THE DECORATIVE TREATMENT OF NATURAL FOLIAGE.1

THE DECORATIVE TREATMENT OF NATURAL FOLIAGE.¹

By HUGH STANNUS.

Lecture I.

§ 1.—THE ELEMENTS OF DECORATION.

The chief impelling Motives which have caused that treatment of objects which is now termed Decorative, have been:

(a) That necessitated by the Usage, which is FUNCTIONAL;

(b) That resulting from the Instinct to please the eye, which is ÆSTHETIC;

(c) That arising from the Desire to record or to teach, which is the DIDACTIC motive;

The ÆSTHETIC instinct of the early peoples was gratified by:

(a) The forms of their weapons or tools;

(b) The patterns with which they are decorated;

(c) The imitation of the surrounding animals, e.g. the Deer scratched on the horn at the British Museum.

Imitation was afterward applied to the vegetable creation; and much of what is termed Ornament was derived from that class of elements.

The ELEMENTS OF DECORATION are the material used by the Artist. They might be considered to include everything that is visible; but since Decoration is a result of the æsthetic instinct, the field is narrowed to such as are pleasing at the first glance. And the selection is further limited to such as are suitable to the shape and size of objects.

They may be classified according to their relative Dignity, as follows:

The Human form,

Animal forms,

Natural foliage,

Artificial objects,

Artificial foliage, and

Geometrical figures.

§ 2.—THE TWO KINDS OF FOLIAGE.

A Distinction is made between natural and artificial foliage. They have much in common; and consequently many have supposed that our Western artificial foliage is merely a very-much-conventionalized version of natural foliage. The supposition is correct with regard to Eastern Pattern work, but not in Western Architectural ornamentation.

A simple generalization may make this clear. The ordinary stock foliage of the Ornamentist was evolved in connection with:

(In the West)(In the East)

ARCHITECTURE, as in Greece.TEXTILES, as in Persia.

Hence the primary Elements of decoration were derived from:

(In the West)(In the East)

GEOMETRICAL LINES, e.g. the meander, spiral, etc.NATURAL FLOWERS and LEAVES, e.g. the pine, pomegranate, etc.

Further, it may be observed that the Method of treating these Elements has been different:

(In the West)(In the East)

The Geometrical lines were enriched by the introduction of the details of Natural vegetation; thus becoming gradually more naturalesque. The natural foliage was codified by the introduction of Geometrical arrangement; thus becoming gradually more artificial.

An APPROXIMATION between the two treatments, sometimes appears; but the two kinds—Artificial, and Natural—are essentially different in origin; and should be kept distinct in their application.

This approximation may be shown, in a tabular arrangement, thus:

§ 3.—APPLICATION OF THE TWO KINDS.

Each of these two kinds of foliage has its own proper use. Artificial foliage is appropriate to the enrichment of Architecture; and Natural foliage to those objects which are not architectural, but are termed "movables," including under this term, Furniture, and more especially Hangings and other applications of the Textile art.

This may be seen on comparing the two columns below, of which the L.H. one refers to Architecture, and the R.H. one to Natural foliage.

(Architecture)(Natural foliage)

RULES:

Governed by severe rules of Repetition, Axiality, Symmetry, etc., which are apparent to the passer-by. Hence Artificial foliage, being regular in its structure, is more appropriate than the (apparently) irregular growth of Natural foliage. Exhibits apparent playful Freedom. There are underlying Rules, which< are detected by the scientific Botanist; but these are not seen by the casual observer.

CHARACTERISTICS:

Rigidity and Stability.Elasticity and Tremulousness in every breeze.

LINES OF COMPOSITION:

Geometrical lines.The geometrical lines and spirals of Artificial foliage demand an unmoving surface for proper view. In determinate curves, which are very subtile, and varied, and therefore suitable to a hanging and< swaying material.

They would generally be spoiled if not on a plane surface.The curves of Nature are not spoiled when on a folded material.

DISTRIBUTION:

Symmetrical. The symmetry of artificial foliage is appropriate to that of Architecture.Balanced. The growth of natural foliage is generally symmetrical; but this is not apparent.

BEAUTY:

Depends on form, with color as a secondary adjunct. More appropriate to objects which depend on color for their principal charm.

