. Nor, in referring 
 him to this region of study, do we lose sight of what " old mother 
 earth " can teach. Neither is the student, who takes to the study of 
 the sky to learn somewhat of the mysteries of the " balancing " of its 
 clouds, at all likely to lose sight of or interest in the green fields 
 below them, over which in sunshine they cast their wondrous 
 shadows. It is not given to every student to travel far to study the 
 grandest of natural scenery ; but, as we have already hinted at, he 
 will in the confined limits of even a by no means picturesque locality 
 in which he may reside, find enough to teach him lessons applicable 
 to his art. Indeed, if he could feel assured that he could master all 
 the lessons yielded by a short stretch of country lane, or strip of 
 hedgerow and fence bottom, or, failing that, but some tiny plot of 
 town or suburban garden, he might well congratulate himself on the 
 acquisition of his treasures. 
 
 Nor let it for a moment be supposed that this study of nature in 
 the widest, and failing that in any narrower aspect, which an art 
 student can command, is only to be followed by those who design to 
 follow out what is supposed to be that profession to which the name 
 of " artist " is alone to be applied. There is no mistake which has 
 been made in aU matters connected with art, which has been so 
 
THE ORNAMENTAL DEAUGHTSMAN, 63 
 
 pregnant with real mischief as this idea, that it is only this class of 
 artist — the painter of pictures popularly so called — who has any 
 lessons to learn from a study of nature. This crude notion it was 
 which, more than anything else, brought about that almost utter 
 absence of artistic feeling and- expression in the popular mind, which 
 was our national characteristic even at a period so recent as some 
 quarter of a century ago. Nor need this popular belief be at all 
 matter of surprise, when we recollect that there were scarcely any of 
 those actually concerned in the designing and manufacture of various 
 objects, who had the remotest idea of the benefit they would receive 
 from the study of nature. It was only the other day that one who 
 has done in his own particular line of art-manufacture more than 
 any one to release it from the reproach, all too well founded, under 
 which it so long laboured, earnestly advised all connected with his 
 business to go to nature as being the best, indeed, the only place, 
 where lessons applicable to true art could be learned. Nor did this 
 ignore the value of or lessen the importance of study of the works of 
 the best masters of design, in ancient, mediaeval and modern times ; 
 for the best of those masterpieces were the work of men who loved 
 nature best and studied most. Nor was the advice this able authority 
 gave confined, or only suitable, to those connected with his own 
 branch ; it was, and is, applicable to all other branches of art-manu- 
 facture. And it is to the wider study and closer love of Nature in 
 all her glorious manifestations — alike glorious in the grandest stretch 
 of wildest forest scenery as in the tiny flower which peeps from 
 beneath a stone or waves in the winds which gently sweep the banks 
 of our country roads — that we owe the fact that we have now manu- 
 factures to which, in some at least of their works, the term " art " 
 may with truth be applied. 
 
 We have now brought our pupil reader to a point in his progress 
 as a draughtsman where he at least knows what he ought to do in 
 order to have the power to execute what is called " oixtline" work, 
 and this either in copying from the works of others or committing 
 to paper his own conceptions of ornamental form, or in taking repre- 
 sentations of objects which abound in an infinite variety of lines in 
 combination from the inexhaustible resources which nature opens up 
 to him. The pupil reader may not be able at this stage of his pro- 
 gress to do all this work, or any one part of it, with facility and. 
 accuracy, but these will come with careful and conscientious prac- 
 tice. How to study and how to practise we have endeavoured to 
 .show, and this with at least an earnest desire to be honest with our 
 pupil readers, and that, in their study and practice alike, they should 
 be honest to and with themselves. There is very much in the 
 
64 THE OENAMBNTAL DEAUGHTSMAN. 
 
 phrase " conscientious work," and without it but little true progress 
 will be made. 
 
 We have now to introduce our pupil reader to a further and a 
 higher stage of his art — that of shaded subjects. Hitherto his work 
 has been confined to subjects in which the effect was obtained by 
 lining only. In the higher department lining or outlining is still of 
 the highest importance, but the effects of light and shade are to be 
 added to the subjects. 
 
 Shading. 
 
 Before entering upon this subject, it will be well to treat slightly 
 of the materials the pupU is to use, and also as to the different 
 methods of using them. And this the more especially as these 
 matters are but seldom touched upon in those works on drawing in 
 which we might reasonably expect to find something concerning 
 them. Most young aspirants to artistic fame are sorely puzzled, in 
 examining a finely finished chalk drawing that has been done with 
 the point, to account for the peculiarly brilliant effect, so soft and 
 yet so distinct, which such drawings possess. lithographs have an 
 effect somewhat similar, and it appears to the youth natural enough 
 that " printing " should bring about such a result ; but how it can 
 be managed by the hand, and with such simple materials, he does 
 not see so clearly. It is with the purpose of enabling him to under- 
 stand this that we give the following details. 
 
 In the first place, the fineness of effect in a chalk drawing depends 
 very much upon the paper. Every kind of fwper is not suitable. If 
 the surface be too roughly granulated, it is impossible to produce a 
 brilliantly toned delicacy of shadow; if too smooth, it will not "take" 
 the chalk at all. As in water-colours, so in chalk drawings, it is 
 absolutely necessary to choose paper of a given quality of granula- 
 tion, or success is entirely out of the question. In making his selec- 
 tion, we wovild advise the pupil to avoid by all means the common 
 smooth cartridge, buyable for twopence the sheet. We have found 
 Whatman's Imperial, at sixpence the sheet, exceedingly suitable, not 
 hot-pressed — a process which simply does away with this granulation. 
 There is a paper specially made which has the exact amount of. 
 granulation which fits it for its specially intended purpose, and the 
 purchaser may rely upon its excellent lasting qualities. Directions 
 for sketching the subjects upon the drawing-paper chosen have 
 already been given in the chapter on the first elements of Ereehand 
 Drawing. 
 
 Chalk is sold in two forms. You can get it in small sticks for 
 use with the porte-crayon, or buy it in wood, made up after the 
 fashion of a black-lead pencil. The former is the better when you 
 
THE OENAMENTAL DEAUGHTSMAN, 65 
 
 are stump-drawing, and require a quantity of dust quicMy produced ; 
 the latter is decidedly preferable in point-drawing. There are two 
 shades of black chalk buyable. No. 2 is a deep soft black, and is 
 generally used for blooking-in the rough broad shadows of subjects. 
 No. 1 is finer and harder, and is also generally employed for the 
 lighter shadows, and for filling up, by stippling, the interstices left 
 by No. 2. But in our practice we should recommend the student to 
 work his drawing all through with No. 2, beginning and ending with 
 it. Our reason for this recommendation is, that by using No. 2 
 lightly the student can obtain all the delicacy of No. 1. The using 
 of the two numbers is apt to mislead the student, and make him 
 think that fineness of finish is t^e object to be aimed at, in place of 
 expression of form, which is really what constitutes the value of his 
 work. We wish to impress this most distinctly upon the student, 
 in order not only to save his time, but to prevent him falling into 
 the vices of a meretricious style, which, whatever may be its claim to 
 be considered finished work, is far removed from what constitutes 
 truth of form. The student must ever bear in mind that the finish 
 in chalk is but the means : expression of form is what he is to look 
 for. Whether the drawing be coarse or finely finished, if the form 
 be not expressed, the drawing is worthless. Of the absolute truth 
 of this let the student rest assured. 
 
 The French chalk pencils are undoubtedly the best ; and of these 
 the sticks marked " H. C. A., Paris," are to be preferred. They are 
 almost universally adopted in the Government Art Schools. You 
 can purchase them for twopence the stick, both our Nos. 1 and 2 
 being the same price. The quality of the chalk in these pencUs is, 
 however, rather uncertain, and there is no method of distinguishing 
 a good one from a soft or gritty one but by using it. It by no 
 means follows, though, that because a stick starts badly, it is bad all 
 through ; in fact, the opposite is as frequently the case as not. The 
 grit will be found in many of them to have penetrated but a short 
 distance, and the remaining part of the stick will turn out excellently. 
 In using a gritty pencil, we would advise the student to continue 
 cutting it until the grit or the stick is entirely gone. 
 
 A word or two as to the forming of the chalk point. If money 
 be of any importance, the sharpening of the pencil deserves some 
 consideration. A good point is likewise essential to the doing of ishe 
 work properly. The student must not grasp the pencil in the left 
 hand, and hold it from him (as we have seen some art students do), 
 and then, with the knife equally firmly held in the right hand, 
 whittle awaj' at it, giving to the point no support at all. The almost 
 certain result of adopting this careless way of making the point is 
 
66 THE ORNAMENTAL DEAUGHTSMAN. 
 
 that there will be no end of breakages, and consequently no end of 
 expense. We have seen a stick free from grit cut through in half 
 a day after this foolish fashion. The best mode of getting a good 
 point we proceed to explain. Take the new stick in the left hand, 
 and hold it between the thumb and first finger. It will then rest 
 in a part of its length on the second finger. Grasp the knife in the 
 fingers of the right hand, and press the stick against the rigbt-hand 
 thumb, which is left free. Then begin cutting about three-fourths 
 of an inch above the end, and very gradually form the point by 
 careful and delicate use of the knife, leaving the chalk bare about 
 a quarter of an inch. After you have done with the knife, take 
 a small, thin, and very fine file, and very cautiously file down the 
 point to the required degree of delicacy. In the use of the file great 
 care is necessary. The pencil should be held still in the left hand, 
 its point resting in its whole length upon the soft flesh over the 
 extreme phalange of the first finger. The thumb, which is free, will 
 turn it round as the file goes over it. It will not be necessary to 
 file the point where only rough broad shadows are required ; but 
 when you wish for extreme delicacy, whether in stippling or hatch- 
 ing, we heartily recommend this to be done. Eor all that is necessary 
 in work, the knife will be sufficient ; the student, therefore, should 
 from the first accustom himself to its use. 
 
 It will not be necessary to give any lengthened definition of what 
 is meant artistically by the term " shading." The pupil wiU easily 
 understand that by the shaded portion of an object we mean that 
 part of its surface from which the light is either wholly or partially 
 excluded. The dark side of the figure is its " shaded " side, or that 
 portion of it from which the light is shut oS. It will not need 
 much explanation, either, to enable the pupil to understand that not 
 only does one part of an object exclude light from some other part 
 of it, but the object itself shuts off the light from some other object ; 
 or, as it is termed, " casts its shadow." By way of illustration, take 
 a lighted candle, and put it close to the hand, in a room otherwise 
 dark. The hand is not only shaded on the side opposite to the 
 candle, but it likewise " casts its shadow" upon the wall in the shape 
 of itself. We recollect the fine use which Wilkie has made of this 
 fact in the conception of his " rabbit on the wall." Another fact for 
 the student to remember is, that reflected light has enormous influ- 
 ence upon shadows, and the truly fine artist is the one who most 
 clearly evinces his knowledge of this influence. By reflected light 
 we mean that light which, being thrown by one object upon another, 
 is transmitted thenceforward to some other surface. As an example, 
 take a book in the left hand, and place it between yourself and the 
 
THE ORNAMENTAL DEAUGHTSMAN. 67 
 
 window, so that you look upon its shaded side. Then take a piece 
 of white paper in your right, and hold it so that the rays of light 
 which fall upon its surface may be reflected or thrown back upon 
 the said shaded side. It will immediately be perceived that this 
 latter becomes lighted up ; and this will be the case in proportion 
 to the light -receiving qualities of the object which casts the reflected 
 light. One of the finest examples we know of the treatment of 
 reflected light is in Rembrandt's painting of "The Burgomaster." 
 The burgomaster is reading a letter, with his back turned to the 
 window, his left elbow resting easily on the window recess. The 
 light falls directly upon the letter, and is cast thence upon the face, 
 which is thus relieved from what could not have been, but for this, 
 other than a sombre, gloom-filled shadow. There is a marvellous 
 play of reflected light and shade upon some of the antique statues — 
 in, for example, " The Dancing " or " Clapping Faun." If this cast 
 be placed underneath a light from the top of the room, so that the 
 rays may fall on it at an angle of 45°, our meaning will be seen 
 clearly enough. An attempt at explanation without the ca^t would 
 be tedious, because of its complexity. 
 
 Another principle which the student must take an intelligent note 
 of may be stated thus: — Gradation of shade produces the appearance 
 of roundness or projection. Thus, the globe or sphere, as in fig. 1, 
 Plate XXIII., is not only a geometrical circle, but it looks also like a 
 globe ; or in other words, one part of its surface seems nearer to us 
 than the other, its centre representing the limit of the prominence 
 towards ourselves. Take the chalk pencil, or any object with a 
 rounded surface, and examine it with the view of finding out the 
 reason why, without touching it, you understand it to be round. 
 You will notice at once that it cannot lie either in the body, colour, 
 or the outside form; for an object with square edges, and of the 
 same colour, would have a precisely similar appearance without the 
 gradation of shadow. Its roundness of look is the result of a regular 
 deepening of shade, which, starting from the high lights, is continued 
 in the same ratio of gradation to the dark parts of the figure. An 
 examination of the drawing will give the pupil a better notion of 
 what is meant than any amount of description in words. Let the 
 pupil take an egg, and mark the influence of this principle upon its 
 shadows, and he will instantly be able to make further practical 
 application of the rule under consideration. It wUl not be necessary 
 to enter more fully into this general subject of shading here. In 
 the first place, we have said enough about it to enable the reader 
 to comprehend fully our subsequent instructions. We earnestly 
 advise, however, that the sketches in figs. 1 and 2, Plate XXJII., receive 
 
68 THE OENAMBNTAL DEAUGHTSMAN. 
 
 the pupil's best attention, as the remarks whicli follow on the subject 
 
 Eig. 44. 
 of chalk shading wLlJ presuppose a thorough acquaintance with the 
 
 Fig. 45. 
 
 principles there illustrated. The remarks which have just been made 
 
 Fig. 46. 
 
 concerning gradation of course imply that there are different depths 
 of shade. The shade immediately joining the high light, iu the figure 
 
THE OENAMENTAL DEAUGHTSMAN. 69 
 
 of the sphere or globe in fig. 1, Plate XXIII., the pupil will see is 
 
 Fig. 47. 
 
 different in degree from that towards the lower part of the sphere's 
 
 
 
 ISt'*' 
 
 Fig. 48. 
 
 drcumf erence ; and it is necessary that he should be able to express 
 
 Fig. 49. 
 
 various depths of shade-^slight, medium, and, intense — over an 
 extended surface with regularity and evenness, before proceeding to 
 
70 THE ORNAMENTAL DEAUGHTSMAN. 
 
 try gradation. For unless he can produce a flat shade — as, for 
 example, the side of a rectangular object in fig. 2, Plate XXIII. — - 
 which shall be equal in intensity over a given surface, he can never 
 expect to succeed with a graduated shade, which demands for its 
 perfect expression fine feeling and most delicate handling. 
 
 Let the pupil take the rectangle, fig. 44; draw within its boun- 
 daries, taking a No. 2 chalk, a number of extremely fine lines in any 
 direction, as in the sketch. Then, across these, at an ang:le — see 
 fig. 45 — let him draw other lines of similar fineness, and with the 
 same distance between them, giving the effect as in fig. 46 ; then 
 sharpen his point with a knife to as extreme a delicacy as he finds 
 possible, and fill all the remaining interstices in the square by stip- 
 pling or pointing, as in figs. 47 and 48. In doing this the pupil 
 must be very careful not to let his point encroach upon any of the 
 
 Pig. 60. 
 
 lirifes, or the result will most probably be unevenness, the thing he 
 is specially to guard against. Let him use the point to dot, point or 
 stipple up every untouched portion of the surface of the figure, until 
 he can find no part which has been left undone. Now let him 
 make an examination of his attempt. Probably enough, there will 
 be much to find fault with. Some portions of the surface will be 
 lighter than others, and most likely his first effort at stippling has 
 mainly resulted in small, black, irregular patches, which wUl show 
 themselves. Do not let him permit this, however, to dishearten 
 him, but let him draw surfaces of the same depth of shade, and he 
 will at length be able to produce one tolerably even or uniform in 
 surface. 
 
 Figs. 49, 50, 51 and 52 show different degrees or tones of shading. 
 It will be understood that figs. 44, 45 and 46 show the successive 
 steps taken in getting the groundwork of the shade. The first stage 
 of this is shown in fig. 46, in which the two crossings — ope of which 
 
THE OKNAMENTAL DBAUGHTSMAIT. 71 
 
 is shown in fig. 44, the other in fig. 45 — are combined. This stage 
 is the next to the stippling or filling in the interstices of the crossed 
 lines in fig. 46 with points, which is shown in two stages in figs. 47 
 and 48. 
 
 , Now let the pupil try what he can do in the producing of a 
 gradated shade. Let him take fig. 2, Plate XXIII., in hand first, 
 beginning with No. 2 chalk to hatch in the deepest portions with 
 fine crossed lines, as already described, the lines getting lighter as 
 he approaches the right hand. With the remaining portion he 
 must proceed in a difierent way : prepare the chalk to as fine a 
 point as may be ; and, with the end of the pencil held in the tips 
 of the fingers, run over the surface in a light, smooth manner. 
 Then starts the real difficulty of the work. Let the pupil clearly 
 fix in his mind what he has to do. The whole face of the cube is 
 
 Kg. 51. 
 
 to be shaded, so that the gradation of the whole will be perfectly 
 regular, and consequently no two portions of its surface the same. 
 
 We have but to repeat the principle, which we have insisted on 
 through this work, that hard work now means success in the future. 
 Do not let the pupil despair of being able to produce a more finely 
 gradated shade than is given him in the drawing, as it is impossible 
 for the engraver to equal the delicacy of shading done by the hand. 
 Therefore his attempt to copy the figure should be greatly superior 
 to the copy. When he has brought his drawing to the condition 
 above mentioned, let him commence" filling up with the chalk all the 
 interstices which have been left unfilled in the extremity of the 
 figure's darker end. He should proceed towards the upper left hand, 
 and cautiously, and, after every two minutes' work, step back from 
 the drawing about three feet, and observe whether he has been 
 keeping the shade entirely even in its decrease of intensity towards 
 the lower right hand or opposite corner. This evenness iS, of course. 
 
72 
 
 THE OENAMENTAL DEAU6HTSMAN. 
 
 the thing the pupU is striving to obtain. When he comes to the 
 lighter portions of the figure, he will require all the care and all 
 the patience he is possessed of to accomplish a fair result. He must 
 cut the No. 2 chalk about half an inch higher than for ordinary 
 shading, and work it down to a most delicate point. Let the pupil 
 remember that the whole of what is left undone must be worked up 
 with the point by stippling. The successful bringing out of a good 
 copy now depends entirely on the pupil's care. We cannot write 
 more by way of direction, and we therefore leave the figure with 
 him. 
 
 In the drawing of figures the pupil will need no further instruc- 
 tions than those which have been given in relation to the figs. 44 to 
 
 Kg. 62. 
 
 52. The speciality about it is, that in each there are what may be 
 termed two degrees of deep shade for gradation. The light falling 
 upon the left-hand side of the cube, or light face, throws the side to 
 the right hand darker or into shade (see fig. 2, Plate XXIII). And 
 the pupil will observe that the shadow is darkest nearest to him, 
 gradually coming lighter at the distant or extreme right-hand corner 
 and edge. The dark portion of the paper on which the object 
 apparently stands is called its " cast shadow," and of this it will be 
 noticed that in tone it is darker- than the darkest part of the object 
 itself. 
 
 The globe, ball or sphere in fig. 1, Plate XXIII., will need much 
 careful handUng, but it is scarcely possible to give fuller directions 
 than we have already presented. It will, however, be necessary to 
 point out one or two things with relation to the cast shadow of the 
 
THE ORNAMENTAL DRAUGHTSMAN. 
 
 73 
 
 object now referred to, the globe or sphere. The pupil will observe 
 that this cast shadow is not of uniform depth of tone or blackness, 
 but that it follows the same law of gradation as regulates the gra- 
 dated tones on the globe itself, being darkest under and nearest the 
 globe, but toning out to a lighter shade at its right-hand extremity. 
 This drawing has been taken from a ball or sphere made of plaster 
 
 Fig. 53. 
 
 m 
 
 of Paris ; and we should recommend the pupU to procure one of the 
 like material, and to make his drawing from it. The whiteness of 
 the object itself will show him the delicacy of the gradation of shade 
 from the " high light " towards the upper or left-hand side of the 
 globe in the drawing in Plate XXIII. to the " crescent of shadow " 
 towards the lower and right-hand side." It will show also the 
 
 Fig. 54. 
 
 " reflected light" seen at the extreme edge or part of the globe below 
 the crescent. He will also see the depth and the gradation of the 
 cast shadow. 
 
