By HUGH STANNUS.

Lecture I.

&Sect; 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 aeSTHETIC;

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

The aeSTHETIC 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 aesthetic 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.

&Sect; 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:

 GEOMETRY...........................................................NATURE

The patterns are merely The plants are copied as

straight lines, dots, and accurately as possible.

portions of circles.

The lines become stems. The plant is applied

without repetition.

Leaves are added to the Repetition is used with the

stems. plants.

Serration is added to the Weaving economy induces

leaf-edge. symmetry.

Similarity of serrated Symmetry induces Geometrical

leaf-edge to the Akanthos Severity, and the Omission

plant, is observed; of all details of the

Imitation becomes more original plant which are not

direct; and this artificial easily worked in connection

foliage becomes termed with geometrical

"Acanthus." arrangement.

Flowers generally circular The Flowers and Leaves

in mass- shape, are added (only) survive; the growth

at the ends of the spiral of the stems is forgotten;

stems. and tradition does the rest.

&Sect; 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 aesthetic use. When natural foliage is used aesthetically (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.

&Sect; 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.