The Opelousas courier., 1889-06-01
DECORATIVE ARR.
areas A1~AFound Progress Made During
the Past Twenty-Five Years.

oFeaE AI~AFound Progress Made Turlna
he Past Twenty-Five Years.
Art that Is essentially decorative has
a natural analogy with essentially Tyr.
ical poetry. A form OF versifcation
once chosen, the necessary conditions
OF meter and rhyme become to the
poet, as the qualities of his material
TO the artist opportunities, not re-
strlctions; not only opportunities for
beauty OF meter and rhyme. but for an
emphasis on the utterance of his
thought not attainable outside that
form OF verse. He is no poet who finds
rhyme and meter hamper his imagin-
alton, nor is he who is not inspired by
the conditions of his material q deco
rator. From the exalted position as
sumed to-day by realistic painting.
decorative art seems to u some risk
OF being shouldered into an altogether
secondary and Insignificant place. It
a only be saved by its material, as
poetry by Its lyrical qualities from the
assumptions of realistic prose. We
must sing, and have fresh words to
sing; and as a song may touch our
hearts as nearly as a novel, we shall
not care to think of it as on a lower
artistic level than the stories we get
from the circulating library. Less
deliberately initiative of the details OF
reality it will certainly be, but there
is room in it for as much OF art, and
perhaps, in a more highly-distilled
form, for as much of nature too. And
so with the adornment of our Dom
and the windows that we fill with color
In II churches; we should not, if we
can help 1t, wish that. though different
from. they should be Intellectually be-
meath. the pictures that we pay shill.
ings to look at now and then. Art,
then, can express itself not only in the
completely flexible media that admit
the so-called realism of representation,
but in materials that impose their own
limits. In art. as in life, there is no.
oility in, and compensation for. ~self-re.
straint as we'll as for the wise acknowl-
edgment of external restraining neces-
sites. The actor, for instance, who
reveals too o the whole compass
OF his emotional resources has lost his
hold over us, the really impressive
mar showing us that only at the Gull
ninating neutrality-suspicious. not the
whole OF it eve then. Many human
interests cling close to the productions
OF the decorative arts of the home and
hreside, which enshrine memories OF
happiness or sorrow, crafty innocent
vanities, recall pleasant inequalities,
and tenn with homely everyday asso-
Citations. 1t is to their advantage, as
well as to their possessors', If, beyond
this, the art in them is of a vital and
clear-speaking nature that is intelligi-
BILE, not only after death, as it were, to
the connoisseur who entombs them in
a collection, but during their lifetime
to the people who possess and live with
them. In this direction We have made
great all-round progress in the last
twenty-five years, having struggled
pretty clear of the worst period of dec
Grafton that aver existed. A comparison
of the furniture, curtains, carpets, and
the like in general use now with
those OF a quarter of a century ago has
been too often made to need repeti.
ton here, but one vital point in the
change is well worth noting. People
not only use better colors than they
did, and more graceful furniture, but
they appreciate them, taking real
pleasure in the soft colors of their
curtains and dress materials. The
artistic revival has run its course,
gained its nickname, been taken up by
society, satirized and dropped; but the
preference for delicate color over
crude survives it and remains a per-
manent possession. Not now, in the
most out-of-the-way country place, do
the least sophisticated natives walk to
church clad in those CHASTITY aniline
colors that once shocked the land
scape, abashing the sober tints Vi
nature. -Contemporarv Review.