 A few fip?ther illustrations of shading by chajk may usefully 
 conclude the chapter. It is scarcely necessary to say that the same 
 effects of shading as we illustrate in this and in the preceding 
 
 Fig. 55. 
 
 examples will be produced by the aid of the ordinary drawing pencils. 
 Pencil shading, however, does not give the same finely soft effect 
 which is produced by means of the chalk crayon. Figs. 53, 54 and 
 55 illustrate the method of giving the effect of roundness to a flat 
 disc, with circular edge or periphery. The light is supposed in all 
 
 6 
 
74 
 
 THE ORNAMENTAL DRAUGHTSMAN. 
 
 our drawings — with Continental artists the opposite is often the case 
 — ^to come from the left-hand side the rays of light descending, so 
 to say, from above the object, and in the direction of from left to 
 right at an angle of 45°. The left-hand side or edge of the flat disc 
 in fig. 53 is therefore shown to students with a light shade. By 
 consequence, the right-hand side or edge is the darker, as it is 
 farther from the light : this is shown in fig. 54. The two, when 
 
 done in the object give the combination of shades in the completed 
 or finished drawing as in fig. 55. A cylinder or a pillar or column 
 is shaded in the same way, and presents the appearance as at c in 
 fig. 56. In the same figure a shows the cylinder or column, when 
 first begun to be shaded, this showing the light or left-hand side ; 
 B is the second stage, giving the dark or right-hand side ; c is the 
 finished or completed sketch, in which A and b are combined. 
 
 These figures illustrate what is called " shading," — Plate XXIII. 
 illustrates " shadows." The difierence between a " shading " and a 
 
THE OBNAMENTAL DEAUaHTSMAN. 
 
 75 
 
 "shadow" lies simply in this: that in all shading there is a gradation 
 of tint or tone in the darkness, blackness or depth of the lines and 
 stippling or pointing produced. This gradation gives the effect of 
 the dark gradually melting away, so to say, into the light portion 
 of the surface of object being shaded. In a shadow, on the contrary, 
 there is no gradation. The shadow may be put to show very deep 
 or dark, or only comparatively dark; but whatever be the precise 
 depth of tint or tone of the shadow, it is essential that it be uniform, 
 one part not appearing of a deeper tint than another : to use a 
 popular phrase, the surface must not be mottled or dappled : a in 
 fig. 57 illustrates a shadow thrown — or, as the technical phrase 
 is, "projected" — ^for description of the terms "projected" and 
 " projection " see the volume entitled "The Building and Machine 
 
 Draughtsman " — on a flat surface. This shadow is created or caused 
 by the projecting part. The shadow is terminated at the lower side 
 by a straight line ; but if the body, in place of being flat, as at a, 
 were cylindrical, as in b, the shadow thrown by the projecting part 
 would be bounded on its lower side or edge by a broad line, as at b. 
 
 END OF " OKNAMEKTAL DEAUGHTSMAN. 
 
FOEM AND COLOUE 
 m INDUSTEIAL DECOEATION". 
 
THE TECHNICAL POINTS CONNECTED 
 WITH THE EMPLOYMENT OF FOEM 
 AND COLOUE IN INDUSTEIAL DEOOEA- 
 TION. 
 
 Introductory. 
 
 The purpose of all decoration is to beautify the object to whicli it is 
 applied. We do not here propose to enter into the discussion of- the 
 question as to what constitutes beauty in an object of art. What 
 has been said upon this much disputed point — at least, as much of 
 the discussion as is useful for our general purposes — will be glanced 
 at in succeeding paragraphs in this paper. We here take it for 
 granted that the artist who proposes to apply design to decoration 
 has in his mind the principles of what constitutes beauty according 
 to our best authorities ; otherwise he is not prepared to carry them 
 out into practice. Our present purpose is to give a general state- 
 ment of the principles of decorative art, following this up with 
 some remarks under separate heads, showing their special applica- 
 tion to certain departments of art manufacture, such as pottei-y, wall 
 decoration, and the like. 
 
 Decoration of Form. 
 
 And first as to the decoration of form. And here the young art 
 student must bear in mind that we are now considering those objects 
 which have a certain shape or configuration giving solidity — the 
 term form in the meantime not comprising those shapes of surface 
 which have an outline no matter how varied in configuration — that 
 is, which have surface only. The first or primary principle we start 
 with is that the decoration adopted — whatever be its style — shall 
 not interfere with the true or original form of the object. Take, for 
 example, a Greek vase. This, so far as its form is concerned, may 
 be divided into three parts : first, the body, comprising the bulk of 
 
80 
 
 FOEM AND COLOUR IN INDUSTEIAL DECORATION. 
 
 the vase ; secondly, the neck ; and thirdly, the base. Take first the 
 base, as treated in Greek art. The decoration of this part consisted 
 in the avoidance of all cross or angular lines, and in the imparting 
 to them a perpendicular or vertical direction, so that the body of 
 the vase would spring from the base as naturally as the flower from 
 the calyx. The base or foot generally was decorated with bands of 
 varying width; the lower part, or what may be called the plinth, 
 ( having a band broader than the parts which receded. 
 
 As regards the body of the vase, where it springs from the base, 
 ' or " foot " as it is technically called, the lines spring upwards, pointing 
 towards the upper part or " neck " of the vase — embracing it, as it 
 were— after the manner shown in the illustration of a vase given 
 elsewhere. There is but little doubt that this principle of decoration 
 was borrowed from nature, as in the growth of plants and flowers, 
 
 in which it wUl be found abundantly 
 displayed and most suggestively illus- 
 trated. Those hnes are, as seen in the 
 illustration (fig. 1), sharp-pointed or 
 lancet-formed. And above the termi- 
 nation of these there is usually a band 
 encircling the vase. This band forms 
 the base for the decoration of the body 
 of the vase; and as a rule — with, of 
 course, exceptions — the height of this 
 band from the foot is about one-fourth 
 or thereabouts of the height of the 
 vase. Above this line of the band the 
 principal decoration of the body {a) of 
 the vase begins. This decoration was 
 dictated by the use to which the vase 
 was to be applied. A very frequent style 
 of decoration employed for the ornamen- 
 tation of this part or body of the vase is what may be called the 
 " processional," where a line of dancing fauns, satyrs, and vestal virgins 
 encircle the vase. • Such vases were in all probability designed for 
 and used in religious processions and ceremonies. 
 
 Above the procession of figures, just on the shoulder or point where 
 the body of the vase begins to taper into the neck, bands encircle the 
 part. Those are usually ornamented with floral decorations within 
 or between the bands. Then encircling the neck comes a series of 
 bands, generally with pointed forms between. At and upon the lip 
 comes the ornament known as the echinus moulding, or egg and 
 tongue, the outline of which is the quarter round or ovolo. 
 
 Kg. 1. 
 
POKM AND COLOUB IN INDUSTRIAL DECORATION. 81 
 
 The Principle involved in the Foregoing Bemarks as to the Decoration of Form. 
 
 The reason why we have given these explicit remarks we would 
 wish to make very obvious to the pupil, showing him the manner 
 in which the Greeks decorated their vases in the way described, and 
 which succeeding generations through many ages have felt and 
 declared to be right. The student will observe that the decoration 
 they employed in no wise interfered with the shape or form of the 
 vase. If he has any difficulty in at first conceiving how decoration 
 could alter form, he has only to consider that, by adding to the form 
 of a vase lumps, so to designate them, of fruit and flower projections 
 — to which we cannot honestly attach the name of ornament — it is 
 by no means a difficult matter to alter the form of any vase, however 
 elegant in its true or pure form. To put the point in an absurd, 
 yet perfectly truthful way, one might make a vase assume the shape 
 of an unhewn rock, or some grotesque fabulous animal. Examples — 
 too abundant, unfortunately — may be met with daily at present in 
 the shop windows of our towns, the product of what is called " art 
 manufacture." What claim to this title such monstrosities have, we 
 leave the student to judge after what we have said and have yet 
 to say. The only merit we see in such decorations — if so they may 
 be called — is that they can be easily knocked off : a fate or result 
 devoutly to be wished, as there would then be some chance of seeing 
 what the original or true form was. 
 
 Trne Decoration does not interfere with the Nature or Utility of Form. 
 
 The above remarks must be taken as involving principles applicable 
 to the decoration of the surfaces of all forms, although they are 
 specifically illustrated by these forms known generally as vases, from 
 these principles the special canon or rule to be deduced is this — 
 namely, that no matter what the form may be, its decoration should 
 never interfere with the purpose for which the object has been 
 made. This may be here illustrated, and with a direct practical 
 purpose, by a boat. This, the product of the inventive ability to 
 design and the mechanical skill to construct which man possesses, is 
 designed to overcome or master the physical difficulties arising from 
 the known characteristics of water, which naturally presents obstacles 
 to his progress of locomotion in going from place to place — in brief, 
 to bridge over, so to say, what would be as impassable gulfs sepa- 
 rating localities. And this bridging over of othervpise impassable 
 spaces is done in such a way, that whUe we obtain facilities for 
 progressing rapidly, we at the same time secure personal comfort in 
 being kept from contact with the water, and comparatively absolute 
 
82 FOEM AlfD COLOUR IN INDUSTKIAL DECORATION. 
 
 safety from its known dangers. Now, a boat which thus serves the 
 practical purposes of life, and in this sense may be looked upon as 
 a thing of utility only, possesses other attributes. Amongst these, 
 and specially standing out in the most marked manner, is this — ^that 
 it is a " thing of beauty." What a boat displays in this way, and 
 what other things, and grandly suggestive, a boat shows and teaches, 
 let the remarks of E.uskin on this very subject testify. How deeply 
 suggestive this to many minds the commonest of common things is, 
 the reader will learn if he reads what this finest, as he is the most 
 honest of all writers on art, says about it. If for the first time, he 
 will no doubt to his surprise find, that there are things about so 
 simple a thing as "only a boat," of which his philosophy had taken 
 no previous cognisance; Now, the art student, if coming newly to 
 the general subject of artistic treatment of objects, may think it a 
 somewhat strange thing to talk of the decoration of a boat. But 
 boats have from the earliest times been decorated, and decorated they 
 often are now. And, apart altogether from the question as to the 
 propriety or otherwise of decorating or ornamenting a boat, which, 
 strictly speaking, is designed only to do hard work and withstand 
 the buffets of wild wastes of water and of boisterous winds, we take 
 its decoration as here simply, but as we think effectively, illustrating 
 the point with the importance of which we are endeavouring to 
 impress our readers. The decoration of a boat may be produced in 
 two ways: first, by having ornament external to 'its surface; and 
 second, by pierced apertures' of various forms passing through its 
 sides. Take first the external ornament. But a moment's considera- 
 tion will suffice to convey to the student, that the first essential 
 attribute of a boat, after the purposes of strength to contend with 
 subtle yet ever powerful forces are secured, is that it shall glide 
 easily, and so to say softly, through the waters, whether these be in 
 calm or tormented by the fierce winds into a howling waste of 
 restless waters. Now let the student conceive for a moment the 
 effect of externally decorating a boat — on what we have called the 
 "lumpy" principle — as illustrated in some of the forms of vases, etc., 
 of modem art manufactures. The mere mechanical resistance offered 
 to the boat's progress through the water, whether oar-impelled by 
 force of sinewy arm or by the breezes of heaven, by these excrescences, 
 or " lumps " of ornament so called, would obviously interfere with 
 the principle of utility, which is the very raison d'etre, or reason for 
 the boat's existence. And thus this style of ornamenting or decorating 
 a boat would, in the great principle we have been enforcing, be 
 condemned. And this is altogether independent of the question fo 
 the beauty of the form, which might be either carved out of th? 
 
FORM AND COLOUR IN INDUSTRIAL DECORATION. 83 
 
 solid wood of the boat's timbers, or formed separately and mechanically 
 attached or secured to its sides. Those forms might or might not 
 be beautiful ; but whether beautiful or not, they would, to put the 
 point in bluff language, as befits the subject, have no business to be 
 there. The same principle is illustrated in the second of the two 
 styles, by which only we have said a boat can be decorated — namely, 
 by pierced apertures made in its sides. Here again, as before, let 
 the student conceive the effect of decoration of this kind upon a boat. 
 We have said that one of the attributes of a boat is that it shall 
 do its work quickly, that it shall receive the motive impulse of wind 
 or muscle, so that none of it be lost or squandered away. 
 
 As illustrating the point that true decoration does not interfere 
 with the nature or utility of form, we have just cited the case of a 
 boat, and after drawing attention to certain points of this, we stated 
 that none of its useful attributes must be done away or interfered 
 with. While, therefore, we must not encumber its surface with forms 
 which, however beautiful in themselves, would still be excrescences, 
 60 that its speed be interfered with, we must not pierce its sides with 
 apertures, however graceful in outline they may be, through which 
 the fierce waves covild pass to endanger its safety. Now, however 
 absurd such illustration as this last may, by some of our art student 
 readers be considered, this much we may safely say in its favour : 
 that it is not more absurd than illustrations taken from objects daily 
 manufactured and sold to a placid public as articles of art manu- 
 facture of high value as artistic productions. If the reader will but 
 think of and draw upon the stores of his observation, he will have 
 no difficulty in bringing up the recollection of objects of art manu- 
 facture so called, which will amply justify our illustration as being 
 as absurdly decorated in relation to their uses, as a boat would be 
 with its sides pierced with ornamental apertures. 
 
 The Principles of Surface or Flat Decoration. — Outline and Colour,. 
 Having thus directed the attention of the art student to the great 
 principle which should dominate all his work in the direction of the 
 form of solid bodies, or in " the round" as the technical term is, we 
 now take up in like brief manner the subject of the decoration of 
 Flat Surfaces. This is, of necessity, one which has a very wide 
 range of objects. It embraces the decoration of walls, or of the 
 paper pasted on them, which modern taste seems so universally to 
 demand ; it includes the whole range of textile fabrics, such as the 
 carpets we cover the floors of our dwelling-houses with, and this 
 with not always a strict observance of sanitary laws, and the 
 numerous fabrics used in the clothing of our persons — the calicoes, 
 
84 
 
 FORM AND COLOUR IN INDUSTRIAL DECORATION. 
 
 the woollen .goods, the silks and the velvets, as also the laces, which, 
 if they do not always adorn the forms of beauty, serve, as cynics say, 
 to minister to the love of display and foster vanity. So far, then, 
 as to the scope of the subject. 
 
 The art student must at this stage take note that a very important 
 point enters into the discussion of this subject of art treated as flat 
 surfaces. Hitherto we have had only to consider the subject of form 
 or outline. So also in the department under notice form or outline 
 
 Kg. 2. 
 
 is to be taken notice of ; but another element comes also into 
 existence as influencing the practice of decoration of flat surfaces — 
 namely, colour. 
 
 The subject, then, divides itself into two departments of treatment 
 — ^first, the outlines giving the form, shape or configuration of the 
 flat surfaces, and second, the colour with which those surfaces are 
 decorated or filled in. The student will of course understand that 
 there are some subjects or designs which are in pure outline only 
 — that is, upon flat surfaces — which designs are not coloured ; just 
 
FORM AND COLOUR IN INDUSTRIAL DECORATION. 
 
 85 
 
 as there are some designs which are coloured, and it is to these last 
 that the principle above indicated is applicable. But preceding the 
 notes on coloured form, the illustration of the points connected with 
 pure outline or flat surfaces only wiU fii'st engage our attention. 
 
 Of Fare Ontline or Eorm. — Principles of Decoration, 
 Here the principle to be borne in mind may be stated thus. In 
 a piece of well concerted music the notes must, so to say, flow into 
 each other, so that no jarring discord be created — ^in other words, 
 they must harmonise. So in forming any outline or configuration 
 — or " pattern," to use the popular phrase — the Hnes making this 
 up must flow into each other in such a way that, to employ the 
 expression above used, they must " harmonise." ,What we mean 
 
 here by lines harmonising will best be explained by the following : 
 Lines must flow into one another, so that when they meet, the 
 junction of the two must not produce any harsh lines, such as a 
 bend or knee or projecting part, as in fig. 2. This is further illus- 
 trated by the ornament called the "Greek honeysuckle," or anthemion, 
 in fig. 3. This, the lower portion (o), we call the husk, and from 
 this all the lines spring, each one of which flows into the husk in 
 such a way that it would not if produced or lengthened either cut 
 into the body of the husk, or proceed to the centre. When properly 
 drawn it is compelled, so to say, to flow into the husk. In flg. 4 we 
 give an illustration of the Assyrian cmthemion, or honeysuckle. In 
 the Greek form of this ornament the leaves or lobes are not uniform 
 
86 
 
 FOEM AND COLOUR IN INDUSTRIAL DECORATION. 
 
 but vary up in some instances to as high as fifteen, being decided 
 apparently by the caprice or wUl of the designer ; but in this the 
 same principle of drawing the lines is carried out, so far as the 
 ornament itself is considered, or rather its details. In the Assyrian 
 anthemion the number of lobes or leaves is always seven — three on 
 each side of the central lobe b — whUe the three lobes c c are joined 
 as in the sketch fig. 4, not separated, as at 6 6 in fig. 3. The lobes 
 also in springing rise from a disc a, and not from a husk, as at a a 
 in fig. 3. And each lobe is cut up or ornamented by the liaes shown, 
 which is called the water-mark. In fig. 5 we give another form of 
 the Greek anthemion or honeysuckle ornament. In this the lobes 
 a a do not spring from a husk, as at a a ia fig. 3, but from 6 b, the 
 
 Kg. 5. 
 
 central point, c, between which terminates with a point as that of 
 a leaf. The student must take special note of the principle here 
 involved, inasmuch as it applies to the whole work of ornamental 
 drawing of outline subjects. What is here true of the simple 
 subject, as illustrated, is equally true of all subjects, however com- 
 plicated. This important principle the student will find exemplified 
 in any ornamental drawing correctly done he pleases to examine, but 
 for the younger of our readers we have illustrated it by the fore- 
 going sketch, fig. 3. A more detailed drawing of this will be found 
 in its proper place in the companion work entitled " The Ornamental 
 Draughtsman." In the simple sketch given in fig. 2 the young 
 student will see how, if lines were incorrectly drawn, in place of 
 flowing into the main line they might shoot off if produced or 
 lengthened in some direction at any point, as shown, say at the 
 
FOKM AND COLOUR IN INDUSTEIAL DECORATION. 87 
 
 dotted line a in the sketch. If he will also look amongst the subjects 
 illustrating " The Ornamental Draughtsman " for that study in 
 which the Greek seroU is first given, he will find this importance of 
 harmony of lines further and most conclusively illustrated. Further 
 illustrations and hints as to what is the technical part of ornamental 
 drawing, or the manipulative execution, the pupil will find in the 
 letterpress descriptive of the plates and figures given in the work 
 entitled "The Ornamental Draughtsman." So also he will find in 
 succeeding paragraphs of the present work illustrations showing the- 
 application of the general principles of design to what is called 
 manufacturing or industrial art, and further description of the points 
 now here enforced. 
 
 Colour in Decoration. — ^Importance of the Subject. 
 In the preceding paragraphs we have directed the attention of the 
 reader to various points connected with the application of form to 
 the decoration of various objects. We have yet much to say on 
 these points, but our remarks will come in more appropriately when 
 we take up their practical application to various departments of 
 decorative work, such as paper hangings, textile fabrics, as ribbons 
 and printed calicoes and furniture stufis, etc., etc. Meanwhile we 
 have, as introductory to those subjects, and also as illustrative of 
 various points of importance in itself, now to take up the subject of 
 " colour." 
 
 " To " Colour in Decoration — Importance of the Subject " we now 
 direct' our attention. Of all the gifts which a beneficent Creator has 
 bestowed upon man, that of the appreciation of colour and delight 
 in it is one of the greatest. While it is one of the simplest and 
 most enjoyable, and which carries with it the purest of feeling, it 
 is one also the most readUy obtained, for it abounds everywhere, — 
 in the tints of the sky, in the green of the fields, and in the thousand 
 tints and tones of the flowers with which their surfaces are covered. 
 And one point in what may be called study of colour is very notice- 
 able, that the delight which the musician finds in the harmony of 
 sound, the student will find exemplified in the pleasure derivable 
 from the harmony of tints and tones in all masses of colour. 
 