There have been waves of the desire to introduce Natural foliage into Architecture (e.g. in the "Decorated period" of Gothic architecture); but the Artificial elements have always proved too strong, and the two have never mixed. In Architecture, everything has three dimensions; and the artificial foliage is carved with leaves, etc., of a suitable thickness: in Natural foliage the tenuity of leaves, etc., is such that it cannot be reproduced. Even in the architraves round the glorious doors of Florence the natural foliage is not always a success; and where Ghiberti has stopped short in the ductile bronze, it is not probable that the modern carver will succeed in stone. It may therefore be suggested that the close imitation of Natural foliage should be confined to objects of two dimensions, i.e., to plane surfaces and figured materials.

This selection of the Elements of Decoration, according to their association, is analogous to the selection made use of by the Poet, from the words and ideas, which are his Materials. It will be observed that, as on a Classic or Heroic subject, the choice is of learned words and classical ideas, and on a Domestic or Pastoral one, simple words and homely similes are used—so, in conjunction with the severe forms of Architecture, the formal character of artificial foliage is suitable; and for decorating Textiles and other movable Accessories, the Natural foliage, with which the earth is clothed and beautified, is appropriate.

ENRICHMENT OF SURFACE may be beautiful for one reason; IMITATION OF NATURE is beautiful for another. When imitations of natural foliage are introduced decoratively on a surface, then may it be twice beautiful—first, in the principles according to which the distribution is arranged; and secondly, because of the elements which are worked in being beautiful in themselves. Geometrical elements might be so used as to serve the first end, but can never fulfill the second: Storiation fulfills the second; but its increase of interest absorbs the first.

This course of Lectures is intended to treat of Natural foliage, leaving Artificial foliage to be dealt with at another opportunity. It is not Historical. The History of the Decorative treatment of Natural foliage, showing its evolution in the past, is a large and interesting theme; but, unless this were accompanied by critical remarks based on given principles, the method might be barren of results. Tradition is not to be undervalued; but the student should be led to Tradition through Principles.

It is further intended more especially to apply to the æsthetic use. When natural foliage is used Æsthetically (i.e., decoratively), then the Shape of the surface should govern the Mass shape of the foliage, and there should be Parallelism between them (see § 29). When used Didactically (i.e., symbolically), then the foliage may be treated more freely.

§ 4.—THE FOUR TREATMENTS.

There are, broadly speaking, four methods of treating Natural foliage. These may be arranged in a Chart, according to their relation to the two poles of Art and Science; from Realism (which is all Art and no Science) to the "Botanical Analysis" method (in which is a little Science but no Art), thus:

The first two of these methods are Artistic and legitimate: the others are inartistic and misleading. Before treating of the artistic methods it will be well to clear the ground by dismissing the others.

ART POLE.................................................SCIENCE POLE

Realism (See § 10). Conventionalism (See § 14). Disguised Artificialism (See § 6). Botanical Analysis (See § 5).

§ 5.—THE BOTANICAL ANALYSIS TREATMENT.

In this method the student was taught (i) to draw each plant with the Stem straightened out, the Leaves flattened out, and the Flowers represented as in side elevation or plan. (ii) The Flowers were further pulled in pieces, and the Petals were flattened out in a manner similar to the Entomologists' practice of displaying their "specimens" scientifically. Often, also (iii) the Stems and Buds were cut through; and "patterns" were made with the Sections.

With regard to the first of these practices (i): it should be observed that much of the beauty of appearance of natural foliage results from the variety of view, the subtile curvature, and the foreshortening, as seen in perspective; and that to sacrifice all these for the sake of a diagram would be a wasted opportunity.

With regard to the other practices (ii) and (iii): it is obvious that these statements of the facts of the plant are useful as a part of the Science of Botany; but can no more be considered as making Decoration than Anatomical diagrams can be looked upon as Pictures. Some knowledge of external Botany is useful to a Pattern artist as some knowledge of external Anatomy is useful to the Pictorial artist. In each of these cases, the Science, which discovers and records facts, is subservient to its sister, Art, which uses the facts to interpret appearances; and, when scientific diagrams are put forth as Art, the Science is in its wrong place: it has then been treated as if it were the Building instead of being only the Scaffolding; and the results of such attempts cannot be considered as complete or final.

