The Daily Ardmoreite. [volume] (Ardmore, Okla.) 1893-current, 1918-11-12

| 1t is unfortunate that the words
simple and simplicity are used with
so many shades OF meaning. We
employ them with a bit OF scorn or
condescenson sometimes. To speak
OF a person as simple may suggest
lack OF wits, or at least a lack OF
desirable sophistication. a simple
home may mean to most OF us PLAN
affair, to be spoken OF patronizingly.
But in their best sense, the words
simple and simplicity connote some
thing dignified and noble. Lincoln
was a simple man. There is a grand
simplicity about mountain. 10
be simple" said Emerson, rs to be
great
| have always felt a strong ad-
miration for the attribute OF SIM
plicitv. using the word i'll its better
sense. TO me it means the absence
of affectation, of sham, OF articiilal
establishment. 1t means sincerity
and starightforwardness, whether
we apply the word to personal char
acter, TO literary style, or to arch'-
lecture. There is something honest
and robust about it that, neverthe-
less. need not preclude the idea OF
beauty. 1t is simplicity that makes
h i II readily understandable.
Browning was honest and robust
enough, but he was not simple, and
so his message is lost on the ma
ioritv OF people. Simplicity OF style
is what makes Charles Lamb more
enjoyable reading than Henry James
vet his style is none the less grace
ful for its simplicity.
In the realm OF architecture and
the applied arts the technique OF
true simplicity is a powerful torce.
1t was the loss of principles OF sim
plicitv that caused the downfall OF
Chippendale and the designers OF
the Louis XIV period. A reaction
toward greater restraint and artistic
chastity was imperative. 1t is large
" the simplicity of the Classic which
recommends it to us as basis Tor
modern architecture and decoration.
There is loftiness, a virllity in the
ancient Greek and Roman styles
that no amount Of eXtraneous orna-
ment could produce. And whenever
has wearied OF over-elab-
orate ornamentation and meaning
less novelties. there has always been
A return to the Classic as a source
of inspiration.
The so-called Victorian era, which
we usually think of with a smile,
was characterized largely by an et-
fort to be fine and elegant by means
of superfluous ornament. The ideal
Of simplicity was lost sight OF and
the result was a style nothing short
Of ridiculous.
Happily, we have outgrown the
of that period, and
have returned to a greater archl-
-ectural and decorative sanity, but
we still have need to be on our
yuard. Someone is always trying to
persuade us to build bungalow OF
ornate design where no bungalow
should be. with perhaps huge pile
IF cobblestones as an outside chin
1ev. In the shops there are still
,ancv rockers and jimcrack gilt
hairs and stands to tempt the pur-
,haser whose taste is uneducated.
For the expert in decorative mat
ers nothing need be said, but for
he ordinary citizen, going with a
illed purse and desire to secure
very nice" the safest
is simplicity.
Bv wav of illustration, the mat
er of gravestones occurs to me.
Where can you find a collection OF
nartistic horrors more depressing
han in the average cemetery? Or
late stone-cutting and elaborate
culpture OF mediocre quality assail
he eye on every hand. 1t would
eem that the bereaved had eXerted
special effort to preserve something
# the last elegance OF the Victorian
,eriod in memory of the dead. And
With what relief the eye on a simple
marble shaft, or upon a plain boul-
Ter such as marks Emerson's rest
ng place in Sleepy Hollow Gene
cry in Concord.
By the same token, never feel as
in an elaborate garden,
With its topiary work, garden sculp-
ure, and elaborately designed beds