 Definition of the Term "Colonr." 
 By colour we mean harmonised pigments, or what are popularly 
 called paints or colours. Now, the primary colours, yellow, red, and 
 blue, we call " pigments," and only to their harmonised combination 
 do we permit the term "colour" to be applied. The young student 
 should take special note of this ; for to any combination of pigments 
 
88 FORM AND COLOUR IN INDUSTRIAL DECORATION. 
 
 whicli do not harmonise, tlie term colour, in its true or artistic sense, 
 is not at all — certainly not correctly — applicable, any more than it 
 is correct to call sounds which do not harmonise music — ^the very 
 spirit or essence of which is, so to say, harmony. Hence the student 
 will perceive that, in the true technical, artistic sense, a pigment — 
 or what is popularly called a paint, or still more inaccurately a colour 
 — ^is only a constituent part of colour, not a colour itself — which, as 
 above defined, is a '' harmonised combination of pigments." We 
 may illustrate this with some practical utility to the student, con- 
 veying, as it does, what is called a lesson, by the following incident. 
 Two well-known men, high in position, were examining an object of 
 art manufacture on which was depicted a certain subject : it was 
 laid aside with the remark, "There is no colour in it." The salesman, 
 so far from thinking it had no colour in it, was disposed to decide 
 that there was quite too much of it. And in a sense he was right — 
 that is, in the popular sense of the term colour. For the object 
 displayed abundance of colour of one kind, the three objects consti- 
 tuting the design monopolising one of the three elementary colours 
 or pigments, blue, yellow and red. Puzzled at this glaring evidence 
 of colour enough being defined to be that which had " no colour in 
 it," he asked an artist to explain the point. This was very soon 
 done by giving what, in point of fact, we have already stated as the 
 true principle deciding and defining true colour; for he said, "Colour 
 in your sense of the term there is enough of, and more than enough, 
 but it is made up of what we artists call pigments ; in this object 
 those pigments do not harmonise, therefore we say that it has no 
 colour." 
 
 Tlie Three "Frimary Colours," or "Primaries" of the Chromatic Scale. 
 
 We shall now, in connection with the diagrams in the coloured 
 plate entitled "The Chromatic Scale," explain the technical terms 
 used in connection with the application of colour in the artistic sense 
 to ornamental outlines for flat surfaces ; but of course what is true 
 of decorative subjects is true of all subjects in which colour is 
 employed. When white or ordinary light is passed though a prism, 
 it is reduced, so to say, to its component parts. Those are found to 
 be three in number, and give what is popularly called three colours — 
 (1) yellow, (2) red, and (3) blue. These, therefore, are called primary 
 or elementary colours. When artificial or natural substances are- 
 employed to imitate these colours or hues, they are called, as we 
 have said, pigments or paints. There is no pigment made by man, 
 or known to him, which gives those colours precisely as they are 
 shown in the prismatic reduction of light. Hence artists employing 
 
FORM AND COLOUR IN INDUSTRIAL DECORATION. 89 
 
 colour have to select those pigments which give the nearest approach 
 to the prismatic hue, which inay be called the standard colour. The 
 young student will perceive, as closely bearing on the subject, the 
 inaccuracy of the popular expression a "shade" of colour, the expres- 
 sion hue or tint, sometimes tone, being more accurate. 
 
 The "Secondary" and "Tertiary" Colours, or the "Secondaries" and the. 
 "Teitlaries" of the Chromatic Scale. 
 
 The next scale to notice in the subject of colour is that connected 
 with the "secondaries." By the term "secondary" is meant the 
 combination of any two of the primary colours. Thus yellow and 
 blue give (1) green, blue and red (2) purple, yellow and red (i5) 
 orange. These tints or hues, green, purple and orange, form the 
 three "secondary " colours. 
 
 We now come to the third portion of the scale of colour, namely, 
 the tertiaries — (1) citron, (2) russet, and (3) olive. They are called 
 tertiaries because they are produced by the combination or admixture 
 of two secondaries. Thus, by mixing green and orange we obtain 
 (1) citron ; by mixing purple and orange we get (2) russet ; while a 
 purple and green combination wUl give (3) olive. 
 
 The "Complementary Colours." — Definition of the Term. — Colours comple- 
 mentary to the Primary Colours. 
 
 We now take up the term " complementary " as applied to colour. 
 By this is meant that the admixture of two priniary colours is said 
 to be the complementary colour to the remaining primary. Purple, 
 for example, which is a combination of red and blue, is the comple- 
 mentary colour of yellow, the remaining or last of the primary 
 colours. We are here presuming that the young reader is careful 
 to remember that the primary, secondary and tertiary colours are, 
 in all the three classes or departments of the "Chromatic Scale," 
 made up of three in each, as shown in the Plate. Again, green, 
 which, as a secondary, is a combination of yellow and blue, is the 
 complementary colour of, or, simply stated, is complementary to red, 
 which is the remaining primary. Orange, which is a combination 
 of red and yellow, is complementary to blue, which is the third 
 remaining primary. This sitaple rule for the guidance of the 
 student should be carefully borne in mind : the colours making 
 up the secondary leave but one primary, which is, of course, the 
 complementary colour. Thus, in the above red and blue leave 
 yellow, yellow and blue leave red, and lastly, red and yellow leave 
 
 bUio. 
 
 7 
 
90 FOEM AilD COLOUR IN INDUSTEIAL DECOEATION. 
 
 The Colours complementaxy to the Secondaiy Colours. 
 Having thus given tKe colours which are complementary to the 
 primaries, red, yellow and blue, we now proceed to give the comple- 
 mentaries to the secondary colours, that is, what is the relation the 
 tertiaries — citron, russet, and olive — bear to the secondaries, which 
 are purple, green, and orange. Thus "citron," which is composed 
 of green and orange, is complementary to purple ; " russet," a com- 
 bination of purple and orange, is complementary to green ; while 
 " olive," which is made up of purple and green, is complementary 
 to orange. By this exhaustive process the student should be able 
 to see the relationship which the colours in all the three classes, and 
 in any one special class of the three, bear to each other. 
 
 Importance of attending to Tone of Colours. 
 He must be careful, however, as to the tone of his colours.. By 
 this we mean, if his citron, for example, tends too much in the 
 direction of the yellow, which is one of its constituents, then his 
 purple, which is the complementary, in the same proportion must 
 tend towards blue, so that the two will harmonise, which they will 
 not do if while one is in excess the other is deficient, or its excess 
 be in the wrong direction. Whenever the colour is in excess, or 
 tends too much to one, the complementary colour must be in pro- 
 portionate excess. If this harmony be not maintained, then his 
 colours, or subject, will be either too "warm" or too "cold" in tone. 
 
 " Warm " and " Cold " in Colour. — ^What is conveyed hy these Terms. 
 
 What is meant by these terms is explained thus. We call yellow 
 and red "warm" colours, and blue and green "cold." But there is 
 this distinction in this cold colour, which the reader must bear in 
 mind — as in the case of green, which he will remember is a combi- 
 nation of yellow and blue. If the yellow predominates, it is called 
 a " warm green." Again, in the case of a purple, if the tone tends 
 too much to the red we call it a " warm purple " ; if it tends too 
 much to the blue we say that it is a " cold purple.'' 
 
 Applying these principles to the student's design, if the colours 
 on it tend as a whole towards warm colour, we pronounce it to be 
 as "warm in tone," if too cold the converse. In applying this colour 
 to his ornamental arrangements of lines commonly called, although, 
 not always correctly so, his design, the first counsel we should give 
 the pupil is this — that he should begin with the colours in the 
 tertiary scale, as he will find it easier to get a harmonious combination 
 than if he adopted a higher scale — tertiary, as he will by this time 
 understand, being the lowest of the scales of colour, primary being 
 
FOKM AND COLOUB IN INDUSTRIAL DECOEATION. 91 
 
 the higliest, while midway between the two stands the secondary 
 scale. If the pupil wishes to see what a beautiful effect may be had 
 by the employment of a low tone of colour — ^that is, colour in a 
 lower scale — let him examine, or rather study, any good (this 
 qualification is necessary now-a-days, when rubbish is so plentiful) 
 specimen of Japanese coloured ornament. We refer here to Japanese 
 art, in which, as a rule, low tones are prevalent, and their artists, 
 working always in the low scale, are, we do not hesitate to say, 
 the finest colour ornamentists in the world. They in this matter 
 afford a striking and most instructive contrast to their near neigh- 
 bours the Chinese, whose practice in this respect is precisely the 
 reverse. 
 
 The True Shades and Tones of Colonr only fonnd in Natural Objects. — ^Defects 
 of Colour in Figments made by Man. 
 
 We have prepared for the young pupil a sheet illustrating the 
 scales of colour, arranged in complementary order, — that is, under 
 the yellow the purple is placed, under the red the green, and under 
 the blue the orange. These scales are, however, in fact, merely 
 mechanical, being concerned with the practical work of admixture of 
 pigments, for flat tones. To get the true delicacy of colour we must 
 refer the student to the combinations of colours as he finds them 
 in nature. There only can he ever know what colour truly is. We 
 shall have more to say of what this school teaches, and how its lessons 
 may be learned. Meanwhile we would ask the pupil who may be 
 doubtful as to the truth of our statement, to take up from the 
 highway such a common object as a stone which may be lying there. 
 Let him take this, then, and carefully and honestly study it, and 
 he will, we feel assured, confess that he has seen developments of 
 colour upon its tiny surface of which he had not formed, and could not 
 without this experience have formed, even the shghtest conception. 
 Let him go further afield, or rather let him turn to his garden, and 
 take up some favourite flower, or pluck from some no less favoured 
 tree an apple, a pear, or a peach, and let him try to paint it, or 
 rather to colour on his image of its contour what he sees on its 
 actual surface. In this case also we feel assured that he will 
 confess we have here set him out a task which he knows he 
 never could perfectly fulfil if he coloured a lifetime. Some artists 
 even, of no mean fame as such, have indeed hved long lives, have 
 done much artistic work, and have, died without even approaching, 
 to their full satisfaction, what Nature shows us so lavishly and 
 richly around us. 
 
92 FORM AND COLOUR IN INDUSTRIAL DECORATION. 
 
 Important Points to be considered in connection with Colour in Natural 
 Objects. — Variety not obtainable only when more than One Colour is 
 present in the Object. — ^Variety of Shades or Tones even in One-coloured 
 or Monotone Objects. 
 We have here referred only to the variety or the combination of 
 colour which Nature displays in so many of her charming and, to a 
 well constituted mind, ever beautiful objects. But the pupil must 
 not suppose that she displays change, or, if you prefer it, variety of 
 effects in objects, where there is more than one colour present. Quite 
 the reverse of this is the fact. To prove it — and the lesson of the 
 proof he will never forget, if he be thoughtful and wise for his 
 years — let him take a lesson from an orange or a lemon. This is 
 an object in which the colour is what is called a monotone — that is, 
 there is only one colour in it. Well ! no variety there ? Closely 
 study till you see it. We do not mean look at it only, for if the 
 pupU remembers what has been said in various papers^ looking at a 
 thing is by no means seeing it. What, then, does he see in the 
 orange or the lemon ? Let him, amongst other things, carefully 
 observe the colour of the light on the front, — a strange expression 
 to some who think of light as having no colour. Then the colour 
 of the shadow, — a stranger expression still to those who only think 
 of a shadow as something, and only, black. Next let him observe — 
 for he is sure to see, if he will but only truly look for it — the gradation 
 of colour between the light and the shadow. And having really 
 seen it, and drunk in, so to say, its beauty and its meaning, let him 
 take his palette and his brush and try to imitate it. After some 
 patient trial, we shall be much surprised if he does not also in this 
 case confess that he sees a variety of colour of which he could have 
 formed not even the faintest conception without having given to it 
 the study we have here recommended him. On those points in the 
 study of colour in the school of nature, and other illustrations showing 
 perhaps more than one way of studying, we shall have somewhat 
 more to say presently. 
 
 Great Powers of Patient Observation necessary to the Bight Study of Colour 
 and Colouring Effects of Nature — Study essential to the Decorative Artist. 
 
 It is only right, however, here to remind him, or rather to enforce 
 most strongly upon him this truth, — that the study of colour is ono 
 necessitating the outlay of much patience as regards time, and the 
 exercise of a stern determination to know what can be learnt from 
 it as regards mental discipline. Of time — for in truth a long lifei 
 may be given to the study of colour as displayed in nature, and 
 although one honestly learned much, at the end of it he would have 
 sadly enough to confess, that he had still to learn vastly more. 
 
FOKM AND COLOUR IN INDUSTEIAL DECOBATION. 93 
 
 " How long," asked a lady amateur, of the class to whom all things 
 are easy, of a celebrated artist — " How long will it be before I can 
 colour like that ? " pointing the while to some work on the canvas 
 on which the artist was engaged. " Well, madam," was the reply — 
 " well, if yon work eight hours a day, and for forty years, as I have 
 done, you might then know something about it," emphasizing the 
 " something" as indicative of the fact that the lady must not then 
 expect to know all. In truth, the resources of Nature as regards 
 colour are inexhaustible, and it may be accepted as a truth which 
 admits of no dispute, an axiom in art, that it has been given to 
 none, not even the brightest and best of her followers, to know all 
 she can teach. The pupil, therefore, will perceive what he has before 
 him, should he determine to be a truthful colourist. It is not enough 
 that he should use colour, — any one with a bru.sh and a pigment 
 can do this after a fashion, — it is essential that he should use colour 
 truthfully, at the least that he should honestly endeavour to know 
 what truth in colour is. And this truth, it cannot be too often 
 repeated, is only learned in the school of nature ; and how hard it is 
 to learn we have tried to show. 
 
 So much as regards the demands on the patience of the pupil. 
 A word only can here be given as to the discipline. We have said 
 something already as to the habit of observation, and the difference 
 there is between the looking at an object and the truly seeing it. 
 "I cannot see," said a lady artist — another of the class we have 
 above referred to — " I cannot see tJiat colour," pointing to an object 
 one of the greatest colourists of modern times was then painting. 
 " No ! madam," was the reply ; " no ! don't you wish you could ? " 
 What in this anecdote we wish to draw attention to, is not so much 
 the fact that the vast majority of people have not even this wish to 
 see colour as it is, with which the great painter credited his critic, — 
 but this, that his very reply indicated that before she could see the 
 colour she would have to learn to see it. The eye, like the mind, 
 has in truth to be educated ; mere native force and talent are worth 
 much, but they are even at the best powerless for good work till 
 their internal .powers are trained. This culture of the eye is one 
 demanding, then, what we have just said is essential — the exercise 
 of stern determination to know what Nature is prepared to teach. 
 We can do no more, however, for the present, than point out "the 
 direction of the path in which the pupil has to go. Progress in it 
 depends on himself alone. 
 
 Patient, Observant Study of ITatnTe essential to the Artist. 
 In the remarks on the important subject of the employment of 
 
94 FOEM AND COLOTIK IN INDUSTEIAL DECORATION. 
 
 colour in industrial decorative work in the preceding paragraph, we 
 said towards its conclusion, that the lessons to be learned about it in 
 the school of Nature are inexhaustible, simply because her examples 
 are infinite. It is impossible to overestimate the value of lessons 
 there to be learned, or to say too mdch by way of impressing the 
 student of design to make them the chief source of his knowledge 
 of the subject. We cannot too earnestly advise him to make its 
 observation, as it exists everywhere around him, a matter of close 
 concern. Let him cultivate the habit of seeing colour — much rather 
 should we say of observing it. We have already noted the difierence 
 between seeing or merely looking at natural objects, and the observing 
 of them; and have quoted Goethe's remark, profound in practical 
 wisdom, that the " eye only sees what it brings the power to see." 
 'The mere looking at a thing is a purely physical act, which one 
 intuitively does, and, indeed, if they but open their eyes in the 
 direction of an object, they cannot help seeing it — see the object 
 they must; but observation is an act of the mind, and it is only 
 when they truly observe that they truly see — that is, become con- 
 scious of the existence of the object, and form their own conclusions 
 as to what it is and how it looks. This is what is called " intelligent 
 observation," in popular and often indeed in critical language. But 
 in truth the phrase is somewha,t tautological, and in a sense as 
 literally incorrect as to say light is light; for inasmuch as liglit must 
 be light, so observation must be and is intelligent. You may look 
 at a thing, and you must physically see it. This you cannot help 
 doing ; and yet all the same you really do not, in the true sense of 
 the term, see it, for you are not even aware that you have seen it, 
 and were you asked a minute or two after you had been gazing at 
 it if you had seen it, you would be quite prepared to assert that 
 you had seen no such thing. And quite honestly and truthfully 
 would you assert so, for you had no intelligent perception of the 
 existence of the object and what were its characteristics. You had 
 looked at it, seen it, but you had not observed ; and so far as receiving 
 any true conception of it was concerned, you might as well, for any- 
 thing you had learned about it, not have looked at it at all. But 
 the moment you look at it with your mental faculties at work on 
 it, you not only see, but you observe, and you therefore know it. 
 To 'observe, therefore, must be an intellectual as well as a physical 
 process — observation must be intelligent ; and to use the phrase as 
 if this combination were essential is as much to the purpose as to 
 speak of a knowing savant. A savant must be knowing ; he cannot 
 be a savant without knowing. A man to be a savant in any special 
 branch must know it. 
 
FOEM AND COLOUR IN INDUSTRIAL DECORATION. 95' 
 
 The cultivation of this habit of observation we most earnestly 
 press upon the pupil. No matter what be the particular branch of 
 technical study or wort, excellence will never be attained without 
 observation. It is simply what is learned through it which con- 
 stitutes the difference between the man who knows and the one who 
 does not. And in reference to the special point of colour we are 
 now concerned with, anything like a correct notion of what it is can 
 only be gained by the habit of close and constant observation. 
 
 But the pupil in the art of industrial decoration must take special 
 note of thLs, that because he observes an object — that is, sees it 
 mentally as well as physically — it by no means follows that he sees 
 or that he observes it correctly. He may, but he may not ; but to 
 help him to the " may," and convert it to his use, he has to bring to 
 bear upon it the knowledge of others. And this, which is but the 
 result of the experience and observation, he has to search its records 
 for. This knowledge may be communicated to him orally by an 
 intelligent teacher in general study. It is to be found in practical 
 records; hence the phrase or proverb "all knowledge lies hid in 
 books." We have endeavoured in the foregoing pages to communi- 
 cate some of the knowledge which has been stored up by others — in 
 other words, we have told him what is " known " on the subject of 
 colour, with of course special reference only to its application to 
 ornamental design. 
 
 While the pupil will derive some knowledge from what we have 
 said on the subject of colour, and may have thus given him an idea 
 of the direction in which he should further study, let us impress 
 upon him again — and the advice can scarcely be too often repeated 
 in the case of beginners — that he will learn more after mastering 
 those first principles which we have in preceding sentences told him 
 of — infinitely more by observing the effects of colour as displayed on 
 all sides around him — than by years of study of books. And by 
 way of encouragement to the young pupil, or one inexperienced in 
 colour, upon whom we impress this close observation, let us tell him 
 that he will be well repaid for such attention as it demands. This, 
 indeed, is but poor and cold language to use in connection with the 
 study of colour. While this study is to be applied in practice, in 
 the actual manipulation of pigments applied to his designs, we have 
 written the foregoing lines to little purpose if we have not convinced 
 him that his school for the true study of colour lies in the world 
 around him. And if this study be gone into by the pupil with an 
 earnest and anxious desire conscientiously to apply the lessons which 
 Nature will teach him, to look at things with a mind free from 
 preooiiceived notions or pitiful prejudices, we feel thoroughly well 
 
96 FORM ANB COLOUR IN INDUSTRIAL DECORATION. 
 
 assured that he -will thank us for urging the study upon him. At 
 present, knowing, as we presume that he knows, but little of what 
 colour is, and what every scene and every object in that scene can 
 tell him about it, he can form no conception of what pleasure is 
 before him. And this school for study is ever and always open to 
 him ; and but little time after he eaters it all the notions which are 
 attached to the terms school and study will have vanished, for he 
 will find that of Nature a treasure-house of delights. 
 
 He who has the power to observe colour as it is displayed in the 
 innumerable objects of nature, and above all, he who can appreciate 
 and enter, so to say, into the very soul of what colour 'teaches, has 
 a gift or power which, as has been truly observed by one who himself 
 has the gift in great perfection, " is worth specially thanking God 
 for." 
 
 If the pupil sits down to this study "clothed and in his right 
 mind," he may rest assured that he will learn more lessons practically 
 useful to him in his work, from a single hour's observation of some 
 particular scene or object, than he could possibly learn from days' 
 prBctic3 in the school, or from the prosy prelections of some one 
 learned in the art of colour — of the primaries, secondaries, and 
 tertiaries — of complementary colours, etc., and the technical language 
 of the class. 
 
