Part 10

Among the finest examples of the treatment of animals in decorative art of an heraldic and symbolic character are the designs of the twelfth and thirteenth-century textiles, in the celebrated Sicilian silks, or those of Lucca of the fourteenth century. In these fabrics the animal forms are used with the greatest ornamental effect, the conditions of the repeat of the pattern and the exigences of the loom being essential, and, frankly acknowledged, contribute to the character and beauty of the result.

It has always been the frank and workmanlike acceptance of the necessary conditions of the materials and methods of production, which, while defining the character of the treatment, gives both character and beauty to decorative art, and we find this especially true in regard to the treatment of animal forms in all kinds of design.

The pursuit of superficial imitation in modern times, the pictorial aim which includes atmospheric effect and the representation of values, textures, and surfaces, extending its influence over all the arts of design has done much to destroy the dignity, the character, and the decorative reserve of ancient and mediaeval design in the treatment of animals; the so-called naturalistic aim producing palpably absurd effects in sculpture and in heraldry, for instance. With the modern revival of design and knowledge of the handicrafts this mistake has been largely corrected. Artists have discovered the peculiar qualities proper to different materials and processes and their value as means of expression in design is much more generally understood and acknowledged, while fresh study of nature has helped, with these, to make a fresh and appropriate convention in the treatment of animals possible. The Japanese have taught us that marvellous fidelity to nature may be united with decorative effect in the treatment of animals--especially birds and fishes, and that certain facts of structure and surface or colour may become, under skilful treatment, brilliant parts of a design--as the scales of a fish in inlays of pearl, or in lacquer: the plumage of a bird in silk embroidery, or the system of structure of the feathers expressed in the delicate lines of cloisonné enamel. Examples of Chinese art might be referred to also for excellence in the same qualities united with more decorative reserve and dignity.

I have not mentioned Indian art, except the example at Sarnath, which, at least, as regards the Hindu side abounds with examples of the decorative treatment of animals, the temples being frequently a mass of animal life in carving, continuous courses being formed of elephants, horses, and bulls in succession. The peacock, too, being a sacred bird, constantly appears. At the old palace of Man Mandir at Gwalior, Central India, I saw a carved stone bracket in which a peacock had been very effectively treated for its constructive purpose: and in the south, at Tanjore, I saw the splendid bird, in the quick, with tail like a sweeping robe, perched upon the sacred colossal bull which, carved in black stone (or marble, darkened with successive libations of votive oil) reposes in the court of the great temple, and whose living prototype might easily be found drawing an ox-cart in the town.

At Gwalior, too, I noted a treatment of the elephant in a carved stone bracket in the old palace of Man Mandir, which in structure recalled the wondrous columns of the temple at Steerungum at Trichinopoly in the south, though in the latter case the subject is mainly the horseman, but the resemblance is in the arrangement which seems characteristic of Indian (Hindu) carving. At the Guest House, Gwalior, also, elephants' heads were treated ingeniously as the corbels supporting balconies. It was modern work, but evidently influenced by the carvings in the old palace above mentioned. There was an abundance of floral carving and geometric pierced work in this Guest House, besides, extremely skilful and beautiful in detail, showing that the modern Hindu architectural carver had by no means lost his cunning. This, of course, was a native state.

One almost wonders that golden images of favourite race-horses are not set up in--well, some of our public places, for it cannot be said that there is no animal worship in our own country, though the votive offerings in art usually take the form of sporting prints, or paintings of fat stock with straight backs and short horns.

Animal painting was once an honoured and prosperous career in England, and prints after Landseer covered a considerable acreage in the early Victorian epoch. Do not his lions still support Nelson in Trafalgar Square, and perhaps afford some protection to unpopular speakers on that historic plinth? I think, however, most of us would prefer the little lion which was modelled by Alfred Stevens, both as a dignified representation of our National Totem and as an example of native artistic style and treatment.

MODERN ASPECTS OF LIFE AND THE SENSE OF BEAUTY

MODERN ASPECTS OF LIFE AND THE SENSE OF BEAUTY

That modern social and economic conditions tend to destroy beauty in the outward aspects of human life and nature: the thesis, thus stated, would seem almost a self-evident proposition; yet I am by no means sure that sensitiveness to beauty--or to its absence--in our daily surroundings is so very common (or even that there is a common understanding as to the idea of beauty) that it would obtain general assent without further explanation; and as I have undertaken to open the case for the prosecution, if I may so term it, I will try to put before you my reasons and conclusions on the matter.

