Author Description

This historic book may have numerous typos and missing text. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1872 Excerpt:...and aspirations and wants into the language of form or color, must of necessity depend very largely upon impressions derived from nature, and will be controlled to a certain extent by his powers of expression. The rudeness or conventionality of barbarous art springs probably from undeveloped art powers; and repetition, creating manner, perpetuates imperfections, until, associated in regular sequences, they become accepted as styles. Processes of work, and character of material, will also control the nature of design. A great distinction, however, may be drawn between the conventionality of barbarism and the conventionality of style; the first being the result of immature art power, and the second of mature choice. The naturalistic in design is the imitation of natural forms, with most of their peculiarities, to create ornamental effects; whilst the conventional treatment adheres to general forms and principles of nature as a motive, omitting unimportant details and individual peculiarities, thus producing a generalization or typeform of ornament based upon first principles. An imitative natural treatment of design will be found to gratify the tastes of the young and the ignorant, as it does also that of the savage, and the rouS worn-out taste of a frivolous or luxurious age. Nature, when simply copied as ornament, suggests the incapacity of the designer, as well as his ignorance of historical methods; nature conventionalized is evidence both of knowledge and originality, and in all industrial art will be found adapted to its requirements, and satisfying to the most refined perceptions. In fine art, as distinguished from industrial art, exactly the reverse holds good; conventionality suggesting mannerism and academic stiffness, whilst nature is to be regarde...