 This ability to observe, this capacity to appreciate, colour as every- 
 where abounding in nature, is a gift bestowed natuiully upon but 
 few. But it is a gift, happily, which can in large measure be got, 
 and iu some senses so easily, that it may be said that it can be 
 obtained simply by the looking for it and the study of nature. To 
 say this is but to repeat that one has but to observe and to be 
 content to observe, when the glories of the gift will be revealed to 
 him. We have said that it is but few who possess the natural ability 
 to see and appreciate the colour everywhere. It may, indeed, be 
 safely asserted that the vast majority, even of educated people, have 
 not the slightest conception of the endless varieties of colour, their 
 tints and tones, as spread out everywhere around themi They tell 
 you of the sky, that glorious canopy, that it is clear or that it is 
 cloudy ; of the sea, that it is rough or that it is smooth ; and of the 
 fields, that they are green or that they are brown or bare. But this 
 is all they speak of, for it is all that they observe- Not content 
 with an ignorance which deprives them of intellectual pleasures 
 infinitely outweighing in value all those which are so highly valued 
 by the world of everyday life, they deny flatly that beautiful eflTects 
 exist at all, in sky, sea, or field. If those to whom these beauties 
 are revealed in all their infinite depth of loveliness and of meaning 
 
FORM AND COLOUR IN INDUSTRIAL DECORATION. 97 
 
 happen to describe, or rather attempt to describe, — for of those 
 beauties, such as they actually are, " nor tongue nor pen can tell " — 
 what they have seen in the way of colour in nature, they are put 
 down by nine out of ten of such people as mere enthusiasts, who 
 fancy only that they have seen, but what they in their superior 
 position know cannot exist. It must be so, they argue, for they have 
 not seen such beauties ; and surely if they did exist they could be 
 seen by every one. To statements such as these — and we do not in 
 any wise exaggferate them — what reply can be given, but that such 
 people do not see what they so glibly deny the existence of, and that 
 simply because they do not observe? They do not observe, first, 
 because they do not wish to do so ; and secondly, because they have 
 not the faintest possible conception of what loveliness lies everywhere 
 and always around them, but to them unrevealed. If they had some 
 conception of this, we do believe that they would learn to observe, — 
 the which if they did we can well fancy them repeating the saying 
 of the man of old, " This I know : I was blind, but lo ! now I 
 see ! " 
 
 So completely ignorant are many — we might almost safely say the 
 great majority of people — as to what wonderful variety and loveliness 
 of colour there is in natural sights and scenes, that, rudely as some 
 deny the existence of this when one to whom this beauty has been 
 made known attempts to describe it in words, they have still more 
 pungent criticism to offer when an artist attempts to depict on paper 
 or on canvas what he has seen in sky, sea, field or hillside, mountain 
 scene or hoary cliff. Colours which have been made to the painter 
 as clearly existent as the evidence of his own life are denied by these 
 uninitiated people to have any existence at all. " Whoever," for 
 example, " saw a green cloud in the sky 1 " they exclaim. Certainly 
 they must never have seen what, if they only look intelligently and 
 often enough, they will see— for sky lines will be seen by them as 
 vividly green as the " grass which clothes the field." Others will be 
 heard, in criticising a painting, to say " Whoever saw a rosy cloud 
 like that over the surface of the sea ? " Yet these, and an infinitely 
 wider and in many instances to the popular mind more startling and 
 incredible range of colours, tints, and tones exist. And if the feeble 
 attempts of the best of our artis^^s to convey by their canvas what 
 they have themselves seen, are by the great majority of people 
 denounced as " absurd and improbable fancies," what would be said 
 if their canvas displayed the colours as they naturally existed 1 In 
 nature such colours are so intense, so brilliant, possess such a depth 
 of tone, or what we may call hfe, that no colour was or will be, we 
 may with safety say, made by all man which would or could convey 
 
98 FORM AND COIiOUE IN INDTTSTEIAL DECORATION. 
 
 even the faintest conception of the actual glory of the colour. And 
 if the colour were ready to the hand of the artist, alas ! his brush 
 would be far from ready to put them to his canvas in such a way 
 as to yield even some faint and feeble imitation of the loveliness he 
 looked upon. The more nearly the picture approached what he saw 
 in nature, the more decided the popular verdict would be, that he 
 was just so much the better fitted to occupy a madhouse. " I am 
 not mad, most noble Festus ! " Alas ! that no artist can complete 
 the paraphrase, and say, " I but paint the colours of truth as they 
 exist." For, as we have said, to no artist is given either the pigments 
 or the power by which he could transfer to his canvas the marvellous 
 brilliancy of scene, the depth of tint, the wonderful gradation of 
 tone, which Nature not seldom displays to his delighted gaze. Need 
 we wonder, then, that the public so generally and, alas ! so ungener- 
 ously, ignore the " shadow " or simulacrum which at best the best 
 artist can but give, when they resolutely close their eyes to, and wUl 
 not look for, and therefore by true seeing believe in, the " substance" 
 which Nature so lavishly provides in the colours which deck the sky, 
 sea, and earth ? 
 
 Mad ! Let the pupil judge, after he has given a few weeks to the 
 close study of what Nature actually shows him — is ready at all times 
 to show him, altjiough, of course, she has times and periods when 
 she is more beautiful than at other times — when she pours down 
 and out and around such a perfect flood of lovely colours, of infinite 
 varieties and depths of tone and tint, that the artist can do nothing 
 but silently gaze and drink in from the sea of beauty a full and free 
 draught — a thirst which once created is ever being satisfied, yet still 
 is never, quenched. The pupil has not- far to seek for supplies of 
 this. If the sea, that object wonderful in all its moods, alike in that 
 of placid calm as in that of restless storm, be denied him — and what 
 the loss to him artistically only those who know it well can best tell 
 — if so also the glory and the gloom of high mountain or deep dell 
 or glen— he wUl most likely have some green fields to look upon. 
 But if even these be beyond his easy reach, at least in wide expanse 
 or in great variety of surface, it will go hard indeed if he cannot 
 command a small stretch of green, some few hundred yards of hedge- 
 row or fence of garden or of field, of which to study what colour it 
 displays. And if he fancies that this will be aU too narrow a field 
 for observation, let him take but a single yard of it, and, sitting 
 down patiently to look for such effects of light and shade upon such 
 colour as the fence bottom, to say nothing of the stem and foliage 
 of the quickset or thorn which crowns it, looking right into the very 
 soul, so to say, of it, with such power of concentrative observation 
 
FORM AND C0L0TJ3 IN INDUSTEIAL DEOOEATION. 99 
 
 as lie may possess ; then, after some time given to this, let him 
 honestly tell us what he thinks of this his field of study, which before 
 he thought so narrow, so "bald and bare of beauty." To say nothing 
 of form, is it really so bare and bald in colour 1 Honest frankness 
 will compel him to declare that if he could but warmly take to heart ' 
 and wisely learn all the lessons which a foot or two of humble, 
 rugged, despised roadside or garden fence or hedgerow taught him 
 as to colour, he would be wise indeed. Some of our best artists 
 have not had in their early days even so much as this could aflford 
 them. In narrow court or confined alley they spent thpir early 
 days, and no green field gladdened their eyes. But to give a familiar 
 illustration, — which yet teaches a truth by no means, alas ! familiar 
 to many, — like the old woman who took what she could get or had, 
 and never lacked, so such artists took their lessons from such poor 
 objects as lay around them; and from shade of grimy corner, or 
 from dirty pool glinting in such scanty sunlight as could force its 
 way between the narrow loopholes of confined alleys, they drank in 
 more of what colour is and colour can do than other artists, with all 
 the wide variety which travel can afibrd, were able to do. 
 
 And if, to the artist-pupil determined to know what colour is as 
 painted in the pigments of nature by Nature herself, be denied 
 almost everything which constitutes " fields " of study for its obser- 
 vation, if he has the true artist spirit in him it wiU go hard indeed, 
 as we have seen, if he cannot find some field which, however narrow 
 its compass, will yield him food for study, wide opportunities for 
 practice. But even where circumstances of life are thus unfortunate, 
 such are now the facilities for travel, alike in speed and in moderate 
 cost, and such, under modem social life, the time now given even 
 to the humblest of handicraftsmen, that now and then an oppor- 
 tunity will be given of gazing upon wide expanses of natural beauties. 
 From an hour or two's study of the seashore he may, under favour- 
 able circumstances, derive hints and obtain lessons in colour which 
 may give him matter of thought and of work in his attempts to 
 realise all he has seen ; and the mere memory of the beauties of 
 which will be solace in many a trouble, a delight for long to think 
 over, for a " tiling of beauty is a joy for e^^r." And what beauty 
 there is in sea and sky let those tell — for they alone know — who 
 have watched them for hours and days, in storm, in calm, in sun- 
 shine, and in gloom. 
 
 Such a "joy for ever" is the memory of one evening, the last of 
 a long term of Continental travel, which the writer of these lines 
 had the privilege to enjoy, sitting by the margin of the sea. He 
 was accompanied by an artist — one . himself an ardent lover of 
 
100 FORM AND COLOUR IN INDUSTRIAL DECORATION. 
 
 nature, as all true artists must be — and they were about to terminate 
 a lengthened artistic tour amongst some of the loveliest scenery of 
 the Continent. The whole tour might be said to be one long and 
 ever-varied lesson in colour. They were favoured with the finest of 
 artistic weather. The pupil will by this term understand, not that 
 it was the finest weather in a popular sense — that is, with cloudless 
 skies — but one which gave those changes, that play of light and 
 shade, that alternation of cloud and bright sunshine, and all those 
 varieties of condition which best display what artists call atmospheric 
 effects. And in connection with the scenery they strolled and studied 
 amongst — scenery almost, if not quite unique in beauty — the effect 
 of weather such as this, and so long continued, was as charming in 
 its sense of physical enjoyment as it abounded in lessons in colour 
 and in hints and suggestions as to how to apply it in practice. 
 
 The evening we have above alluded to was one of those quiet and 
 placid times when the air is so balmy that one feels thankful to be 
 ont, and to be permitted to breathe the open air. The sun was 
 not far from, setting, the tide was well out, and the sea itself as 
 calm almost and placid as a land-locked lake. There was, however, 
 just such a svispicion of a breeze that the water surface was here 
 and there rippled into what under the sunlight might be called a 
 shimmering sheen. This word " shimmering " is, in fact, the only 
 one -w^hioh in our language conveys a precise notion of the effect 
 produced. The terms glinting or glancing, or the French hrillant, 
 may also convey the notion. A few boats of various sizes lay some 
 at anchor, dotted here and there, others oar or sail impelled and of 
 the pleasure kind, rawed along from time to time, giving objects 
 which yielded striking effects in rich colour and in light and shade. 
 The sky was a truly artistic one : here there were large masses of 
 white-cliff-shaped clouds of the class known as cumuli. Here the 
 sky was cloudless — there light fleecy clouds known as the cirri lay 
 floating in the azure deep. A few of those now obscured, now opened 
 up the sunlight. The effect of this on the water was indescribably 
 fine. We use this term with a purpose, for our pen is not competent 
 to give even a faint conception of the beauties we had unfolded to 
 us as we sat and gazdd. The pen even of Ruskin, the greatest 
 word-painter, as he is in spirit amongst the truest of our artists, 
 would fail to describe adequately what those beauties were. At the 
 best — and our best must be of the poorest — we can only try to tell 
 what we saw. 
 
 The tide, as we have said, was well out, so that the margin where 
 the water, shallowing out on the flattish beach, came up to join 
 with knife edge the ribbed sands, was at some considerable distance 
 
FORM AND OOLODK IST INDUSTKIAL DECOKATION. 101 
 
 from us. The sun was exactly before us, and at no great height 
 from the horizon. A change in the position of the light clouds 
 partially — and only partially — obscuring the sunlight, opened sud- 
 denly up what may be called a lane of Ught, going right up to and 
 widening — ever widening — as it reached the horizon. If any of 
 our readers have ever had the good fortune to look into one of the , 
 re-heating furnaces used in our steel manufacture, or in working j 
 up steel into various objects, at the time when the steel masses have 
 reached the melting point, or when their surfaces are becoming fused, 
 they will have, and we believe they are those only who can have, 
 any idea of the lovely white or bluish white of the surface of the 
 " lane of light " we have just described as being opened up before 
 us. Add to the effect of this colour that of the shimmering sheen 
 of the surface we have also aUuded to, and the pupil will have some 
 notion of what we had before us if we describe it as a sea of molten 
 silver burnished to the brightest, with an infinite variety of ripples 
 in its surface, as if it were rising everywhere in boiling bubbles 
 glistering in brilliancy. But this was not all, much as it was. 
 Near to where the lane of light was terminated at the horizon, this 
 plain of molten silver seemed to rise \ip and form a M nd of swelling 
 hill or gentle acclivity. This was crowned with a band or strip of 
 cloud, as we may call it, of the lovehest rosy light. The way in 
 which this changed, as if it seemed to be swayed to and fro by 
 gentlest breeze, and the varying tint or tone thus given to the mass, 
 was singularly striking. In trying to picture the beauties of the 
 scene, we may here in continuation remark that what we then said 
 did not complete those beauties. A. light long strip of cloud passing 
 athwart or across the sun threw a band of dark shadow right across 
 the line of light — the sea of silver — somewhere about the middle of 
 its length, from sand margin to heaven. Here, along and above 
 this band, we had a cloud, now purple, now violet, now rose-coloured. 
 But the 'interchanges, so to call them, of these colours were not 
 abrupt, as the pupil not yet initiated into the study of colour might 
 suppose, but gradually blended into each other in siich a delicate 
 way that it was difficult to say at what point the one colour or tint 
 ended and the other began. This wonderful display of the loveliness 
 of natural eifects, which we are but too conscious of having failed 
 miserably in an attempt to describe, did not, however, only afford 
 many lessons of the most directly useful kind as regards colour and 
 many of its characteristics ; it yielded other lessons of quite as 
 practical a character useful to the pupil in design. What those or 
 some of the most suggestive of them were or are, we shall glance 
 at presently. 
 
102 FOEM AND COLOUB IN INDUSTRIAL DECORATION. 
 
 G-radation in Colour 
 The preceding paragraphs were taken up chiefly in pointing qvA 
 the extreme value of the lessons which can be obtained in colour 
 and its characteristics by close study in what has been called the 
 school of nature, — the only school, in fact, in which true or right 
 study of this svibject vitally important to the design of industrial 
 decoration can be studied. In attempting to describe a natural 
 scene in which some beautifully siiggestive and striking effects in 
 colour were observable, we at the conclusion of the last paragraph 
 pointed out to the pupil one characteristic — namely, the gradation 
 of colovir — in other words, the complete absence of all abruptness in 
 the intermixture. We can get no other word than this to us un- 
 satisfactory one of the many-coloured cloiid which hovered over the 
 shimmering waves of that lovely sea. Now, this gradation is a 
 principle, so to call it, existing in natural objects, and is character- 
 istic in them aUke in form and colour. And if the pupil in art has 
 as yet missed observing and noting it, he has still to learn a lesson 
 of the highest value to him in his practice. To some, indeed, 
 although pointed patiently out by their "master," the point never 
 becomes clear, at least clear in all its subtilty ; and this being so, 
 is precisely the reason why such pupils in art never do become in the 
 correct sense, or for the matter of that in any sense of the term, ' 
 true artists — certainly not trae colourists. Copyists they may be, 
 and clever ones too, but " only this, and nothing more." We 
 believe, however, that our readers have an ambition to belong to 
 the higher of the, two classes here named ; and this being so, the 
 youthful or beginners amongst them will, we feel assured, be but 
 too anxious to obtain all the lessons which a knowledge of this 
 principle of " gradation " or absence of abruptness in natural effects 
 is so well calculated to afford. We have already made pointed 
 reference to this, as regards colour, but it is no less true of form — 
 although, perhaps, more observable in the case of colour. »And yet 
 it may well be doubted whether it is observable to many : probably 
 the most accurate way of putting the matter is to say that it is 
 observable to the few only — those only' who observe. For it is there 
 to be seen if we only look to see it; but, as it has been already' 
 stated in more places than one in those sections in this work which 
 treat more or less directly on art subjects, this capability to see 
 must be cultivated. The eye, like the ear, has to be educated. And i 
 on this point of the gradation of colour it is difficult to over-estimate 
 the value of the lessons in colour which Nature gives in such lavish 
 and lovely profusion. This principle of gradation in colour is, how- 
 ever, one which to understand, must be studied in the book of nature 
 
FORM AND COLOUR IN INDUSTKIAL DECOBATION. 103 
 
 itself ; it is not one in wtich much can be definitely said here in 
 ordinary book fashion. The very subtilty of the efiects in nature 
 which is one of the chief characteristic?, if it be not the chief 
 feature of this, precludes the possibility of giving a written or a 
 vivd-voce explanation of them. They must be seen in nature to be 
 understood, and happy the artist who can so understand as to gain 
 lessons from them. On this, the chief characteristic of gradation in 
 natural colour, if we wish to give expression to it, we must go, as so 
 many have gone before us, to find it in the words of the ablest, as he 
 is the most graphic and graceful exponent of art subjects, John 
 Ruskin. "What curvature," says this great writer in his "Modern 
 Painters," "is to lines, gradation is to shade and colours. It is 
 their infinity, and divides them into an infinite number of degrees. 
 Absolutely without gradation no natural surface can possibly be, 
 except under circumstances of so rare a conjunction as to amount to 
 a lusus Tiafurai. . . . For instances of the complete absence of grada- 
 tion we must look to man's work, or to his disease and decrepitude. 
 Compare the gradated colours of the rainbow with the stripes of a 
 target, and the gradual deepening of the youthful bloom in the 
 cheek, with an abrupt patch of rouge, or with the sharply drawn 
 veins of old age. Gradation," he goes on to say, " gradation is so 
 inseparable a quality of all natural shade, that the eye refuses, in 
 painting, to understand a shadow which appears without it; while, 
 on the other hand, nearly all the gradations of nature are so subtle, 
 and between degrees of tint so slightly separated, that no human 
 hand can in a,ny wise equal, or do anything more than suggest the 
 idea of them. In proportion to the space over which the gradation 
 extends, and to its invisible subtlety, is its grandeur; and in pro- 
 portion to its narrow limits and violent degrees, its vulgarity." 
 IIow often this vulgarity is displayed in such attempts at colour as 
 many of our art-decorators make in trying to add the beauty of 
 colour to our surroundings, let the experience of the past generation 
 or two, and, indeed, we may say, of the present one, tell us. True, 
 our art-decorators do not, many of them, treat us much or often 
 with the efiects of colour ; for it is one of the unhappy characteristics 
 of the times we live in, that we have lost, in very large measure, 
 that love of colour, and that sense of the healthy mental and, we 
 might say, moral influences which colour widely and wisely used can 
 impart, and which our ancestors, specially those of the middle ages, 
 possessed in so great a degree. The great authority we have already 
 quoted speaks truly when he speaks of the sacredness of colour, and 
 that it is of necessity connected with all purity of mind and noble- 
 ness of feeling. He tells us t.o " consider for a little while what sort 
 
104 FORM AKD COLOUR IN INDUSTRIAL DECORATION. 
 
 of a world it would be if all flowers were grey, all leaves black, and 
 the sky brown. . . . Then observe bow constantly innocent things are 
 bright in colour: look at a dove's neck, and compare it with the 
 grey back of the viper." Taking a wide view of the subject — for, 
 as our authority says, if there were no exceptions to this rule, " it 
 would be more convincing than the lessons of the natural universe 
 are intended to be " — taking a wider view, let us "compare generally 
 rainbows, sunrises, roses, violets, butterflies, birds, gold-fish, rubies, 
 opals, and corals, with alligators, hippopotami, lions, wolves, bears, 
 swins, sharks, slugs, bones, fungi, fogs, and corrupting, stinging, 
 destroying things in general ; " and we shall find then " how the 
 question stands between the colourists and chiaroscurists, which of 
 them have nature and life on their side, and which have sin and 
 death." And we may here note that a well-known — but too well- 
 known and bvit too mucii admired by a certain class, unfortunately 
 — school of art gives a very striking illustration of the truth shadowed 
 forth in the last sentence of our great authority. For this school 
 of painters, happily not indigenous to this country, but flourishing 
 chiefly, if not wholly, on the Continent, which, admittedly and for 
 the most part shamelessly, so far as some of its members are con- 
 cerned, dealing with subjects which minister to the depraved tenden- 
 cies of our nature, produce subjects noticeably deficient in the efiects 
 of pure colour, and where colour is employed at all it is of those 
 browns and greys which are generally the exponents of hurtful 
 things, of death-like, deadly influences. " AU men," to return to our 
 great authority, " all men completely organised and justly tempered 
 enjoy colour ; it is meant for the perpetual comfort and delight of 
 the hum.an heart ; it is richly bestowed on the highest works of ■ 
 creation, and the eminent sign and seal of perfection in them ; being 
 associated with life in the human body, with light in the sky, with 
 purity and hardness in the earth; death, night, and pollution of all 
 kinds being colourless." 
 