My first witness shall be London, as London is typical and focusses most of the effects of modern social and economic conditions. Now, we hear a great deal of the beauty of London, but probably those who talk of her beauty are really thinking of certain beauty spots or the picturesqueness of certain favoured localities where the Thames and the parks come in. Vast as London is, most of us really live for the most part in a comparatively small London. Outside our usual haunts lies a vast unknown region, of which indeed occasional glimpses are obtained on being obliged to travel across or through the desert of the multi-county-city.

Those whose London is bounded on the west by Kensington Gardens and on the east by Mayfair, do not figure to themselves Clerkenwell or Ratcliffe Highway, Bethnal Green or Bow, and would not care to embrace the vast new suburbs spreading over the green fields in every direction, or even to notice the comparatively select slums in the shadow of Belgravian mansions. Supposing we approached our metropolis by any of the great railway lines, there is nothing to indicate that we are entering the greatest and wealthiest city in the world. We pass rows and rows of mean dwellings--yellow brick boxes with blue slate lids--crowded close to the railway in many places, with squalid little backyards. We fly over narrow streets, and complex webs and networks of railway lines, and thread our way through telegraph and telephone wires, myriad smoking chimney-pots, steaming, throbbing works of all kinds, sky signs, and the wonders of the parti-coloured poster hoardings--which pursue one into the station itself, flaring on the reluctant and jaded sight with ever-increasing importunity and iteration, until one recalls the philosopher who remarked "Strange that the world should need so much pressing to accept such apparently obvious advantages!"

Inside the station, however large, all sense of architectural proportion is lost by the strident labels of all sorts and sizes, and banal devices on every scale and in every variety of crude colour, stuck, like huge postage stamps, wherever likely to catch the eye.

The same thing meets us in the streets: in the busier commercial quarters, too, it is a common device to hang the name of the firm in gigantic gilt letters all over the windows and upper stories of the shops; while the shops themselves become huge warehouses of goods, protected by sheets of plate glass, upon the edges of which apparently rest vast superstructures of flats and offices, playfully pinned together by telegraph poles, and hung with a black spider's web of wires, as if to catch any soaring ideas of better things that might escape the _melée_ of the street. In the streets a vast crowd of all sorts, sizes and conditions is perpetually hurrying to and fro, presenting the sharpest contrasts in appearance and bearing. Here the spruce and prosperous business man, there the ragged cadger, the club idler, and the out-o'-work; there the lady in her luxurious carriage or motor, in purple and fine linen, and there the wretched seller of matches.

Modern street traffic, too, is of the most mixed and bewildering kind, and the already too perilous London streets have been made much more so by the motor in its various forms of van and 'bus, business or private car. The aspect of a London street during one of the frequent traffic blocks is certainly extraordinary, so variously sorted and sized are the vehicles, wedged in an apparently inextricable jumble, while the railways and tubes burrowed underground only add fresh streams of humanity to the traffic, instead of relieving it.

Yet it has been principally to relieve the congested traffic of London that the great changes have been made which have practically transformed the town, sweeping away historic buildings and relics of the past, and giving a general impression of rapid scene-shifting to our streets.

The most costly and tempting wares are displayed in the shops in clothing, food, and all the necessities of life, as well as fantastic luxuries and superfluities in the greatest profusion--"things that nobody wants made to give to people who have no use for them"--yet, necessities or not, removed only by the thickness of the plate-glass from the famished eyes of penury and want.

The shops, too, are not workshops. The goods appear in the windows as if by magic. Their producers are hidden away in distant factories, working like parts of a machine upon portions of wholes which perhaps they never see complete.

Turning to the residential quarters, we see ostentation and luxury on the one hand, and cheap imitation, pretentiousness, or meanness and squalor on the other. We see the aforesaid brick boxes packed together, which have ruined the aspect of most of our towns: we have the pretentious suburban villa, with its visitors' and servants' bells; we have the stucco-porticoed town "mansion," with its squeezy hall and umbrella stand; or we have the "desirable" flat, nearer to heaven, like the cell of a cliff-dweller, where the modern citizen seeks seclusion in populous caravansaries which throw every street out of scale where they rear their Babel-like heads.

I have not spoken of the gloom of older-fashioned residential quarters, frigid in their respectability, which, whatever centres of light and leading they may conceal, seem outwardly to turn the cold shoulder to ordinary humanity, or peep distrustfully at a wicked world through their fanlights.