Examples of this method are given in Figs. 1 and 2. It was officially encouraged about twenty-five years ago; and books like "Plants, their Natural Growth and Ornamental Treatment," and "Suggestions in Floral Design," both by F. Edward Hulme, F.L.S., etc., show it at its best.

FIG. 1

In criticising this method, there is no desire to cast any slight upon those who were responsible for it. They were groping in the dark, and did the best they knew, according to their lights. But Japanese work was not known at that time, and, but for that, the Pattern artist of to-day might still be occupied in pinning leaves and flowers against the wall. It was, moreover, a protest against the Cabbage Rose on the Hearth rug, that some may still remember with shuddering.

FIG. 2

§ 6.—THE DISGUISED ARTIFICIALITY TREATMENT.

In this method the student was taught to sketch out what he considered to be good Curves and Spirals; and then (i) to bend the selected plant so that its stem might coincide with them, regardless of its own proper natural growth; or (ii) to deck out the first drawn spirals with the leaves and flowers of the selected plant.

With regard to the first of these practices: it is much more foolish than the Analysis method; and is little short of blasphemy against the Great Designer. He has determined how each plant shall grow: how, within limits of cultivation, its stems and branches shall separate, each to seek its own share of air and sunshine; how its leaves shall stand erect or droop, each according to its function; and always in perfect beauty. And further: how each family of plants shall have its own method of branching; which is as much a part of its character and often of its beauty as are the Flowers and Leaves.

The second practice, which generally produces a result similar to the first, is quite as unthinking. It is more often practiced; and is responsible for many of the labored and uninteresting designs which are common. If the Pattern-artist deck-out the old worn-out and common place spirals with leaves and flowers borrowed from Nature—the result is like the "voice of Jacob and the hands of Esau;" it is merely a Disguise of Artificiality.

An example of this method is given in Fig. 3. It was generally practiced in Germany; and books like "Das Vegetabile Ornamente," by K. Krumbholz, show it at its best.

FIG. 3

If this treatment were universally followed—there would soon be an end to design with natural foliage. The spectator might observe one border which appeared to be a Rose, another a Tulip, the third a Thistle, and the fourth a Fuchsia; and, on examination, discover that these were not Rose, Tulip, Thistle, and Fuchsia; but merely that very artificial old friend—the Spiral-scroll—in disguise.

An apologist for this method remarks:—" ... In such matters as the ramification of plants, ... nature is always making angles and elbows [sic] which we are obliged, in decorative treatment, to change into curves for our purpose;...". This opinion needs only to be applied to animals in order to exhibit its absurdity; and with regard to plants, it will be seen that this tampering has not even the poor merit of success.

§ 7.—NOTE ON SYMMETRY.

A desire for Symmetry often accompanies these two treatments. This is a quality to be avoided whenever possible in Natural foliage design. The so-called "Turn-over patterns" are an economy in Weaving-design, but the economy is of the wrong kind. An artist should spend his thought to spare material or cost in working. When he spares his thought—making the least amount of thought cover the greatest amount of surface—then is his work worth to the world just what it has cost him, i.e., very little.

So injurious is the influence of Symmetry in Natural foliage design, that it might almost be a test question—"Is the design symmetrical?" When the exigencies of Machine-reproduction necessitate this with Natural foliage—it is a hardship which the Artist regretfully accepts, and no one would willingly make a design for Hand-reproduction which was symmetrical; rather would he spend himself to insure the worthier result which ensues from Balance.

An example of Symmetry is given in Fig. 4; and of Balance in Fig. 5. Each panel contains two classes of Elements:—Natural foliage (i.e., two branches of the Bay tree), and an Artificial object (i.e., a Ribbon which ties them). The lower Element (i.e., the Ribbon) is treated symmetrically in both panels: the higher Element (i.e., the Branches) are symmetrical in the former panel, and balanced in the latter. This latter treatment, will be seen to be not only the more interesting, but the more like the infinite variety of Nature; while the former is a wasted opportunity, and contrary to Nature.

FIG. 4

The Student will observe by experience that the mind soon tires of Artificiality, both in Curvature and in Symmetry; the lines of Nature have a pleasant freshness and inexhaustible variety; and the Natural method of treating Nature is not only the most true, but also the most beautiful.