 Gradation of Form. 
 tSo marked a feature is this gradation of tone and tint of all 
 natural objects, that, comparatively seldom as absolutely flat sur- 
 faces are found in nature, the majority of objects having surfaces 
 of curvature more or less decided, even such surfaces, as so clearly 
 pointed out by Mr. Ruskin, are furnished, so to say, with this efiect 
 of gradation, the means being " provided in local colour, aerial per- 
 spective, reflected lights, etc., from which it is but barely conceivable 
 that they should ever escape." Natural efiects can best, can indeed 
 only be seen, and the lessons they. teach only be learned, by going to 
 
FORM AND COLOUR IN INDUSTRIAL DECORATION. 105 
 
 Nature herself — a trutii not quite so obvious to many, absolute truth 
 though it be, to judge from the fact that they rarely go to Nature 
 at all, preferring to study in such fashion as they can from models 
 and copies ; and not always from these, at least not from admittedly 
 good ones, preferring as they do sometimes to follow the lead of 
 what they call or conceive to be their " own genius," which, " will-o'- 
 the-wisp " like, but too frequently leads them into the morass and 
 the quagmire of weakness, inefficency, and often to absolute artistic 
 death. We feel assured that none even of our most youthful and 
 inexperienced artist readers will ever be led away by any such 
 specious, yet, it must be confessed, to human nature but too attrac- 
 tive notion of their own ability, to dispense with the unobtrusive but 
 always great and striking lessons which Nature is ever so ready to 
 give to her patient, willing, and receptive students. 
 
 To Nature herself the student must go to learn those lessons 
 which have the only claim to be considered as artistic. Class 
 " copies " and school "casts" are of great service to the artistic pupil, 
 and cannot, any more than the lessons of the teachers, be dispensed 
 with ; but they are only useful in their place. And it is ever to be 
 remembered — what, however, by too many is willingly, at least easily 
 enough forgotten — that what is good in drawing copies and in casts 
 or models is derived from Nature. As from Nature, therefore, all 
 good and true artistic inspirations — as expressed in pictures, draw- 
 ings, or casts — come, it is obviously only a common-sense, business- 
 like proceeding to go as often as we can to learn, if it may be, some 
 lesson's which will supplement the good, if they do not supplant, as 
 it is to be hoped they will, the bad or defective teachings of the 
 class, or of study and private practice. 
 
 We have said in last paragraph but one that the effects of gradation 
 are observable more or less decidedly in all natural objects, even in 
 those comparatively few in which the surfaces are flat. We have 
 shown how even in such flat surfaces this gradation is provided for 
 and secured ; and the artistic pupil will not regret if such opportu- 
 nities as may fortunately be within his reach be availed of to study 
 such effects in nature as will be met with in mountainous districts 
 and those localities on our island coasts where grand and imposing 
 sea-shore and cliff effects are to be met with. Let him take the 
 face of the flattest of overhanging or perpendicular cliffs which frowns 
 over green-grassed valley or sand-ribbed sea-beach, and closely study 
 what he sees on it and from it, as he views it at various and varying 
 distances. It will go hard indeed, if only he have the faculty of 
 seeing, if he does not learn some striking lessons from his study : he 
 will at least see the difference between some flat surface of man's 
 
106 FOSM AND COLOUR IN INDUSTRIAL DECORATION. 
 
 work — as, for example, some railway viaduct or bridge — and the flat 
 surface which Nature, with her silent and subtle effects, produces. 
 Our practical men, who pride themselves on being such only and 
 hothiag more, are but slow to take such lessons as Nature so lavishly 
 affords us ; the probability being, however, that many of those same 
 practical men have not the remotest conception that Nature . has 
 lessons which they might with advantage learn ; or, if they were 
 told she had, would probably pooh-pooh the notion that their work 
 could in any wise be improved by her. Knowing their work, and 
 how they did it, we may say with some degree of certainty that if 
 the mediaeval architect— there were no railway and other engineers 
 in the dark ages, in many things falsely and in gross ignorance so 
 called — had had to deal with the spanning of streets with such 
 material as the modern railway engineer now deals with, they at 
 least would have tried to spare the passers by the nightmare of 
 staring ugliness which our work so liberally gives us. The mediaeval 
 constructor would have shown, if not by variety in form at least by 
 effective colour, how such iiat surfaces could have been so dignified 
 as to be a dehght to look at ; in place of, as they do with us, depress- 
 ing with their bald and staring uniformity of ugly surface. 
 
 And if this principle or feature of gradation in shade and colour 
 gives such an infinite variety and an ever delightful and delighting 
 charm to natural objects, no less a charm is imparted, not Mrfjsiy the 
 feature of curvature in form, but the way injdW6lH!hat,<furvat«!re is 
 gradated or graduated. That curvatur^p^^^ssential/ characteristic 
 of natural objects is obvious to all^prfnent observers joi them, to all 
 close students of their peculiarities* There is no end to the series of 
 valuable lessons which the ait/student will gain bA a close and 
 honest inquiry into and an' examination of the " sijlotl^l-jy and con- 
 stancy of curvature in all natural forms yr-^r.^^caror." ^^"ire are, 
 doubtless, examples enough of straight pr right Hnes in natural 
 objects, but in many these are only " suggestive, not actual," and 
 they are all, as one great master in Oftt points out, necessary, as 
 " without them we could not be sensible of the value of the contrast- 
 ing curves." While, therefore, the ;T^outhful art student must, as 
 part of his preliminary practidS^Marn to draw curved lines in the 
 widest variety, in some such system as he will find most fully illus- 
 trated in the volume entitled " TheL Ornamental Draughtsman," he 
 must go to Nature to learn what curvature really is, and to gain 
 from her lessons as to strength, originality and purity of expression 
 in design. 
 
 In the interests of our youthful art-student readers, and for the 
 matter of that for those of some students of an older growth, it is 
 
FORM AND COLOUR m INDUSTRIAL DECORATION. 107 
 
 scarcely possible to dwell overmucli on the importance of studying 
 nature as a source of that artistic inspiration, or as forming the 
 surest basis or foundation for good work in higher branches, in the 
 importance of beginning at least to closely study the minuter objects 
 of nature. This must at least be said for, in addition to what we 
 have already said of them, — that they are for the most part within 
 easy reach of every art student. Neither the means nor the time is 
 given to every student to study nature in its grandest aspects, by 
 river-bank, sea-shore, or in mountain range. But as the little gifts 
 and graces of humanity are within the bestowal of those who in 
 " the huts of poor men lie," so are the minor marvels of nature 
 within the reach of most. We have seen what lesson may be 
 obtained from the stones of the wayside ; they can be ga,thered as 
 readily from the grass of the field. Fit only to be trodden under 
 foot, nibbled at by the frisky lamb or crept by the patient cow, — not 
 much surely in it of lessons for the art student 1 No ! if looked at 
 as most of us look at it, without either bestowing a thought upon the 
 graoiousness of its gifts to man, or deeming, indeed, that it is worth 
 at all looking at — giving, in truth, no thought whatever to it, save, 
 perhaps, that it is soft to walk upon, or in good order for a game of 
 lawn tennis, cricket, or croquet. Yes ! if looked at with the seeing 
 eye or the eye desirous to see. Not much, perhaps, it may be 
 thought to show in winter-time, when brushed by cold sweeping 
 rains, or covered tenderly with wreaths of hoar frost, but even then 
 as rich in its artistic as in its intellectual and moral lessons. But 
 what of it when the warm winds of spring and its gentle showers 
 ' have brought upon its blades a fresher green, a lovelier tint and 
 hue ? and what of it when buttercups and daisies, wild anemones 
 and shooting hyacinths dr bluebells, make it a perfect plain of delight, 
 a veritable field of cloth of gold, of silver, of opal, of emerald, and of 
 amethyst 1 But if in its Wide expanse a thing thus of beauty to the 
 eye, a joy for ever to the pure of mind, the which if an artist could 
 display on canvas as it is would give him a place in art which no 
 artist, the best who ever lived, has yet occupied, it is no less a sugges- 
 tive field for study when taken in detail — all the better, perhaps, 
 studied thus. A single clump might be said to be the study of a 
 season; and in truth no season, however long, would give ample 
 scbpe and verge enough to gather all its lessons, which have been 
 well said by a keen observer to be work enough for an artistic hfe. 
 A single blade wUl, indeed, give a few lessons of worth to the art 
 student. Not much to look at truly. " Nothing, as it seems, there 
 of notable goodness or beauty: a very little strength, and a very 
 little taUness, and a few delicate long lines ending in a point." Not 
 
108 rOEM AND COLOUE IN INDUSTEIAL DBCOBATION. 
 
 muoli to look at, but so mucli to paint or draw, that if our youthful 
 art student could but paint it as it is, he, though doing thus a little 
 thing, would have high claim to be considered a truly great artist. 
 It may well be doubted, indeed, whether any painter, living or dead, 
 has ever given us a true picture of the lowly and despised grass, 
 "made, as it seems, only to be trodden on to-day, and to-morrow 
 only to be cast into the oven" or thrown upon the dung heap. 
 "And yet think of it well," says one who has as keen an eye, a love 
 as warm for the grass of the field as for the grander developments 
 of natural beauties, " yet think of it well, and judge whether of all 
 gorgeous flowers that beam in summer air, and of all strong and 
 goodly trees, pleasant to the eyes or good for food — stately palm and 
 pine, strong ash and oak, scented citron, burdened vine — there be 
 any by man so deeply loved, by God so highly graced, as that narrow 
 point of feeble green." Need we say that there is but one art critic 
 who has written about and seen so much in grass as this and more. 
 The more the art student learns to love the things of nature, the 
 more clearly he sees in them the evidences of the beneficence of the 
 ■great Creator, the higher and the wider will be the sources of his art 
 inspirations. The writer of these lines is a profound believer in the 
 truth that the better a man is, the better an artist he will be — 
 always, of course, supposing that he has the true artist feeling and 
 capabilities of doing work. And that work must be all the more 
 valuable, as it would be the more valued, the purer, the nobler his 
 thoughts. Impure minds cannot from the very nature of things 
 give out piire thoughts and do pure work. As the fountain, so the 
 waters which flow from it. And if the great art critic whom we are 
 proud to own as a master in the Israel of art had done nothing else 
 than to point out, in language which is in itself a delight to read — 
 " thoughts that breathe and words that burn " — the true sources of 
 high and noble thought in art, and how best to attain to ability and 
 purity in work, the world of art is under obligations to him which it 
 will be difficult indeed to repay. It is not so easy for even the best, 
 amidst the clash and clang of warring interests, the temptations of 
 selfishness and the urging of vanity, to keep the banner of our 
 honour unsullied ; but what it is good for us to be warned, as our 
 great authority warns us against, are those evil influences surround- 
 ing us, which, as numerous as they ^e powerful, are ever urging us 
 to courses in life which, in place of making us better men, are but 
 too apt, to use his own words, so to act upon us that " heavenly hope 
 may grow faint amidst the full fruition of the world; that selfishness 
 may take place of undemanded devotion, compassion be lost in vain- 
 glory, and love in dissimulation; that enervation may succeed to 
 
FOEM AND COLOUR IN INDUSTRIAL DECORATION. 109 
 
 strength, apathy to patience ; and the noise of jarring words and the 
 foulness of dark thoughts to the earnest purity of the girded loins 
 and the burning lamp." As we have said, so again we repeat, we 
 are ambitious for our young students to whom is intrusted the art of 
 the future. Art has done much in times past, but it may do yet 
 vastly more in the times to come, in elevating the tone, ministering 
 to the higher intellect, and in nourishing purity of thought and 
 earnestness of purpose in the great mass of the general public, much 
 of which has as yet been untouched by the leaven of a higher life. 
 But art can only do this when it is itself pure, and the exponent of 
 those higher feelings and nobler aspirations without which its followers 
 can never do the highest work which will exert the influence in the 
 future which we have named. 
 
 All this may appear to some of our readers as having but little, 
 if indeed anything, to do with the subject of art decoration. We 
 have in truth written but in vain if this be so. Nevertheless we 
 are bold enough to maintain the assurance that it will not appear 
 thus to the majority, certainly not' to the thoughtful amongst our 
 readers. To them at least the truth of all we have said wiU be 
 clearly perceived, nor less its application to the purposes of our 
 volume. These purposes will have been but poorly served if we have 
 in any measure lost sight of the fact that the mere execution of the 
 art student is not all that is to be thought of,— if in any way how- 
 ever shght, or by any words however feeble, we have given our 
 readers to suppose that all that is required in the art student is 
 the capability to do what may be truly called the merely mechanical 
 part of his work. Assuredly our purpose has, from all we have 
 said, been vastly different from this. The facility of finger to commit 
 to canvas, to waU surface or to paper, the forms and figures the eye 
 sees, or fancies it sees, is right enough in its place : it cannot possibly 
 be dispensed with. But while drawing is in itself indispensable, 
 drawing is not all. Nay, at the best it is but, so to say, as the tools 
 with which the workman shapes his materials into form. But what 
 that form is depends upon higher attributes. Design comes in here, 
 to give the stamp of vakie to his work ; and, as elsewhere in the 
 pages of this work it has been shown, design in its only one and true 
 sense is dependent upon thought for its existence. Drawing and 
 design as such are therefore quite different things, although in perfect 
 work the two must go and be together. But of the two — although 
 some, we know, will think differently — the work which is deficient 
 in drawing, yet shows in every line the evidence of design, is of far 
 higher value than that in which every line is drawn with that accu- 
 rate precision T\hich gains prizes and certificates, yet is but the 
 
110 FOEM AND COLOUR IN INDUgTEIAL DECORATION. 
 
 evidence of a capability of copying and nothing more. Some of the 
 work of the old masters in the decorative art of materials which we 
 now call industrial— as glass, gold and silver, iron and wood — are, 
 when judged by the mere mechanic's standard, wofully deficient. 
 Some ot our youngest apprentices could, to use a graphic if a familiar 
 expression, " beat them hollow." But as works of true art — that is, 
 as strong evidences of thought, of design — they stand so high that 
 they are models for all time of what decorative art in such materials 
 should be. We cannot therefore possibly have done wrong to insist 
 — the wrong to our readers would have been had we refrained from 
 insisting — upon the art student having the highest aims in his work, 
 upon the absolute necessity which exists that he shall so study that 
 those aims shall be secured, and so cultivate those sources of inspira- 
 tion in art from which only those higher aims can be best attained. 
 
 Effect of Distance in Drawing Objects. 
 From what has been said as to the close study of !N'ati;ire, in order 
 to draw from her those lessons in art which she alone is capable of 
 giving in such profusion of wealth and with such fulness and direct- 
 ness of purpose, it will be by the intelligent reader clearly enough 
 perceived by this time, as he will have intelligently followed us, that 
 this study depends much, if not wholly, upon his ability to observe — 
 to see. It will also have been made clear that this faculty of obser- 
 vation, of seeing things in nature as they are, is very much a matter 
 of education. To few only — and these are emphatically the " seers " 
 in more ways than one — is the faculty given of going right to the 
 heart, the centre, the soul of things visible in the created world 
 around us. It is not given to every one to take in the varieties, or 
 rather, as we should say, the true characteristics of form, to under- 
 stand the mysteries and appreciate the delights of colour. But, as 
 we have said, those things can be gained, though gained only by 
 keen and close observation. And, as we have a£o said, one way io 
 gain them — some maintain that it is the only way^ — is to begin with 
 the study of the minuter objects in nature, going from them to 
 grander developments in form, light and shade, and colour. But 
 there are several points in the matter of seeing or observing natural 
 objects which it is necessary the student should be careful in noting 
 and giving earnest heed to. One of these is that the same object 
 does not present the same artistic or natural characteristics — for our 
 purposes we take these terms to be synonymous or convertible expres- 
 sions — when viewed from "diiFering distances." The aspect which a 
 rock or a tree assumes when viewed from one distance is quite difiierent 
 from that which it offers to the eye of the artist when observed 
 
FORM AND COLOUR IN INDUSTRIAL DECORATION. HI 
 
 from another distance. This is quite different, be it marked, from 
 the effect of looking at the same object from different points of view ; 
 for it Tvill be at once obvious that the mere form of the object may 
 be, and very likely will be, seen from one point, quite different from 
 that seen from another point of view. And as with the form, so 
 with the light and shade and the tones or tints of colour. The 
 mere change of position will give to the eye of the artist light-and- 
 shade and colour effects which will be so strikingly different from 
 what he had seen before, that the most indifferent or apathetic may 
 be startled into some activity of thought and clearness of observation 
 or keenness of sight. But although this effect of change of position 
 or point of view is one which the art student must take every avail- 
 able opportunity to study, and studying to understand, it is to be 
 noted here that it is one quite different in its features and results 
 from that which we have named above — that is, the change in the 
 appearance of a natural object brought out by the mere change in 
 the distance from which it is viewed. Thus, it is true that "for 
 every distance from the eye there is a peculiar kind of beauty, or 
 a different system of lines of form ; the sight of that beauty is 
 reserved for that distance, and for that alone. If you approach 
 nearer, tliat kind of beauty is lost, and another succeeds, to be dis- 
 organised and reduced by strange and incomprehensible means and 
 appliances in its turn." 
 
 The Artistic Effects of ITatural Objects. 
 From this, and from what we have otherwise and elsewhere stated 
 in this volume and that under the head of "The Ornamental Draughts- 
 man," enough has been given to impart to the youthful student in 
 art decoration some conception of what work is before him in his 
 study of nature and of what are called the artistic effects of natural 
 objects, when properly looked at or seen. A somewhat contradictory- 
 looking phrase this is — "of ai-tistic effects of natural objects " — seeing 
 that we are generally taught in the schools that £Crt and nature are 
 two totally different things, if not quite, at least greatly, contradic- 
 tory. And although the dictum is reiterated and enforced by many 
 writers out of school, it nevertheless is the fact that true artistic 
 feeling and expression — the reader will note the word we have itali- 
 cised — is that only which is natural or derived, and more or less 
 directly displayed from nature. Nor must the art student, in his 
 study of the special subject for the purposes of which this volume 
 has been written, for a moment conceive that the lessons which we 
 have shown can be derived from nature in artistic work have little 
 or nothing to do with the special application of artistic knowledge to 
 
112 FORM AND COLOUR IN INDUSTRIAL DECORATION. 
 
 the decoration of industrial materials or work. It is not so now, or 
 at best but in a meagre, moderate way; but in times past it was 
 that our first artists, our greatest painters, did not disdain to show 
 their powers, not merely in the decoration of the wide expanses of 
 grand walls and ceilings of palaces, but in the design of a casket or 
 the decoration of a cabinet which might grace and beautify, and in 
 so doing enrich in a high sense, the modest apartment of a burgo- 
 master. And when a higher and more noble knowledge of what art 
 is, and what its mission to the people is, obtains amongst artists, we 
 shall have a return of such times as those we have alluded to. And 
 when we think what those old and bygone days were considered from 
 the artistic point of view, there is much need also for those interested, 
 or said to be interested in art now, to push the inquiry, so that, if 
 possible, some answer, if only but a partial one, be obtained to the 
 question. How is it that art has not the same influence, does not 
 occupy as wide a field now, as it did then ? When we fairly settle 
 in ourselves to solve this question, determined that we shall obtain 
 the true reply to it, we greatly fear that the evidence which will be 
 obtained from all sides will be as little flattering to our vanity as it 
 will be complimentary to our earnestness of thought and our purity 
 of purpose. Nevertheless we have so far advanced in integrity of 
 artistic purpose, and in what we may call the honesty of artistic life, 
 that we may fairly cherish the hope tha;t we are about to enter, if 
 indeed there are not signs enough around us that we have already 
 entered, upon a new phase of artistic (natural) life, which will in its 
 work afiect, as it will in proportion to its earnestness dignify, the 
 existence or daily life of all classes, not less the poor and humble 
 than the rich if not the vain. Par from hopeless, then, is the outlook 
 of the future ; but the more likely is the hope to be realised if the 
 individual artist determines that in his walk of life, however narrow, 
 in his circle of influence, however circumscribed, he will do his share 
 of this work of the future wholly independent of what is done by 
 others, not measuring his efibrts by what he sees of those of others. 
 The day of the realisation of any hope never comes when the work 
 which can 3,lone bring it about is put aside because we wait for the 
 work of others. It is individual efibrt which forms collective and 
 completed work. 
 