Many of the features I have described are found also in most modern cities in different degrees, and are still more evident in the United States, where there is nothing ancient to stem the tide of modern--shall we say progress? It is only fair to note, however, that there is a movement in New York, in which leading architects and artists are joining with municipal reformers, for the preservation of beauty in the better ordering of street improvements, the laying out of public places, and the general recognition of the social importance of harmony and pleasant effect in cities, which has lately found expression in schemes of town-planning and garden cities and suburbs in this country.

Turning from the aspects of their houses to the humans who inhabit them--take modern dress in our search for the beautiful! Well, national if not distinctive costume--except of the working and sporting sort, court dress, collegiate and municipal robes, and uniforms--has practically disappeared, and, apart from working dress in working hours, one type of ceremonial, or full dress is common to the people at large, and that of the plainest kind--with whatever differences and niceties of cut and taste in detail--I mean the type for men, of course.

Among the undisputed rights of women the liberty to dress as she pleases, even under recognized types for set occasions, and with constant variety and change of style, is not a little important, and it is a liberty that has very striking effects upon the aspects of modern life we are considering. It is true, this liberty may be checked by the decrees of eminent _modistes_, and limited by the opinion of Mrs. Grundy, or the frank criticism of the boy in the street; and it is even more than probable that the exigencies of trade have something to do with it also.

It is, however, too important an element in the _ensemble_ of life to be ignored or undervalued in any way, as women's dress affords one of the few opportunities of indulging in the joy of colour that is left to civilization.

Men suffer the tyranny of the tall silk hat as the outward and visible sign of respectability--surely a far more obvious one nowadays than Carlyle's "gig." "Gigmanity" has become top-hat-manity. The "stove-pipe" is the crown of the modern king--financier--the business man--_He_ "who must be obeyed." I understand it is still as much as a city clerk's place is worth for him to appear in any other head-gear. Ladies, too, encourage it, with the black-frock coat and the rest of the funereally festive attire of modern correct mankind. I suppose the garb is considered to act as an effective foil to the feast of colour indulged in by the ladies, and that it may act as a sort of black framing to fair pictures--black commas, semi-colons, or full-stops, agreeably punctuating passages of delicate colour!

The worst of it is that the beauty of woman's dress, when it happens to follow or revive a fashion with great possibilities of beauty, as at present, seems to be a matter almost of accident, and entirely at the mercy of the mode (or the trade?)--here to-day and gone to-morrow; and, alas, lovely woman, our only hope for variety in colour and form in modern life, in her determination to descend into the industrial and professional arena and compete commercially with men, not unfrequently shows a tendency to take a leaf out of her rival's tailor's pattern-book, and to adopt or adapt more or less of the features of modern man's prosaic, though possibly convenient and durable, but certainly summary and unromantic attire.

Well, I think, on the whole, the pictures which modern life in London or any great capital discloses may be striking in their contrasts, vivid in their suggestions, dramatic or tragic in their aspects--anything or everything, in fact, _except_ beautiful; except, of course, in so far as accidental effects of light and atmosphere are beautiful, mainly, perhaps, because they disguise or transfigure actually unlovely form and substance.

The essential qualities of beauty being harmony, proportion, balance, simplicity, charm of form and colour, can we expect to find much of it in conditions which make life a mere scramble for existence for the greater part of mankind? Bellamy, in his "Looking Backward," gives a striking and succinct image of modern social and economic conditions in his illustration or allegory of the coach and horses. The coach is Capitalism. It carries a minority, but even these struggle for a seat, and to maintain their position, frequently falling off, when they either go under altogether, or must help to pull the coach with the majority toiling in the traces of commercial competition.

However these conditions may, among individuals, be softened by human kindness, or some of their aspects modified by artistic effort, they do not change the cruelty or injustice of the system, or its brutal and ugly aspects in the main.

But if modern civilization is only tolerable in proportion to the number and facility of the means of escape from it, perhaps we may find at least the beauty of the country and of wild nature unimpaired?

Do we? We may escape the town by train or motor--running the risk in either case of a smash--but we cannot escape commercial enterprise. The very trees and houses sprout with business cards, and the landscape along some of our principal railway lines seems owned by the vendors of drugs. Turning away our eyes from such annoyances, commercial enterprise, again, has us in all sorts of alluring announcements of all sorts and sizes in innumerable newspapers and magazines, which, like paper kites, can only maintain their position by extensive tails. The tail--that is, the advertisement sheets--keeps the kite flying--and the serial tale keeps the advertisers going, perhaps, also. Anyhow, the gentle reader is obliged to take his news and views, social or political, sandwiched or flavoured with very various and unsought and unwanted condiments, pictorial or otherwise. Thus, public attention is diverted and--nobody minds! But it is in these insidious ways that that repose or detachment of mind favourable to the sense of beauty is destroyed, and thus, to put it in another way, we are in danger of losing our lives, or the best that life can give, in getting our living--or, well, perhaps it might be true to say in some cases, a substantial percentage on our investments.