FIG. 5

§ 8.—REALISM AND CONVENTIONALISM: DEFINITIONS.

REALISM—the result of Realistic treatment, i.e., the attempt to render the reproduction as like the reality as is possible, even to the verge of deception—is the aim of the Pictorial-Artist. In Pictures the surface appears to have been annihilated, and the spectator beholds the scene as if there were a hole through the wall. It is not the highest, and should not be the only aim in Art; but it has always been sought for and admired. It requires perfect conditions, of materials and tools; i.e., complete Technical appliances.

CONVENTIONALISM—the result of incomplete Technical appliances, and the attempt to render so much of the Beauty of the original as is possible, with due regard to their capabilities—is the aim of the Decorative-Artist. It is not the highest aim; though a necessary curb in Decorative-Art, both for the technical reason, and also as a result of the Position or Function of the object.

It will thus be seen that the two words, when used with regard to foliage of any kind, refer to the Method of representing it, and not to its Kind or its manner of Growth.

§ 9.—SCALES FROM REALISM TO CONVENTIONALISM.

These two methods, when applied absolutely, form the two extremes:—The most complete REALISM being at one end, and the most limited CONVENTIONALISM at the other. There are scales of gradual reduction between them, which may be shown on two charts:

(i) Reduction in the NUMBER OF PARTS which preserve their Realistic rendering.

(ii) Reduction in the DEGREE OF REALISM through all parts.

(i) According to the number of the features or parts of the design which are treated with less than realism. Thus there might be a panel representing a Window-opening with an architectural framing, with a Flower-vase on the sill, and a Landscape-background. The first part to be reduced in realistic rendering would be the Background, the second would be the Framing, leaving the third, the Flower-vase, as the survival. This is a Scale of reduction in Number of Parts.

It may be shown, in tabular arrangement, thus:—

REALISM.........................................................CONVENTIONALISM.

COMPLETE PICTORIAL REALISM, in which all parts are realistically represented (see § 10). SEMI-PICTORIAL REALISM, in which the Back-ground is reduced to a flat-tint, while all the remaining parts are realistically represented (see § 11). DECORATIVE REALISM, in which the chief Feature (only) is realistically represented, and all the other parts ar reduced to conventional renderings (see § 12). COMPLETE CONVENTIONALISM, in which all parts are reduced to conventional renderings (see Conventionalism).

Inasmuch as there is some realistic part remaining in each of the first three methods—these are classified under the heading of REALISM.

(ii) According to the Degree in which color, gradation, or shading, is sacrificed, in consequence of the limited Means at the disposal of the Artist; resulting in the gradual departure from Realism to the most severe Conventionalism. The reduction is applied to all parts of the work. This is a scale of reduction in Degree. There are two Varieties in each degree; and they are marked with italic letters.

It may be shown, in tabular arrangement, thus:—

REALISM............................................................CONVENTIONALISM.

COMPLETE REALISM, in which all parts are represented, in proper colors, and perfect gradation, with correct light and shade (see § 10). FIRST DEGREE OF CONVENTIONALISM, in which all parts are represented: (a) By a reduced number of Pigments, the other qualities remaining; (b) By reduction in gradation and shading to Flat-tints of several pigments (see § 15). SECOND DEGREE OF CONVENTIONALISM, in which all parts are represented: (c) By a reduction to Monochrome of color, with Gradation (only) remaining; (d) By reduction to Monochrome of White and Black, with Gradation (only) remaining (see § 16). THIRD DEGREE OF CONVENTIONALISM, in which all parts are represented: (e) By reduction to a Flat-tint of one pigment on a ground of another; (f) By reduction to a Flat-tint of White on Black, or vice versa (see § 17). ULTIMATE CONVENTIONALISM, in which all parts are represented; (g) By reduction to Outline of several pigments; (h) Reduction to Outline of one pigment (see §18).

Inasmuch as Realism ceases so soon as any reduction in the three qualities (of color, gradation, and shadow) is introduced; and the treatment becomes more Conventional in each method after the first—these are classified under the heading of CONVENTIONALISM.

[There is an analogous scale of reduction in Form, from the Complete-relief of an isolated Statue to the Flatness of a Floor-plate; but this does not belong to the present subject.]

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Lectures before the Society of Arts, London, 1891.