 In this work of the individual, in which alone rests the hope of 
 the future of artistic work in industrial decoration, there are many 
 points which come up for close consideration. To some of those, and 
 perhaps the most important, we have drawn attention more or less 
 complete. But one or two still remain to be glanced at. "We have 
 said much about colour and its application to artistic decoration — 
 
FORM AND COLOUR I^T INDUSTRIAL DECORATION. 113 
 
 much also as to form, and what can be taught respecting them, by 
 nature; and much more could be said — for the subject, like the 
 examples of it which abound in nature, are inexhaustible and varied 
 as they are infinite. Btit one thing is to our mind very clear : that 
 neither noble nor pure work — if, indeed, the two attributes of nobility 
 and purity can be separated — will be secured without nobility of 
 thought and purity of purpose. As the outlines of the face and the 
 play of expression in its features may and often do — although in 
 this, as in other things, facts belie experiences — give a trustworthy 
 key or clue to the intellectual and moral character of a man, so it 
 may be said, as indeed it will not seldom be found, that the colour- 
 work of a decorative artist gives the key to his character. For just 
 as we know, beyond any doubt, that a man habitually given to the 
 utterance, even in connection with the most trivial circumstances, of 
 impure words, has a mind fiUed with impure thoughts, so also may 
 we decide with almost equal certainty that certain combinations of 
 colour or a certain style of colouring habitually employed by some 
 artists — for example, in cold, gloomy greys or browns, or in dashes 
 of what should be brighter colours, but which being impure in tone, 
 are not bright, but lifeless — give us a fair key to the intellectual, 
 and above all, moral character of the artists themselves. A pure 
 mind animated by noble thoughts and aiming at the highest purposes 
 will be certain to give puue effects. We have had to examine deco- 
 rative work designed for wall surfaces the very colour of which told 
 the tale of the mind of the artist — ^it being almost impossible to 
 conclude otherwise than that he had an impure mind. And the 
 effect on the minds of those who were condemned daily to Idok upon 
 that decorated surface could not have been otherwise than depressing, 
 even if it were not essentially degrading. Some may think — a few 
 possibly (we hope but a very, few) may go the length to say — that 
 art has little or indeed nothing to do with moral considerations ; that 
 a thoroughly worthless and bad man may be a very good artist — 
 may, indeed, be able to point to certain examples in proof of this. 
 There can, however, be no greater mistake made by the young artist 
 than this, and it will be well for him if he is not misled by the 
 miserable sophistry of those who maintain it to be true. There is 
 art and art — the true, the noble, and the false and monstrous. The 
 tendency of true art is to elevate the mind and purify the affections ; 
 that of false art, even at its best, tends only to tickle the fancy, at 
 its worst tends to lower the moral tone. It is an easy matter to 
 find the truth of this exemplified in the works of the old masters ; 
 we do not mean by this term their paintings — popularly pictures — 
 but their decorative work, although both classes of work may be 
 
114 FORM AND COLOUR IN INDUSTRIAL DECORATION. 
 
 cited as examples of the truth of the position we have put. Our 
 gi'eat authority — for none can be greater than he in all that is con- 
 nected with the morality of art, which we at least look upon as its 
 life — has some fine and noble remarks upon this, maintaining that 
 the " purest and most thoughtful minds are those who love colour 
 the most," and that the "more faithful and earnest the religion of 
 the painter, the more pure and prevalent is the system of his colour. 
 . . . And it will be found that so surely as a painter is irreligious, 
 thoughtless, or obscene in disposition, so surely is his colouring cold, 
 gloomy, and valueless." As examples of the " opposite poles " of art 
 in this respect he quotes the cases of Fra Angelico and Salvator Eosa. 
 Of the work of the first-named, a man who "never harboured an 
 impure thought," he says that his pictures are " simply so many 
 pieces of jewellery, the colours of the draperies being perfectly pure." 
 Of the work of the second artist named, " a man who spent his life 
 in masquery and revelry," he says " his pictures are fuU of horror, 
 and their colour for the most part gloomy grey " : and our authority 
 concludes by saying that " those are no singular instances. I know," 
 he says, " of no law more severely without exception than this of the 
 connection of pure colour with profound and noble thought." We 
 have in another paxt of this volume referred to a certain "school" 
 of Continental colourists whose work may also be taken as proof of 
 this law. This work, almost without exception, if not degraded to 
 a terribly low degree in subject, is always in colour of the most 
 depressing character — depressing almost to repulsiveness — the exami- 
 nation of which gives one a mental shock much in the same way as 
 one knows a pure-minded man is shocked at the outpour of the 
 blasphemy and the obscenity of talk of some impure-minded and 
 impure-living scoundrel. And of this school of colourists here alluded 
 t o it is in no wise uncharitable to say — for they make a boast of it, 
 " glorying in their shame " — that the best of them lay no claim to 
 purity of life, while of the worst of them their lives are best charac- 
 terised in those terrible words — " they are given over to a reprobate 
 mind." If any youthful student of ours may not think it true now, 
 the time will, we think, soon arrive when he will find it abundantly 
 evident, that the better the man, the higher his aims, the nobler 
 his purposes, the purer his thoughts and aspirations, the better the 
 artist and the more likely is he to do some of the good work, which, 
 while it gratifies what is called pure artistic taste, does more and 
 liigher work in elevating the mind and bracing it up to theexecution 
 of good deeds which will live, to the cultivation of high thoughts 
 which will fructify to noble lives. It will be a great day for British 
 art when the decoration of even our humblest homes is deemed a 
 
FORM AND COLOUR IN INDUSTRIAL DECORATION. 115 
 
 matter worthy of the care and of at least some portion of the work 
 of our best artists ; a still greater day for our national art when its 
 followers, one and all, rise to a true conception of their mission, and 
 of those principles or that spirit which will dictate the execution of 
 its work Ln such a way that, while it pleases the eye or gratifies the 
 taste, it will also minister to the love, the cultivation and the enjoy- 
 ment of the pure hopes and the noble purposes of a dignified and 
 dignifying life. We say this, for we confess to being ambitious for 
 the future of our national art : too often it has lent itself to the 
 mere gratification of the gay and thoughtless, to the passing whims 
 and fancies of fashion; while we regret to say that in a few^ — happily 
 for us but a very few — cases it has descended to the degradation — if 
 not purposely or williugly, certainly with a sad lack of thought as 
 to consequences — of ministering to the lower feelings of our nature. 
 There are, however, signs and symptoms, happily becoming more and 
 more abundant everywhere, that our art is entering upon a higher 
 life, by which nobler work will be done, and in a field so wide that 
 all classes will be embraced within its boundaries — ^in which the hut 
 of the peasant and the cottage of the artisan will share with the 
 hall and the mansion some at least of its best because its purest 
 work. 
 
 Harmonioas Treatment of Colonr in Industrial Decoration. 
 
 Did space permit, much could further be said on the subject 
 of colour as applied to what is generally known as industrial 
 decoration — this including chiefly, if not wholly, those objects 
 connected with our domestic buildings and households, and those 
 met with almost exclusively in their interior arrangements. What 
 has been given, however, includes if not the whole certainly nearly 
 the whole of the leading principles of the art. And art of the 
 highest kind the application of colour is. So great, indeed, is the 
 demand it makes upon the intellectual attainments and the capa- 
 bihty to understand the characteristics and to appreciate the 
 beauties of colour, that our highest authorities on art maintain that 
 the utility of an artist, bis right to claim a thorough acquaintance 
 with art in its highest developments, is to be judged and decided not 
 by his capability of taking in and understanding, or his manipulative 
 skill in transferring to paper or to canvas the intricacies and the 
 delicacies of form — important as this talent is — but by his under- 
 standing what colour raally is, and how to apply it to the work he 
 has in hand. That not a few things go to make up this ability in 
 appreciating and dealing with colour is obvious enough. What the 
 chief of those intellectual requisites are, we have in the brief and 
 
116 rOEM AND COLOUR IN INDUSTMAL DECOEATiON. 
 
 bald manner -whicli alone our space admitted of endeavoured to 
 make clear. But of all those which we have pointed out, none 
 exceeds in importance this — namely, an intense love of Nature and a 
 thorough determination to acquire and make our own the lessons 
 which she is ready with lavish hand to give to all who care to accept 
 of them. Without these there is but little hope of any one be- 
 coming a true colourist. But one thing is essential — namely, that 
 the artist must take the lessons of Nature just as she presents them 
 to his notice. All or none is the rule. Once the artist begins — as 
 but too many begin — to take one lesson here, on the ground that he 
 deems it good and worthy of learning, and to leave out another 
 there, in the belief that it is not worthy of notice — certainly not of 
 adoption — he is, so to say, lost for all artistic success. Nature admits 
 of no tampering with her laws. If she did allow of it, then they would 
 no longer be laws ; for it is the essential element of a law that it is 
 inexorably steadfast, incapable of being meddled vdth or set aside 
 according as fancy or caprice may dictate. For it I arrogate to 
 myself the right to abrogate or get rid of one law for one reason or 
 another, or, what is more likely, for no reason at all, then upon what 
 ground can I forbid another dealing in his way with some other 
 law — perhaps the very law I deem of the greatest value? Let the 
 artist, then, who enters the school of Nature deteimine that he shall 
 be an obedient pupil, accepting all and following all she teaches. 
 Of all the lessons which Nature teaches the artist — and they 
 are as numerous and varied as they are beautiful and suggestive- 
 there is not one of greater importance than the exquisite harmony 
 which in all her aspects she presents in colour — a harmony which, 
 however, we shall see as we proceed, exists in the endless diversities 
 of form. As I'egards contrasts, which to the mind of the uninij 
 tiated and inexperienced student present themselves at first sight 
 as contradictory of or antagonistic to harmony, there are in nature 
 many ; they abound everywhere. But every contrast is in distinct 
 and beautiful harmony with all which exists around it. Thete are 
 no contradictions — no antagonisms in the colour effects in nature. 
 This harmony in or of colour arises from what has been designated 
 the " balancing " of colour effects ; and this balancing does not exist 
 merely in the disposition of the parts in relation to each other as 
 regards colour, but it is equally observable in the matter of form. 
 Two colours may be placed in close relationship of two totally 
 different kinds. But these opposing colours, as they may be termed 
 from one point of view, in no way, even in the slightest degree, 
 offend the eye with a sense of incongruity. No one in such cases 
 would dream of charging such contrasts in colour with being " out 
 
FOKM AND COLOUE IN INDUSTRIAL DECOKATION. 117 
 
 of keeping," as the phrase is, with the general character of the 
 object. However numerous the shades or tints or tones are, no one 
 can possibly find a good ground for charging the general eflfect with 
 the condemnation of being " blotchy." And when changes in colour 
 are observable, it will be found that such changes are made, as in 
 cloud and sky effect, with an infinite fineness, nay, truly, tenderness 
 of gradation, which gives one the sense of complete and in every 
 way satisfying and satisfactory sense of repose. And although it is 
 true that the artist never can approach in his canvas the wonderful 
 beauty of natural colours, inasmuch as he does not possess a single 
 colour which can be said to be pure and true, — at the very best his 
 colours can only approach to those which Nature throws abroad with 
 such lavish hands. StiU, with a strong love of Nature and af the 
 efiects she produces in colour, and with a stern determination to study 
 her lessons honestly and with set purpose to be an artist, at least 
 with true and sincere aims, he may hope to do work which will 
 please the eye and gratify the taste of others. If a true artist, one 
 thing is certain — that, though this last be true, he will not please 
 himself. The truer the artist, the higher his aspiration, the less is 
 he satisfied with his work. It is only the poor in artistic spirit who 
 are rich in self-esteem. Let us not grudge them the gratification of 
 the only thing attainable by them in art. 
 
 In an early part of thLs section we have explained the, peculiari- 
 ties of the " chromatic scale," which as a coloured plate forms the 
 frontispiece to, this volume. From that scale and explanation the 
 student will perceive that colours are classed under three great 
 divisions : the " primaries," the " secondaries," and the " tertiaries." 
 The three colours from which all other combinations of colours are 
 formed, and therefore termed the " primary " or foundation or first 
 colours, are red, yellow, and blue. Now, in combinations of colours 
 used in decoration of industrial objects, it is a rule or canon 
 accepted by high authorities that none of such combinations can 
 be considered artistically complete or perfect unless the three pri- 
 maries are present. - And as regards " form " this threefold bond or 
 band is also noticeable ; for in the opinion of authorities it is the 
 accepted canon or law that no composition or combination of form 
 is perfect which does not comprise or embrace the three classes of 
 lines — the " straight or right hne," the " curved line," and the 
 " inclined line " (see next section treating on Form, and the illustra- 
 tions in figs. 11 and 18). And the whole art of decorative design as 
 applied to industrial work may be in the simplest fashion defined thus : 
 namely, that it is, as regards form, combinations of three classes 
 of lines — the straight, the curved, and the inclined ; and, as regards 
 
118 FOEM AND COLOUR IN INDUSTEIAL DECOKATION. 
 
 colour, of combination of three colours — red, blue, and yellow — such, 
 combinations, or " compositions " as they are technically termed, 
 being harmoniously arranged, and this by the proper subordination 
 of the different classes of lines and colours to one another ; the 
 degree of prominence given to each being determined by a proper 
 study of what will be the effect of the whole. And it follows— what 
 is too often forgotten by young students — ^that it is the amount of 
 honest and determined effort given to this study which will deter- 
 mine whether the decorative composition of lines and colours will be 
 good or otherwise. The following are a few of the combinations of 
 colours that will give contrasts which will be harmonious, and will 
 not offend the cultivated eye. As a rule, green and . red and the 
 various tints of these colours are harmonious contrasts. Pale green 
 and violet is another good and harmonious contrast ; so also a 
 warmish green and maroon, pea green and chocolate. Other har- 
 monious contrasts are the following : — ^Violet and light rose, claret 
 and buff, grey and deep red, bright blue and chocolate, maroon and 
 deep blue, deep blue and pink, deep blue and a golden-tinted brown, 
 a warmish gieen and black. The combinations of colours, as of lines, 
 may be said to be endless, and the decorator will find it an interest- 
 ing study to make up for himself tints of various colours, contrasting 
 them with others, thus finding out what will form harmonious 
 contrasts in colour, which will prove useful in the combinations of 
 lines in which he gains variety of form for his decorative work. In 
 every case, however sound may be the lines of study, patient practice 
 and honest endeavour will be required to secure success in decorative 
 work. 
 
 General Principles, Canons, or Bales connected with the Application of Voipi 
 to the Decoration or Ornamentation of Objects of Industrial Art. 
 
 The forms or configurations met with in, and applied to, the art of 
 decoration or ornamentation," as it is sometimes termed, are exceed- 
 ingly numerous. The term "endless" or that of "innumerable "might, 
 perhaps, with greater accuracy be employed here, inasmuch as the 
 forms known as natural, met with chiefly in the vegetable kingdom, 
 are illimitable, as may be said also of those of what may be called 
 the natural world, from which the endless varieties of what are 
 termed landscape are obtained. To the subjects obtained from these 
 two sources we have to add those which proceed or are evolved from 
 the inventive faculty of man. These are combinations of lines 
 straight or curved, and although in many cases they are based upon 
 or suggested by natural forms, chiefly foliage and flowers, they are 
 for the most part wholly dvie to what may be called the fancy or 
 liking of the designer for combining lines in such a way as to impart 
 
EOKM AND COLOUR IN INDUSTRIAL DECORATION. 119 
 
 pleasure greater or less to those who examine them. And as there 
 is practically no limit to the interchanging position of straight lines 
 and of curved, any more than there are practically any bounds 
 which can be set to the combinations of the notes of music in 
 producing musical effects, or of the letters of the alphabet in forming 
 written or spoken sentences; the result is that the examples of purely 
 ornamental subjects are practically endless or innumerable. Hence 
 it comes about that the number of subjects applicable to one or 
 other of the many forms of industrial decorative work is simply 
 inexhaustible. And these are being or can be daUy noticed also, 
 inasmuch as the materials upon which designs can be based are lying 
 ready to the hand of the designer or decorative artist on every side 
 of him. But numerous as are the subjects fitted for decorative work, 
 they all come within the range of one or other of three classes only. 
 
 These are as follows : first, " natural objects " ; second, " natural 
 objects conventionalised " ; and third, " purely ornamental subjects," 
 or fanciful combinations more or less complicated of straight and 
 curved lines. In some cases there is in the works of designers a 
 combination of the three classes, with what artistic result the youthful 
 student will see when we come to discuss the canons or laws which 
 dictate pure and true design as applied to the decoration or 
 ornamentation of industrial work in one or other of its numerous 
 branches. 
 
 There is, however, another classification in which the three 
 divisions of artistic design range themselves. This classification has 
 two great sections, under one 6r other of which the various classes 
 naturally fall. These two sections are dependent upon the purposes 
 for which the objects are desired to be decorated. Take, for 
 example, the departments of industrial work which are concerned 
 in or connected with the adornment of our domestic houses. The 
 young student wiU be able to perceive, without much previous 
 acquaintance with the subject, that the objects or subjects to be 
 decorated fall under one or other of two classes : first, those which 
 are connected with surfaces, as those of walls; and second, those 
 which are connected with, solid bodies, such as articles of furniture, 
 which are partly useful, partly decorative or ornamental, and such 
 as vases and the like, which are purely ornamental. Designated 
 with these technical terms, artists talk and write of decoration and 
 ornamentation on the " flat " and that on the " round." The first 
 of these sections — ^the " fiat " — ^is exemplified by designs for wall 
 papers or wall or mural decoration, of which we give an example in 
 fig. 1, Plate XXIV. The second of these sections — the " round " — 
 we illustrate in the vases in Plates XXXIV. and XXXV., in 
 
120 FOEM AND COLOUK IN INDUSTKIAL DBCOKATION. 
 
 Plates XXV. and XXXVI., in figs. 1, 2, 3 and 4, Plate XXIV.,' 
 and in Plate XXVI. Pigs. 1 and 4, Plate XXIX., are examples of 
 a combination of the " flat and the round " in decorative design in 
 different departments of industrial work. But while the distinctive 
 characteristic of "flatness" would at first sight appear to confine 
 subjects of this class to their design upon surfaces, it is obvious that 
 this does not absolutely preclude the drawing of subjects upon flat 
 spaces, so that they will have the appearance of being solid. This is 
 illustrated in Plates XXVI. and XXVIII. Thus, when the subjects 
 in the last-named Plate are drawn in pure outline, in no way giving 
 or professing to give the appearance of .solidity, it is obvious that 
 they could be so represented by the draughtsman as to give the idea 
 of the subjects being cut out of or being carved from solid blocks; 
 this being, of course, effected by simply shading them, and in some 
 cases adding the effect of shadows. This is illustrated in the subjects 
 in Plate XXVI. These conversely treated could be made to give the 
 appearance of flatness without any relief or look of solidity, as in 
 the subjects in Plate XXVIII. In like manner, taking purely 
 natural subjects — as, say, flowers or foliage — these could be drawn 
 so as to give the forms of the petals or the leaves in pure outline 
 treated on the flat. Otherwise the draughtsman could give them 
 the appearance of solidity, as if carved out of solid wood, by simply 
 adding the effects of shading and shadow. All this brings up the 
 question of imitation of solid objects drawn or depicted upon flat 
 surfaces, concerning which we shall have, somewhat to say in a future 
 paragraph; it being a subject upon which there are widely differing 
 views held by decorative artists. 
 
 Leaving for consideration in its own special section the points 
 connected with the designing and application of the third class of 
 decorative designs — namely, the fanciful or imaginative combinations 
 of straight and curved hnes to which the name of ornamental 
 drawing or design is generally given — we have now to consider the 
 application of natural forms, or the adaptation of such forms, more 
 or less changed in their original characteristics, to the decoration of 
 objects of industrial art. These form the two first classes we have 
 named. "What has to be said of them falls to be given under the 
 head of 
 
 The Adaptation of Natural Forms, and of those Forms ConTentioualised or 
 Altered in their Oiiginal and Specific Characteristics to the Practical 
 Work of Industrial Decoration. 
 