In obedience, too, to the requirements of the great god Trade, whole districts of our fair country are blighted and blackened, and whole populations are made dependent upon mechanical, monotonous, and often dangerous toil to support the international commercial race for the precarious world-market.

Under the same desperate compulsion of commercial competition, agriculture declines, and the country side is deserted. The old country life, with its festivals and picturesque customs, has disappeared. Old houses, churches, and cottages have tumbled into ruin, or have suffered worse destruction by a process of smartening up called "restoration." The people have crowded into the overcrowded towns, increasing the competition for employment, the chances of which are lessened by the very industry of the workers themselves, and so our great cities blindly become huger, more dangerous, and generally unlovely, losing, too, by degrees their relics of historic interest and romance they once possessed.

Even in the art-world, and among the very cultivators of beauty we detect the canker of commercialism. The compulsion of the market rules supply and demand, and the dealer becomes more and more dominant. The idea of the shop dominates picture shows, and painters become almost as specialized as men of science, while genius, or even ordinary talent, requires as much puffing as a patent medicine. Everyone must have his trade label, and woe to the artist who experiments, or discovers capacities in himself for other things than his label covers.

Every new and sincere movement in art has been in direct protest and conflict with the prevailing conditions, and has measured its progress by its degree of success in counteracting them, and, in some sense, producing new conditions. The remarkable revival of the handicrafts, or arts and crafts movement, of late years may be quoted as an instance; but it is a world within a world; a minority producing for a minority; although the movement has done valuable work even as a protest, and has raised the banner of handwork and its beauty in an age of machine industry.

Other notable movements of a protesting, protective, or mitigating nature are at work in the form of societies for the protection of ancient buildings, for the preservation of historic spots and the beauty of natural scenery, for the abolition or abatement of the smoke nuisance, for checking the abuses of public advertisement, for the increase of parks and open spaces, and for spreading the love of art among the people.

Indeed, it would seem as if the welfare of humanity and the prospects of a tolerable life under modern conditions were handed over to such societies, since it does not seem to be anybody's business to attend to what should be everybody's business, and we have not even a minister to look after such interests. The very existence of such societies, however, is a proof of the danger and destruction to which beauty is exposed under modern conditions.

Social conditions are the outcome of economic conditions. In all ages it has been the system under which property is held--the ownership of the means of production and exchange--which has decided the forms of social life. The expansion of capital and the power of the financier are essentially modern developments, as also is unrestricted commercial competition, though this seems to lead to monopoly--a heretofore unexpected climax. Modern existence in such circumstances becomes an unequal race or scramble for money, place, power, or mere employment. The social (or rather _un_social) pressure which results really causes those sordid aspects, pretences, aggressions, and brutal contrasts we deplore. Private ownership is constantly opposed to public interest. The habit of regarding everything from the narrow point of view of money value and immediate profit as the determining factors in all transactions obscures larger issues and stultifies collective action for the public good.

Ladies and gentlemen of the jury of public opinion, perhaps I have said enough to support the case of beauty against modern social and economic conditions. I do not ask for damages--they are incalculable. She stands before you, a pathetic figure, obscured in shreds and patches, driven from pillar to post, disinherited, a casual, and obliged to beg her bread, who should be a welcome and an honoured guest in every city and country, and in every house, bearing the lamp of art and bringing comfort and joy to all.

A SHORT SURVEY OF THE ART OF THE NINETEENTH CENTURY

WITH SOME NOTES ON RECENT DEVELOPMENTS

A SHORT SURVEY OF THE ART OF THE NINETEENTH CENTURY, CHIEFLY IN ENGLAND, WITH SOME NOTES ON RECENT DEVELOPMENTS

A hundred years is but an arbitrary division of time, and yet one cannot help investing the centuries with a sort of personality as they pass, each distinguished by certain characteristics, particular movements, and habits of thought as well as of life and its aspects, and above all by the spirit and forms of the art to which they have given birth.

If we could summon a typical figure with proper accessories to illustrate each epoch we should get a vivid if somewhat symbolical idea of the varying phases of thought and art, and the passing fashions in taste which the past has witnessed.

Few centuries, perhaps, would be more difficult to comprehend in a single figure than the nineteenth, displaying as it does in the course of its history so many diversities--revolutions we might say--in artistic development.