Evening star. [volume] (Washington, D.C.) 1854-1972, 1892-02-06


@ ~ for help and sug
OIL " gestions she seldom ha
the discrimination I,
pick out the tasteful from the tawdry in writ
ten descriptions of things"
1t is hoped that in this article some tests may
be pointed ont which may often determine the
bad taste" (so-called) Of . thing, even II Il
may not always decide whether . thing il
good taste" (so-called). And In the frs
place 1t 10 better to drop altogether these termi
which have just used-good and bad taste
II is generally agreed by writer's on taste tina
there is no such thing as good or bad
taste, just as there is no such thing as good
or bad" merit or good or bad" beauty
taste, just as thing may be said to possess OF
not to possess beauty. 1t may possess much or
little taste. as it may have much or little
beauty. Lord Jeffrey in fact defines taste as
THE capacity Of perceiving beauty or sit is 9
peculiar sense or faculty of which beauty il
the appropriate object, as sight is that of the
| sense of seeing" He also says: Beauty is that
which gratifies the faculty of taste and taste il
| that by which we are made sensible OF beauty.
This certainly looks like defining in a circle.
Let us accept his definition of taste and find
| elsewhere what beauty is that We may define
| his definition.
BEAUTY NOT An ABSOLUTE ATTRIBUTE.
1t is not anything absolute and established,
II it were actually and inseparately attached to
certain forms, colors and proportions it would
not be perceived in the most opposite forms
and proportions in objects of the same de-
scription by different persons Beauty, how
ever, consists In reminding us of certain
| natural sympathies and objects of emotion
with which they have been habitually con-
nected. Thus understand how tho
most different forms can be equally beautiful.
Beauty" says Dresser in his Art of Decorative
Design. lis that quality of an object which de-
lights (satsfies) the mind through the agency
OF the eye.
The beauty that reigned among the Greeks is
often spoken OF absolute or conventional
but. as kUskin says, the Greek statues are not
casts, they are types of the human shape"
Deauty is the symbol of the ideal.
WHAT ORNAMENT is.
In using taste in the ornamentation Of a
dwelling, room or a wall, one should bear in
mind what ornament is Dresser gives us
probably good definition as can be made
when lie said: Ornament is that which. super
added to utility, renders the object more ac-
ceptable through bestowing on it an amount of
beauty which it would otherwise not possess"
1t gives to that which it invests new charm
| as color bestows upon the flower a new love
Illness, and as the color. cannot be said to be
essential to the existence of the flower so the
application Of ornament to objects cannot be
said to be absolutely necessary The progress
OF ornament from the days of the Greeks is
a growth to that higher form whose object
Is to express. as Seddons in his art and Archi-
lecture says. The feeling of delight which the
artist has taken N the subject of his choice. ="
Medieval architecture addressed itself not
only 10 the sense and intellect of men, but
sought frst to touch the more spiritual chords
OF his being to excite the sympathy of his soul.
Ornament grew out OF mere imitation. but it
mas dlsowned Its parent though even as high
authority as Ruskin says: Everything tbeu is
ornamental Which is initiative"
But II imitation IL ornament then in truth he
vino initiates best is the best ornamenter and
the photographer must outrank the painter
| aud the maker OF casts supersede the sculptor.
What he evidently means is what is suggestive
OF nature Is ornament. Ornament does not
initiate. 1t represents, suggests, typifies
FROM typlfylng nature ornament went on to
embody ideas and emotions. That is why even
the irreverent are awed on entering the cathe-
drals of the old world.
ORNAMENT NOT MERELY IMITATION.
The idea that ornament is imitation has had
a mighty grip on the world. Eastake. writing
thirty years ago, said: 1T is an established
principle in the theory of design that decora-
i've art is degraded when it passes into a direct
imitation of natural Objects" Then he goes
on to speak of some of the ornamental mon
strosities of his day, which, unhappiy are to
be seen even at the present time. 10 an edu-
Cdleu IN WOOD
stone OF the forms assumed by vegetable life is
by no means agreeable. The truth is that UNI
der such circumstances nature may be typitied
or symbolized, but not actually initiated We
copy the bronzes of France, the mosaics of
Italy. the pottery of China, the CARPETS of Tur-
key with indifferent success but. not content
with this, we tumble, We invest objects con-
structed Of one material with the form and Or
namental character which should be the attri-
butte of another. By this means decorative art
hal aa dc 1na 80.
from which it is only now beginning to rise"
Truth and common sense must rule In orna-
ment. How often have all Of US seen unpro-
tected statues placed on the most exposed parts
OF buildings. Common sense would suggest a
canopy which may form q pinnacle, as on the
cathedral Of st. Marks. Regarding the renais.
sance vases stuck upon parapets, it has been
said that II they are not intended to catch the
distilled dew of heaven for the use OF the in
habitants. no other object for them can be con-
eeived, and the sooner they are knocked off the
better.
REQUISITES OF ORNAMENTS.
Common sense requires that regard should
be given to the purpose for which the orna-
ment is designed, the material of which it is
constructed and the object which it represents.
class OF decoration peculiar to one material
is misplaced when applied to another. That
always is best which is simplest and least
affected. Fretwork in stone loses the solidity
ana massi'eness suitable 10 stone, yet the cob
web-like tracery of the stone ceiling of the
chapel of Henry VII in Westminster Abbey has
been highly praised. 1t has been written en-.
Enthusiastically that 'stone seems by the cum
ming labor Of the chisel to have been robbed of
its weight and density, suspended aloft as if by
magic, and the fretted roof achieved with the
wonderful minuteness and airy security Of
cobweb."
All must indeed admire the skill of the work
man. but one cannot help feeling that it has
been misplaced. Stone has indeed ''been
robbed of its weight and density" but those
attributes should have been allowed to remain.
Yes, it is cunning labor; and when that il said
all is said.
ORNAMENT SHOULD net DECEIVE.
That ornament which is not what it pretends
to be 10 not truly ornamental 1t ID . sham.
Stucco work il probably the most frequently
encountered sham. But we see less OF IL than
we used to. Eastlake says that it was an evil
hour when stucco was invented. This is how
he bewsiled its prevalence in England thirty
wears ago: "Not only Is plaster or cement used
rs a covering for inferior brick work, but 1t IL
boldly employed for columns, parapets and
var. rda bs lus tara In placo Of aton0 II In NOT