 In considering the points connected with those two great classes 
 of decorative design, we have to take up what has been advanced by 
 
FOEM AND OOLOUK IN INDUSTEIAL DECOEATION. 121 
 
 the advocates of each, being, as they think, the best adapted to the 
 requirements of the decorative design. And here, at the outset, we 
 have to name this fact as one which naturally increases the difficiilties 
 of the young student entering upon the practical work of designing 
 as applied to industrial work — namely, the exceeding diversity of 
 opinion which he finds existing amongst those who are considered 
 authorities, or who claim to be such, on the subject. Not only are 
 those differences of opinion very marked, but in some instances they 
 are accentuated by what even the most inexperienced of youthful 
 students cannot fail at once to see are, if not positive absurdities, 
 certainly marked inconsistencies, in argument and Ulustration. 
 Finding himself, as -he takes up one authority after the other, 
 confronted with diversities and contrarieties of opinion as numerous 
 as they are decided, the young student is in the position of one who, 
 looking for some fixed principle or law which wUl guide him in all 
 the intricacies of bis practice, finds only that one is face to face with 
 a set of opinions which, from their very diversity and apparent 
 impossibility to be reconciled one with the other, cannot, even with 
 the most liberal construction, be elevated into the position of definite 
 counsel useful in his practice. Nothing would tend more to the 
 advancement of the art generally than the enunciation of certain 
 canons or laws or principles which would by the great majority — ^if 
 not by the consent of all — be accepted as those which define and 
 decide practice in all the departments of industrial decoration. 
 " Artists have to fulfil," says the greatest living authority on art, 
 " the duty of imparting a true taste in design, not only to the 
 producer (that is, the maker or manufacturer of decorated industrial 
 objects), but to the consumer (or purchaser of them) ; but this duty 
 could never be properly performed until all are agreed upon some 
 principle which should form a basis" of all counsel or advice to 
 artists which would take the place or fulfil the oflSce of laws or 
 canons. Whether this general consensus of opinion or belief will 
 ever be arrived at, time alone can show. Meanwhile, all that the 
 student has to do is, first to give time to a careful study of the works 
 of the best decorative artists, for examination of which our various 
 educational and technical institutes afibrd facilities now such as 
 never were within the reach of art students, even of a period so near 
 to us as some generation or so ago. Second, by carefully reading 
 and collating the recorded opinions of the authors of the best works 
 on art ; for he would never undertake the gigantic task of even 
 giving a glance only at all those publisheLd or printed, and from 
 this study and comparison of different authorities endeavour to 
 establish what for himself at least will be fairly satisfactory as a 
 
 9 
 
122 FOEM AND COLOUR IN INDUSTRIAL DECORATION. 
 
 statement of principles or a code of laws which will guide him in the 
 practical departments of his work. Meanwhile, it is our duty here 
 to endeavour to place hefore the young student the leading con- 
 siderations, a careful study of which may help him somewhat in 
 formulating a set of principles which will be of some practical service 
 in doing his work in decorative design. In doing this let us take np 
 first the recorded opinions of the best of the school which advocates 
 the adaptation of natural forms to decorative purposes, just as they 
 are presented to us by Nature herself in and with all their character- 
 istic features. Broadly represented, the young student may take 
 Plate XXX. — which contains drawings faithfully executed of foliage 
 as taken from the actual subjects as growing; — as representative of 
 the natural school; and Plates XXXI., XXXII., and XXXIII.— 
 which contain foliage changed from the rational or natural condition 
 into forms which still give the idea of foliage — as examples of 
 the conventional school. If what we have said as to the beneficial 
 influences which the lessons taught by nature have upon the 
 mind of man be correct, it is at first sight difficult to comprehend 
 how it should be wrong — in the decoration of any object or body 
 iised by man in his daily domestic duties and life, or applied 
 to the adornment of his house, so that it may please his eye and 
 gratify what is called his taste — to copy the natural forms, as those, 
 for example, met with in flowers and foliage, and when copied to 
 apply them to the objects here named. If they are pleasant for the 
 eyes to look upon when seen abroad (and pleasing they always are, 
 no less in the humble weed which shoots through the herbage of a 
 fence than in the flower of the cultivated garden), how comes it that 
 they are not pleasant when applied to the objects of utility or of 
 adornment in the house ? And yet we are, by one who ably repre- 
 sents the conventional school (himself was in life an eminently 
 accomplished decorative artist) told this : that as " civilisation 
 progressed conventional representations were always used, and as 
 art declined a nearer approach to nature was attempted " ; this 
 attempt being made, as he stated, " always with very bad results." 
 But when we turn to an exponent of the views held by those who 
 belong to the naturalistic school of decorative design, and find him — 
 no less able an authority on art, probably, than the first — in equally 
 clear and explicit terms give expression to his views as below, we may 
 with all safety conclude that there is much to be said on both sides 
 of this great question. The following are the words of this high 
 avithority : "All the true nobleness of art had come from people 
 loving nature, in some way or other expressing their sentiments 
 about nature ; and exactly in proportion as the reference to nature 
 
foum and coloiTH in industrial decokation. 123 
 
 became more direct, the art became noble." And in another place, 
 and while treating on another branch of art, the same authority 
 gives the following testimony as to the moralising influences of a 
 love of nature as applied to art. Referring to the Gothic style of 
 architecture, which is pre-eminently characterised by its references 
 to natural objects, this authority thus puts it: "In that careful 
 distinction of species and richness of delicate and undisturbed 
 organisation which characterises the Gothic design, there is the 
 history of moral and thoughtful life influenced by habitual tender- 
 ness and devoted to subtle inquiry, and every discriminating and 
 delicate touch of the chisel, as it rounds the petal or guides the 
 branch, is a prophecy of the development of the entire body, the 
 natural sciences beginning with that of medicine, of the recovery 
 of that of literature, and the establishment of the mOst necessary 
 principle of domestic wisdom and national peace." Surely any deve- 
 lopment of a love of natural objects, which could have the effects 
 here noticed, must carry with it moral influences of a kind as powerful 
 as beneficial. And anything which tends iu this direction cannot have 
 a debasing or degrading influence on art, whether it be the extended 
 popular branch or the more confined one of decorative art. If the 
 cultivation of a love for natural beauties of form and of coloiu- has 
 the effect of elevating the moral faculties as well as the intellectual, 
 it is diflicult to see how — when leaving the general field of study as 
 prescribed us in the scenes and sights of nature around us every- 
 where, and confining ourselves to the infinitely more limited field of 
 decorative or ornamental work — an effect of a different and of a 
 degrading kind should be created. It is hard to believe this ; just as 
 hard as to believe that a love for nature has per se a lowering effect 
 on the moral and intellectual faculties. 
 
 It appears to us, on a close examination of the position taken 
 up by the advocates of the conventional as opposed to the naturalistic 
 school of decorative artists, that they do themselves no small 
 amount of injustice when they say, as some at least do assert, that 
 decorative art declined very much . in proportion as the study of 
 nature, and of the application of its lessons to the practical work 
 of decoration increased. One, indeed, has a difficulty to see how 
 they can assert this, fully believing its truth, and convinced that 
 experience would corroborate it. Mistaken views frequently have 
 their origin in lack of precision of statement or of definite propo- 
 sitions ; and we suspect that if inquiry be pushed, it wiU be found 
 that such a sweeping charge as the above against the influence of 
 the- natural school had reference to and was backed up only by some 
 extremely bizarre and thoughtless application of natural forms to 
 
124 I'OEM AND COLOUR IN INDUSTRIAL DECORATION. 
 
 decorative purposes; applications wHcli even the most confirmed 
 disciples of the naturalistic school wou\d condemn, certainly- not 
 highly approve of. 
 
 Turning from the enlarged or general statements of the position 
 taken by the exponents and the advocates of natural and conven- 
 tional treatment of decorative work to their special applications, we 
 may find some evidence in support of this view. Take, for example, 
 :the difierent views held by the two schools as to fl.oor decoration- 
 say in carpet work. The naturalistic school see no objection from 
 an artistic point of view to the introduction of, say, floral forms, 
 flowers, and foliage in carpet or floorcloth decoration. And in 
 support of this view they point to the great fact that Nature herself 
 may be said to be the manufacturer of carpets on the largest scale 
 in her green fields; and that when in the early spring we meet 
 with the "smUing meadows besprent with buttercups and with 
 daisies," we are conscious of no incongruity whatever when we walk 
 over their surface. If any feeling is expressed it is one of delight, 
 all the purer the more we are lovers of nature. Certainly we never 
 dream of anything being out of keeping when we walk over and 
 for the moment crush down the petals of the flowers or brush aside 
 the spear-like blades of grass, which rise only the brighter when 
 our tread has passed away from them. Ruskin, who, as might he 
 expected, is the great advocate of natural effects, reminds us in 
 this connection that, so far from our considering that anything is 
 wrong in any way when we walk over flowers, on the contrary, 
 when we wish to pay the highest honour to some, as to blushing 
 brides, we purposely strew the pathway along which they go with 
 flowers. 
 
 But, on the other hand, the conventional school of decorative 
 artists object strongly to natural objects, such as flowers and foUage, 
 being chosen as the subjects of decoration for floor surfaces or 
 spaces, as their use "has a most degrading influence on the taste 
 of the present day." How it degrades at all it is difficidt to see, so 
 long as the subjects call to mind associations connected with all the 
 purity and the beauty of what nature displays in such a lavish way 
 everywhere around us. But when there are members of the natural 
 school who, in addition totiie choice of subjects for decoration of carpet 
 work such as flowers and foliage, proceed to adopt delineations of 
 fruit, then the wiser members of the school would be ready enough 
 to join with the members of the conventional school io objection to 
 this last kind of decoration or ornament ; and this on the ground of 
 clear incongruity and lack of fitness. We have seen that there is 
 no valid objection to the walking over surfaces in which flowers or 
 
POEM AND COLOUR IN INDUSTRIAL DECIOEATION. 125 
 
 foliage are chosen as the subjects of decorative eflect; but it is a 
 very different thing when we are asked to walk over and crush 
 fruits. If we met with fruit lying scattered here and there over 
 the surface of a meadow we should feel compelled to pick it up, 
 certainly not to walk upon it and waste it wantonly by crushing it. 
 Such a surface is not one for fruit to be displayed upon; and the 
 rule as to fitness of things in decorative effect precludes for the same 
 reason all imitations of it being adapted to the decoration of carpets 
 or of floor spaces. And while we should have no objection to see 
 flowers on a carpet, we should object as earnestly as conventiohalists 
 to the basket in which they were held being represented on a carpet 
 surface. The same rule as to congruity or fitness would preclude 
 all delineations of animals on carpet surfaces — such as a wolf or a 
 tiger or leopard upon a hearthrug. This rule as to fitness or con- 
 gridty is one which is as rigidly upheld by the natural school — at 
 least by its most cultivated members — as by those of the conventional 
 school. 
 
 In this, as in other questions, the safe course to take, when one 
 meets with extreme views, is the middle one. On each side much 
 may be said in its favour; one cannot be altogether, wrong. It 
 may indeed be taken as a safe general principle to follow, that 
 each particular case of industrial decoration should be treated 
 on its own merits ; for what will suit one particular material, to be 
 employed in a certain way, may very probably not suit another 
 material used in a different way. The very use, indeed, to which the 
 material is to be put will or should influence the design. Thus, for 
 example, the same textile fabric, if used for two essentially different 
 purposes, will demand a different treatment for a different use : if 
 employed as a dress material the ornamentation will be different than 
 if used for upholstering purposes, as, say, for covering a piece of 
 furniture. For in the dress material the ornament should lend 
 itself with ease to the principle of folding, which is one of the 
 peculiarities of dress materials ; while in the case of the furniture 
 covering, as flat surfaces are exposed to a considerable extent, the 
 ornament should obviously lend itself to this peculiarity. The same 
 principle will be applicable to the ornamentation of fabrics suited 
 for the hangings or curtains of a room. Again, in two cases where 
 flat surfaces are to be decorated, while for a wall surface imitation 
 of rounded forms might be admissible, and would not be incongruous 
 there, for a flat surface such as a floor there would obviously be 
 an incongruity or unfitness, inasmuch as the association of ideas 
 would be antagonistic to those naturally connected with the subject, 
 as one would not feel comfortable, so to express it, in walking over 
 
126 rOEM AND COLOUE IN INDUSTEIAL DEOOKATION. 
 
 solid rounded objects. Here, again, we come round to the same 
 leading principle of the fitness or congruity of the design to the 
 material to be decorated. 
 
 Finally, this important principle should always be borne in mind, 
 — that whatever be the class or style of decoration adopted, how- 
 ever appropriate it may be to the pecuHar circumstances of the 
 case, however fit in its details to the material, — the design, however 
 beautiful by itself as a design merely, should always give the 
 distinct impression of repose. Ornamentation should always be 
 subordinated to this feeling; it should be suppressed rather than 
 loud, to tise an expression much in vogue at the present time. Designs 
 should attract attention rather by their general quietness than by 
 their obtrusiveness. If our young students will not misunderstand 
 us, we should say that their designs should take their place in the 
 minds of their spectators more with the feeling that they are not 
 attractive than with that of being too easily noticed. As a rule, 
 ugly and decidedly objectionable designs attract attention at once. 
 They force themselves upon the spectator with a species of shock, so 
 to say ; demand attention only to be condemned, and with the wish, 
 latent if not expressed, that they could be taken away. Whereas 
 in the case of a thoroughly sound and good design it will require 
 time to be appreciated; it will grow upon one, and if scarcely 
 noticed at first, each time it is looked upon it will be the more 
 highly thought of; it will grow, so to say, in the good esteem of 
 those who look upon it. Vulgarity is generally — we may say always 
 — obtrusive ; merit is modest, and its value takes time to be appreci- 
 ated. Quiet, well-balanced, reposeful designs are always or generally 
 in what is called good taste. Oarish designs — too pronounced, to 
 borrow a French term — are the reverse of this. 
 
 We could go on citing cases one after the other, each of which 
 would have its own particular lessons of practical utility ; but the 
 limits of space at our disposal having now been reached, we must 
 draw our remarks to a close. But enough has been said to at least 
 point out to the young student the direction which he should take 
 in studying the subject. If what we have given is sufficient to act 
 as an incentive to further and fuller development of principles — if 
 our remarks should induce him to think for himself — we shall have 
 written to some practically useful purpose. 
 
 General Fiinciples inflnencing the Adaptation of Form to Industrial 
 Decoration. 
 
 We hii.ve in the introductory paragraphs of the present division of 
 our work given some remarks on the principles which dictate the 
 
FOEM Al^D COLOUB IN INDUSTRIAL DECOEATION. 
 
 127 
 
 application of design in pure outline to decoration of flat surfaces. 
 These remarks were of the briefest, and took up merely one or two 
 of the leading principles of this department of decorative design. But 
 there are several other points which remain to be noticed, and which 
 will require to be well considered by the young student, as they affect 
 in the closest manner his practice in industrial decoration. Many 
 young students, at the commencement of their practice in and study 
 of the art of decorative design, have a difficulty, when examining the 
 elaborate works of great authorities on the subject in which there 
 appear to be what looks like an endless variety of lines and forms, 
 to realise that, complicated as they are, they are nevertheless made up 
 of elementary lines, of which there are only two varieties. These are 
 the " straight," or, as it is termed by geometricians, the " right " line, 
 as the line a a, fig. 6 ; and the " curved " or " curvilinear " line a a 
 in fig. 7. The different designs which are met with in such pro- 
 fusion everywhere around us are made up of these two lines only. 
 
 Fig. 6. 
 
 In some cases straight or right lines, as a a, fig. 6, alone are required 
 to produce certain forms, as at a, h, and c, fig. 10, or abed, fig. 11, 
 combinations of which form very efiective designs, or " patterns " as 
 the technical term puts it. 
 
 Variety in designs in which straight or right lines are alone used is 
 obtained by changing the positions of the lines, as from the horizontal 
 position aa' or h V, fig. 6, to the vertical c c' or dd' ; & third change 
 being the inclined, oblique, sloping or angular, as e e' or ff, the 
 incline in e e' being from the left hand e to the right e', or conversely, 
 as a,\,ff', from the right hand /to the left at/'. These two varieties 
 of inclined or oblique lines are obviously changes more or less pro- 
 nounced from the vertical lines, as c c' or d d', by tilting back the 
 upper ends c and d in the directions e and/. In the other class of 
 inclined lines or oblique, as g g', h h!, the change is obviously from 
 the horizontal lines, as a a', h V, the inclined line g ^ being obtained 
 by raising the end al of the line aa! ; or conversely, by raising the 
 end h of the line h h'. How varied, and in many cases eflfective. 
 
128 FOEM AND COLOUE IN INDUSTEIAL DECOEATION. 
 
 may be the. combinations of simple straight lines only, in the way 
 of creating patterns or designs, the student will find exemplified 
 in several of the illustrations given in our present volume. Some 
 of the elementary forms of right-lined patterns are shown in figs. 
 10 and 11, and designs of a more complicated kind in the earlier 
 lessons in the section of this volume entitled "The Ornamental 
 Draughtsman," and also in the frets in figs. 3, 4, and 5, in Plate 
 XXXYIII. 
 
 Coming now to the second of the two classes of lines — namely, the 
 "curved." These may be formed of parts or arcs of circles, of which 
 the elementary form is at b in fig. 7, the lines being disposed either 
 horizontally as at a a as c c, vertically at d d, or inclined as at 
 /for gg; the changes of position giving changes in the way in 
 which they give the appearance of what is a concavity, as at a a, or 
 
 Fig. 7. 
 
 a convexity, as at c c, and this in relation to the Hne of the horizon. 
 In the vertical curved lines dd, ee, and the inehned ii, kh, the 
 convexity, so to call it, is towards the left hxdd &udiff, and toward 
 the right in e e and g g. Curved lines which are parts of circles or 
 arcs described from a given point — the " centre " — never give such 
 pleasing curves as those which are derived from the " ellipse," the 
 elementary form of which is shown at i, in fig. 7 ; jj, k k, being 
 elliptical curved lines. The Greeks always employed curved lines 
 derived from the ellipse, or from some of the other eccentric curves, 
 such as the parabola ; and to this circumstance Grecian ornament 
 to owes all its value, as being so much more pleasing to the eye or 
 cultivated taste than Roman ornament, in which the circle was 
 the base of the curved lines. The diflFerence between the two is very 
 observable in the architectural mouldings, the outlines of those which 
 are Grecian being so much more satisfactory to the eye than the 
 Roman mouldings of the same class. 
 
FOEM ASB COLOUR IN INDUSTRIAl DECORATION. 129 
 
 In fig. 7 the curved lines, as a a, b h, all flow, so to express it, in 
 the same direction as indicated by the arrows. Technically such 
 curved lines, or, to use the more simple and generally employed term, 
 curves, are known as "curves of single flexure" — that is, having, to 
 use the popular expression, the " bend " in one direction only. But in 
 having two bends in one single curve we contribute a new element 
 in linear design, one which is characterised by such a pleasing look 
 that one variety of it has given to it the name of "the line of 
 beauty," so named by Hogarth, the celebrated painter of the last 
 century. The curved line with two bends is technically called the 
 " line of double curvature," or the " line of contrary flexure " (or 
 bending). A line of this kind is illustrated in different positions in 
 fig. 8 ; the double bend, or the contrary curves, being indicated by 
 the arrows as shown. 
 
 Fig. 8. 
 
 We now come to the combination of the two classes of lines to 
 which every pattern or design, however complicated, is reducible, as a 
 careful analysis will show. In fig. 9 we give an illustration showing 
 how the single straight line, as a a' in fig. 6, may be grouped simply 
 as in parallel horizontal lines, as diagram a, or in parallel vertical 
 lines in diagram B, or oblique in diagrams c and d; all the lines 
 being parallel to each other and equidistant from each other. By 
 combining the horizontal A with the vertical b, as at c, the distance 
 between the two classes of lines being equal, we obtain a series of 
 squares. By altering the distances between the lines relatively 
 to each other, so that the set ff are at a greater distance from 
 each other than the other set g g, we obtain a set of rectangles or 
 rude parallelograms. And by having the leading straight lines 
 oblique or inclined (see ee',ff', fig. 6), as at a a, fig. 10, and placing 
 them at equal distances from each other, we obtain a series of 
 diagonal squares or " diamond "-shaped squares, as at a a. By 
 altering the relative positions of the lines and their distances, rhom- 
 
130 FOKM AiJD COLOT?E IN INDDSTKIAL DECOEATION. 
 
 boidal figures are formed, as in fig. IL These, in the technical 
 terms of decorative design, are designated as "lozenge" Vorms. 
 When such forms or any pattern or design are arranged so as to 
 form a square, such as at a6c(Z in fig. 11, and these distributed 
 over a given surface, so as to form what are technically termed 
 "repeats," of which we give an example in fig. 11, at efgh; 
 although of necessity straitened or confined, as compared with 
 designs in which curved lines are employed, the combinations of 
 straight lines give a much larger variety of " patterns " than the 
 youthful student may at first sight be disposed to conceive of. Thus, 
 by way of practice, let him take the figures in figs. 10 and 11 — the 
 diagonal square h, fig. 10; the rhomboidal, as at a, fig. 11 ; the triangle. 
 
 D 
 
 
 
 
 
 
 
 
 
 
 a 
 
 
 
 
 
 
 
 
 
 
 I 
 
 9 
 
 
 
 I 
 
 
 
 
 
 
 
 
 
 <L 
 
 
 
 9 
 
 f 
 
 
 t 
 
 
 
 
 
 
 
 B 
 
 Fig. 9. 
 
 as at c, and the hexagon at d, in fig. 10 — and try to arrange them 
 in a variety of combinations; and he will, we venture to say, be 
 somewhat surprised at the result. In using straight-lined patterns 
 for the decoration of surfaces — as, for example, of floorcloth or of 
 tesselated pavements, for which objects they are, perhaps, the most 
 frequently used — the youthful designer must bear carefully in mind 
 the absolute necessity of so balancing the subjects that that sense of 
 repose, which elsewhere we have shown the artistic importance of, 
 will be secured. This will require careful study, and will frequently 
 demand the subordination of one part of the design to some other part. 
 This may have to be done at some sacrifice, inasmuch as the part 
 so subordinated, so lessened in importance, may perhaps be that 
 on which the youthful designer has set his mind, as forming 
 one of the chief features of his design. In this, as in all other 
 
I'ORM AND COLOUR IN INDUSTRIAL DECORATION. 
 
