§ 3.—APPLICATION OF THE TWO KINDS.
Each of these two kinds of foliage has its own proper use. Artificial foliage is appropriate to the enrichment of Architecture; and Natural foliage to those objects which are not architectural, but are termed "movables," including under this term, Furniture, and more especially Hangings and other applications of the Textile art.
This may be seen on comparing the two columns below, of which the L.H. one refers to Architecture, and the R.H. one to Natural foliage.
| (Architecture) | (Natural foliage) |
| RULES: | |
| Governed by severe rules of Repetition, Axiality, Symmetry, etc., which are apparent to the passer-by. Hence Artificial foliage, being regular in its structure, is more appropriate than the (apparently) irregular growth of Natural foliage. | Exhibits apparent playful Freedom. There are underlying Rules, which< are detected by the scientific Botanist; but these are not seen by the casual observer. |
| CHARACTERISTICS: | |
| Rigidity and Stability. | Elasticity and Tremulousness in every breeze. |
| LINES OF COMPOSITION: | |
| Geometrical lines.The geometrical lines and spirals of Artificial foliage demand an unmoving surface for proper view. | In determinate curves, which are very subtile, and varied, and therefore suitable to a hanging and< swaying material. |
| They would generally be spoiled if not on a plane surface. | The curves of Nature are not spoiled when on a folded material. |
| DISTRIBUTION: | |
| Symmetrical. The symmetry of artificial foliage is appropriate to that of Architecture. | Balanced. The growth of natural foliage is generally symmetrical; but this is not apparent. |
| BEAUTY: | |
| Depends on form, with color as a secondary adjunct. | More appropriate to objects which depend on color for their principal charm. |
There have been waves of the desire to introduce Natural foliage into Architecture (e.g. in the "Decorated period" of Gothic architecture); but the Artificial elements have always proved too strong, and the two have never mixed. In Architecture, everything has three dimensions; and the artificial foliage is carved with leaves, etc., of a suitable thickness: in Natural foliage the tenuity of leaves, etc., is such that it cannot be reproduced. Even in the architraves round the glorious doors of Florence the natural foliage is not always a success; and where Ghiberti has stopped short in the ductile bronze, it is not probable that the modern carver will succeed in stone. It may therefore be suggested that the close imitation of Natural foliage should be confined to objects of two dimensions, i.e., to plane surfaces and figured materials.
This selection of the Elements of Decoration, according to their association, is analogous to the selection made use of by the Poet, from the words and ideas, which are his Materials. It will be observed that, as on a Classic or Heroic subject, the choice is of learned words and classical ideas, and on a Domestic or Pastoral one, simple words and homely similes are used—so, in conjunction with the severe forms of Architecture, the formal character of artificial foliage is suitable; and for decorating Textiles and other movable Accessories, the Natural foliage, with which the earth is clothed and beautified, is appropriate.
ENRICHMENT OF SURFACE may be beautiful for one reason; IMITATION OF NATURE is beautiful for another. When imitations of natural foliage are introduced decoratively on a surface, then may it be twice beautiful—first, in the principles according to which the distribution is arranged; and secondly, because of the elements which are worked in being beautiful in themselves. Geometrical elements might be so used as to serve the first end, but can never fulfill the second: Storiation fulfills the second; but its increase of interest absorbs the first.
This course of Lectures is intended to treat of Natural foliage, leaving Artificial foliage to be dealt with at another opportunity. It is not Historical. The History of the Decorative treatment of Natural foliage, showing its evolution in the past, is a large and interesting theme; but, unless this were accompanied by critical remarks based on given principles, the method might be barren of results. Tradition is not to be undervalued; but the student should be led to Tradition through Principles.
It is further intended more especially to apply to the æsthetic use. When natural foliage is used Æsthetically (i.e., decoratively), then the Shape of the surface should govern the Mass shape of the foliage, and there should be Parallelism between them (see § 29). When used Didactically (i.e., symbolically), then the foliage may be treated more freely.