 131 
 
 departments of his work, he must remember the paramount claims 
 of truthfulness, of honesty of purpose. These may to some appear 
 as strange words to be applied to what they may claim to be but a 
 small matter — a simple design. Nevertheless, unless care be paid to 
 this, we fear that the final result will be anything but satisfactory. 
 
 Coming now to the combination of the second class of lines — • 
 namely, the curved — we find the same general principles dictating 
 
 Fig. 10. , 
 
 the production of patterns or designs. And in these it is essential 
 to the young student to note that the same principle of " balancing " 
 or disposing of the parts of the composition miist be borne in mind, 
 so that the sense of "repose" be gratified. If the eye cannot rest 
 upon the design as a whole, and if there be a sense of incongruity 
 between any given part and another, a feeling as if there was a 
 " something wanting," which is much more readily understood and 
 taken in by the mind than it can be described, the student may rest 
 assured that there is a decided fault in the disposition of the varioua 
 
132 FORM AND COLOUB IN INDUSTEIAL DECOKATION. 
 
 parts -which go to make np the composition as a whole. And good 
 forms lend themselves, so to say, to this proper and satisfactory 
 " balancing " of the parts of the design more readily than base or 
 defective forms. Of curved liaes, those known as curves of double 
 flexure, vehich, as in fig. 7, we have shown to be known as the "line of 
 beauty," lend themselves much more readily to graceful adaptations 
 of curved lines than those called simple curves. What we have said 
 
 as to the value of good disposition of parts may be illustrated in 
 simple fashion by the diagram in fig. 13. Thus, while there can be 
 no positive objection to the disposition of the two lines of double 
 curvature a' a', h'V, placed under each Other in horizontal arrangement, 
 or vertically, as at cc, dd, when the same lines are disposed as at ee 
 and ff, or as at gc/ and Ah, the eye perceives at once that the 
 last named is more pleasing than the first disposition. And as 
 regards the "balancing" of curved lines, its importance from a 
 
FOEM AND COLOUR IN INDUSTRIAL DECORATION. 
 
 133 
 
 decorative point of view may be illustrated in the same simple 
 fashion. Thus, in fig. 13, the lines a and h, placed on each side 
 of the central dotted line e d, give to the eye a sense of satis- 
 factory repose. This " balancing " of the parts of a design was 
 well known to the Greek artists of old, and all their finest com- 
 positions show how their minds were impressed with a high sense of 
 its great value. It is admirably illustrated in the well-known 
 " honeysuckle " ornament, the elements of which are shown at a 6 in 
 fig. 12. The form in 6 6, fig. 12, is seen at once to be a balanced 
 one. Several examples of finely balanced designs are shown in the 
 
 Fig. 12. 
 
 accompanying Plates — as, for instance, fig. 4, Plate XXIX., figs. 1 
 and 2, Plate XXVIII., and the examples in Plate XXIV. — in which 
 the lines are chiefly curved. Examples in which the lines are chiefly 
 straight or right lined are shown in figs. 3, 4, and 5, Plate XXVIII. 
 In fig. 15 (text) we give another lesson illustrative of this principle 
 of balancing the parts of a design. In this the elements are two 
 simple curves, 6, 6, placed opposite each other with a round dot 
 between them, the curves having their concave sides opposite. This 
 form distributed over a surface has formed a pattern for a textile 
 fabric, the figures being placed in lines, as shown. Now, by taking 
 the same form of simple curves, and pla^jing one or two at the sides, 
 
134 
 
 FOEM AND COLOUE IN INDUSTRIAL DECOEATION. 
 
 as before at c c, then disposing 'one of the curves, as d, above the ver- 
 tical dot e, and another, as_/, below it, the student will at once see that 
 we have a well-balanced form. This may be distributed in parallel 
 lines over the general surface, as in the diagram at a a. But by 
 adopting the diagonal or " diaper " form of arranging the design, 
 explained in connection with a and b, fig. 10, and ah, cd, fig. 11, we 
 have a much more pleasing arrangement than the parallel-hned one, 
 as at aa ov e and g in fig. 15. This is shown at h i, j k, which are 
 " repeats " of the diagram cede/ placed diagonally. 
 What are called, in the technical language of form and colour 
 
 Kg. 13. 
 applied to industrial decoration, "dispersed" designs, are some forms 
 scattered, sp to say, over the general surface to be decorated, as a 
 textile fabric, without any attempt at regiilar or systematic arrange- 
 ment. The forms may be purely conventional— having, indeed, 
 nothing definite about, them, such as at abed, fig. 17, or a a in 
 ^S- 14 — or they may be sprigs of conventionahsed foliage or flowers, 
 such as at a a, 66, fig. 16; or the well-known "shell pattern" at cc, 
 so much used in Indian-made shawls, or the design for such dispersed 
 patterns may beisafely a series of dots or small circles, as at 66 and 
 dd in fig 14; or a simple geometrical form— the " quatrefoil"— as 
 at ff, tig. 15. If the colours be well chosen, so as to harmonise with 
 
FOEM AND COLOUK IN INDUSTRIAL DECOBATION. 135 
 
 each other and with the general ground of the fabric, some of these 
 "dispersed" patterns look remarkably well. The simple pattern, 
 if such it can be called — ^the dots or small circles as &% ff, fig. 14 
 — had quite a run one season for calico dress-pieces. As a rule, 
 however, better effects are obtained by using such simple subjects 
 as above indicated, distributed over the general surface on some 
 regular plan, such as the diagonal or diapered style, as at ff, in 
 fig. 14, or ijh in fig. 15. 
 
 One great advantage possessed by the diaper or diagonal method 
 of arranging the pattern or figure over the general surface is that 
 it lends itself in some departments of industrial decoration to the 
 gaining of effects which are not obtainable by any other arrange- 
 ment. Take the decoration of " wall paper '' surfaces, for example. 
 In rooms it is generally considered that height from floor to ceiling 
 has a decided effect in either adding to or taking from the 
 
 % iii'i'.is ® o <o « „ 
 
 a * 
 
 
 oo 
 
 Fig. 14. 
 
 pleasing effect produced by a well-proportioned, and, as it is called, 
 a " handsome room." A high ceiling is always preferred to a low 
 one. , Now, the youthful student, who has not perhaps given much 
 thought to the subject, may be surprised to learn that the mere way 
 in which the pattern of a wall paper is distributed over the surface 
 exercises an important influence upon the appearance of height 
 which the walls possess. Thus, if we take the lines of a design to 
 run along horizontally, as at a a, fig. 18, the eye is naturally carried 
 along right or left, as at arrows b, o, as the case may be, till the end 
 walls are reached. Here the association of a high ceiling is in no 
 marked way given by such lines of design on the wall paper. Take 
 now the case of the lines of the design of the wall paper which run 
 vertically, as at e e, same figure. With those the tendency of the 
 eye is to follow the lines upward in the direction of the arrow/, 
 bringing the ceiling line down, so to say, or leading the eye towards it 
 much more quickly than would otherwise be the case. Such vertical 
 
136 FOKM AND COLOUR IN INDUSTRIAL DECORATION. 
 
 lines, as e e, tend, therefore, to make the ceiling appear lower than 
 it actually is ; and that the power of the eye is great in creating, so 
 to say, illusions, or in making certain points to appear different from 
 what they are, is generally admitted. The designer should, therefore, 
 take advantage of this optical peculiarity to create effects favourable 
 to the purpose he has in view. In the case under consideration the 
 object is to increase — or rather to give the effect as if it were 
 increased — the height of the ceiling line above that of the floor. 
 Now, if the "pattern," or parts constituting the design, be arranged 
 so as to run not in a horizontal direction, as at a a, fig. 18, or vertical, 
 as at e e, but in a direction midway between these two, as the line g, 
 this diagonal or obhque direction wUl have the tendency to increase 
 the distance of the ceiling from the floor line, inasmuch as the eye 
 will take, as it were, a longer time to reach the upper end than in 
 
 A 
 
 'C;3'O.C a S> ^' 
 
 (^ 3 C ^ (Poi 
 
 «> CD * dr-' 
 
 C 3 CD 
 
 Fig. 15. 
 
 the case of the vertical lines at e e. Now, this diagonal arrangement 
 or distribution of the pattern over the general surface is obtained 
 very easily by adopting the diapering system of arrangement. This 
 is clearly illustrated in fig. 11, ante. For if the diagram or " repeat " 
 of the element of the pattern, which is simply the form Imown 
 technically as the " lozenge," sometimes the " diamond," be as at 
 abed, and this be repeated all over the surface, a little study will 
 enable the student to perceive that the pattern is' compelled, so to 
 say, to form the three classes of true arrangement — the- " horizontal," 
 as at a, fig. 1 8 ; the " vertical," as at e e ; and the " diagonal," obKque 
 or " inclined " at g. Thus, in fig. 11, ante, the diamonds or lozenges, 
 a^abd, will be repeated all over the surface to be decorated, but 
 throughout in " horizontal " lines, as in II; the lozenges c c in " ver- 
 tical " are as at j k, and the " lozenges " ha, cd in diagonal or 
 "inclined" lines, as at mm. Now, this system of arranging the 
 
FOEM AND COLOTJB IN INDUSTEIAL DECOEATION. 
 
 137 
 
 pattern over the surface to be decorated can be adapted to any 
 design, wbetlier purely conventional, as at a a, fig. 14 ; geometrical, 
 as at e e in same figure ; or with natural objects conventionalised, as 
 at a a or 6 6> in. fig. 16. Every form can be so disposed. And it is 
 for the designer fortunate that it should be so ; for the . highest 
 authority on decorative design expresses it as his belief that no 
 design, as a finished whole, can be perfect unless the three disposi- 
 tion's of line be met with in it — namely, the horizontal, the vertical, 
 and the inclined or diagonal. 
 
 One great advantage possessed by the curvilinear patterns is that 
 the lines which go to make up the' complete design can be so arranged 
 
 p0^f' 
 
 Fig. 16. 
 
 relatively to each other that they will " fiow," so to say, into each 
 other so naturally that the eye will not be offended with any break 
 or interruption. Now, while the diagonal line combination described 
 in preceding paragraph, and there recommended as that which in its 
 three classes of leading lines — ^horizontal, vertical, and inclined — 
 give the best design, yet this might be considered as antagonistic 
 to the rule we are at present considering, namely, that the parts 
 shall flow into each other without interruption. But a little exami- 
 nation will show that this is not so ; but that any pattern, however 
 intricate its lines, can be distributed over the surface to be decorated 
 in a series of " repeats," and yet so arranged that they will give the 
 three classes of disposition in line illustrated in figs. 11 and 18 with 
 perfect harmony of adjustment. In fig. 12 one or two examples in 
 
 10 
 
138 
 
 FOKM AND COLOUR IN INDUSTEIAL DEOOEATION. 
 
 detail are given, to show the diiference between lines which meet 
 other lines flowing into each other, and those which abruptly join. 
 
 We have now endeavoured to give, as fully as the Umited space at our 
 disposal allows, accounts of the leading points to be attended to by the 
 pupil in preparing designs for decorating objects, and matsrials used 
 in one or pther of the numerous branches of industrial work. These 
 apply generally to all classes of design, being what may be called 
 fundamental principles, none of which can be overlooked or neglected 
 without injury to the artistic merit of the design. The other part 
 of the general subject which falls to be noticed is that connected 
 with the application of decoration to special subjects or materials, 
 such as the decoration of wall papers, carpets, floorcloths, ciurtiains, 
 hangings ,or tapestry work; textile fabrics for dresses, ribbons; 
 
 Kg. 17. 
 
 furniture and domestic articles, such as vases and other ornamental 
 work ; or those for useiul purposes, such as dinner and tea services, 
 jugs and drinking vessels, and a long range or list of subjects and 
 objects too numerous to be even named here. 
 
 It is when we attempt to formulate a set of rules or laws, or let us 
 say some simple principles which would be accepted generally as guid- 
 ance to students and practical designers, that we come across such a 
 wide variety of opinions and of dogmatic statements, that the task of 
 formulating a set of definite principles seems an utterly hopeless one. 
 To this we have already pointedly referred while reviewing the claims 
 of the two great schools of design — ^the natural and the conventional. 
 We can at best here endeavour to get hold of some few leading 
 principles to which the majority would consent, as being usefully 
 
FOEM AND COLOUR IN XNDUSTEIAL DECORATION. 139 
 
 applicable to decorative work generally; although from what has 
 already been stated there seems but little chance at present, at least, 
 of a set of laws or of principles being so formulated as to receive the 
 united consent of a fair majority of those engaged in the practical 
 work of decorative design. It is many years since it was proposed 
 to get a conference of all the leading authorities on art, and at this to 
 collect from those taking part in it their dififerent and differing views 
 on the leading points of decorative work, and from these to deduce, 
 if possible, some general principles upon which all were agreed. But 
 this conference, although proposed by those high in art, was never 
 called ; and things remain now as they were then. So that practi- 
 cally it comes to this, that each decorative artist is simply a " law 
 unto himself." 
 
 The first point essential to the self-education of the artist in his 
 work of applying decorative or ornamental form to the materials 
 used in industrial work, is that he be honest in all the work which 
 he sets his hand to. It is not that he be honest in so far as doing 
 his work conscientiously — doing it as well as he can — although this 
 
 9 
 
 A 
 
 10- 
 
 «— d 
 c 
 
 Fig. 18. 
 
 Y' 
 
 is, of course, insisted upon by those who are entitled to give counsel 
 in the matter ; but honesty of purpose and intent must be displayed 
 in another direction. And the first point under this head is that 
 the style of decoration adopted should have an obvious reference to 
 and a clear oomnection with the material to be decorated. Any style 
 of decoration, for example, which applied to glass gave the impression 
 or raised in the mind some idea associated with metal — as iron, to 
 wit — would be essentially a fake, because dishonest style, inasmuch as 
 it would profess to be what it is not. From this may arise the canon 
 or law that each material iised in industrial work has, or demands, its 
 own peculiar style of decoration. This is a sound and therefore a 
 safe principle for the young student to be guided by in his decorative 
 work. If it does nothing else it will compel him, so to say, to 
 think; and anything which brings this about, in the life of a 
 student, is of great value to him. 
 
 This principle. brings in its train another rule — namely, that, in 
 all decoration of industrial material, utility shall be duly considered. 
 
140 FOEM AND COLOUR IN INDTJSTEIAL DECOBATION. 
 
 Some authorities, indeed, place this as the first law to be obeyed. Its 
 value appears to be so obvious that one would scarcely suppose that 
 it could be neglected, or, what is worse, wholly ignored, as possessing 
 no practical value whatever. Yet that this is so is but too true, 
 and can be seen in a thousand-and-one articles of what are called 
 art manufacture or art design : e.g., drinking vessels which by some 
 feat of dexterous manipulation can be drunk out of or be filled and 
 emptied, but which are so shaped or formed that by no possibility 
 can their interiors be properly cleaned out. Scores of examples could 
 be cited in proof of the utter f orgetf ulness by art designers (so called) 
 of this essentially soimd law or principle. Articles of f iirniture so 
 decorated that they act as snares and pitfalls for the unwary — mere 
 collectors and harbourers of dust, which, from the very nature of the 
 ornamentai or decorative parts, stuck on " anyhow," cannot easUy, 
 if at all, be cleaned. In connection with this law or principle it may 
 be accepted, as a rule or dictum which cannot be set aside, that all 
 decoration which ignores or impairs or lessens the practical utihty 
 of the object ornamented is essentially wrong and thoroughly fake. 
 In view, indeed, of the evils which arise from neglect of this law, we 
 need not be at all surprised at some authorities placing this as the 
 first canon or law to be attended to. As a corollary to or natural 
 deduction from this law come all considerations connected with the 
 proper use of materials to be decorated. A style of decoration, for 
 example, fitted for a textile fabric, may be wholly unfitted for the 
 decoration of a floorcloth or a tesselated pavement. Or what would 
 be apposite decoration or form for an object made of cast iron would 
 obviously be quite unfitted for one made of glass. 
 
 This fitness of decoration to the material to be decorated is of the 
 highest importance. A very eminent authority on this point has 
 the following, which should have the closest attention of the student : 
 " The question is not simply whether certain specimens of ornament 
 are in themselves beautiful, but whether, being so, they are adapted 
 to particular purposes. I do not mean whether they can be executed 
 by some particular process of manufacture ; but whether, supposing 
 they could be executed, they are as ornaments suited to particular 
 uses, situations (i.e. positions), or fabrics." The same authority goes 
 on to say, what in effect we have already insisted upon as of the 
 highest importance — namely, that the student should in each par- 
 ticular case think out for himself all the conditions bearing upon it, 
 and this whoUy independent of the opinions of others, no matter 
 how high they place themselves, or are placed by others, as authori- 
 ties on art decoration ; and so, thinking it out thus independently, 
 as to what kind of ornament will best suit the material to be deco- 
 
POEM AND COLOTTE IN INDUSTEIAL DECOEATION. 141 
 
 rated, bringing out its structural peculiarities, its characteristics 
 (IS a material, which distinguish it and set it aside from all other 
 materials — then the result, in the opinion of our authority, will be 
 that the student or decorator will " never fall into any great mistake." 
 This is in effect but a general paraphrase of the specific point we have 
 already insisted upon — namely, that honesty of purpose in this work 
 will be the best safeguard of the decorator against his perpetration of 
 any great or grave mistake or absurdity in the decoration of the 
 materials used in industrial work. 
 
 It would be easy to cite examples of the important principle of 
 fitness of decoration to the material to be decorated, above dwelt 
 upon. But one or two cases will sufficiently explain to the student 
 who is but beginning his practice what is meant. For example, a 
 decoration of a figure-subject of a more or less elaborate character 
 in detaU, representing, say, some well-known historical or domestic 
 incident, however completely it might pass the judgment of those 
 competent to give an opinion as to its merits, would obviously be 
 very much out of place in the decoration of a floor. The irregularity 
 would be evident at once, as walls and vertical surfaces are invariably 
 associated with, and indeed the only places truly fitted for, the 
 reception and the display of purely pictorial subjects. And the 
 incongruity of adaptation would be none the less obvious if the 
 subject were a landscape; and stUl more evident if the painting 
 portrayed some painful domestic incident. Again, an ornament or 
 style of decoration which would lend itself naturally and without 
 effort to the association of ideas connected with the falling folds of 
 drapery or of a lady's dress, would obviously be out of characteristic 
 keeping with the decoration of a wall, with the surface of which 
 is associated naturally perfect and continuous flatness and stability. 
 Further, a style of decoration which would lend itself gracefully 
 and naturally to the ornamentation of objects with which the ideas 
 of fragility and weakness are associated, would obviously be most 
 incongruous if applied to the ornamentation of objects with which 
 strength to resist pressures, or to sustain or support heavy weights, 
 would be alone or chiefly associated in the mind. 
 
 It .will be seen from what has been said that this question of 
 fitness of decoration to the material to be decorated allies itself very 
 closely with the principle' of the utility of the object being served 
 and maintained by the style of decoration adopted — a principle to 
 which we have already drawn attention. Cases in illustration of 
 what has been advanced in the paragraphs of this section could be 
 multiplied to ahnost any number. But this extension is not needed : 
 enough has been said, with what has been given in the section which 
 
142 FOEM AND COLOUR IN INDUSTEIAl DBOOEATION. 
 
 takes up the claims of the two schook of art — the naturalistic and 
 the conventional — to enable the young student to have a fairly 
 accurate conception of what are the leading principles of the appli- 
 cation of form and colour to industrial decoration, and- to give him 
 some help in formulating for himself a set of canons or rules by 
 which he will be guided in his work, and saved from the perpetration 
 of some of those monstrosities in art decoration which have been 
 produced from time to time, and of which it may be said that one 
 fails to decide which is to be most blamed and pitied — the artist, so 
 called, who could design, or the public who could purchase such gross 
 departures from sound principle and correct because healthy taste. 
 Other points of practice — such, for example, as to how far direct 
 imitation of natural or artificial objects is' permissible in the 
 decorative treatment of industrial work — will be found more or less 
 fully explained in the section which discusses the relative claims of 
 the naturalistic and conventional schools of decoration. 
 
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