In connection with this subject I give here a series of grotesques, with the view of illustrating my meaning, and I would fain give more, but space will not permit me to do so.
The initial letter S, formed of a bird, is a characteristic Celtic grotesque (Fig. 17). It is quaint and interesting, and is sufficiently unlike a living creature to avoid giving any sense of pain to the beholder, while it is yet in a most unnatural position. It is, in truth, rather an ornament than a copy of a living creature, yet it is so suggestive as to call forth the thought of a bird. It should be noticed, in connection with this figure, that the interstices between certain portions of the creature are filled by a knot. This is well—the whole thing; being an ornament, and not a naturalistic representation.
Fig. 18 is a Siamese grotesque head, and a fine sample it is of the curious form of ornament which it represents. Mark, it is in no way a copy of a human head, but is a true ornament, with its parts so arranged as to call up the idea of a face, and nothing more. Notice the volutes forming the chin; the grotesque, yet highly ornamental, lines forming the mouth and the upper boundary of the forehead, and the flambeauant ears; the whole thing is worthy of the most careful study.
Fig. 19 is a Gothic foliated face; but here we have features which are much too naturalistic. We have, indeed, only a hideous human face with a marginal excrescence of leafage. This is a type to be avoided; it is not droll, nor quaint; but is simply unpleasant to look upon.
Fig. 20 is a fish, with the feeling of the grotesques of the Middle Ages. It is a good type, being truly ornamental, and yet sufficiently suggestive.
In order that I convey to the reader a fuller idea of my views respecting the grotesque than I otherwise could, I have sketched one or two original illustrations—Fig. 21 being suggestive of a face, Fig. 22 of a skeleton (old bogey), and Fig. 23 of an impossible animal. They are intentionally far from imitative. If naturalistic some would awaken a sense of pain, as they are contorted into curious positions, whereas that which induces no thought of feeling induces no sense of pain.
Of all grotesques with which I am acquainted, the dragons of the Chinese and Japanese are those which represent a combination of power, vigour, energy, and passion most fully. This is to be accounted for by the fact that these peoples are believers in dragons. When the sun or moon is eclipsed they believe that the luminous orb has been swallowed by some fierce monster, which they give form to in the dragon, and upon the occurrence of such a phenomenon they, with cans and kettles, make rough music, and thus cause the monster to disgorge the luminary, the brilliancy of which it would otherwise have for ever extinguished. I can understand a believer in dragons drawing these monsters with the power and spirit that the Chinese and Japanese do; but I can scarcely imagine that a disbeliever could do so—a man's very nature must be saturated with a belief in their existence and mischievous power, in order that he embody in his delineation such expression of the assumed character of this imaginary creature as do the Chinese and Japanese.
Although I am not now considering the structure of objects, I may say that the grotesque should frequently be used where we meet with naturalistic imitations. We not unfrequently see a figure, naturally imitated, placed as a support to a superincumbent weight—a female figure as an architectural pillar bearing the weight of the entablature above, men crouched in the most painful positions supporting the bowl of some colossal fountain. Naturalistic figures in such positions are simply revolting, however perfect as works of sculpture. If weight has to be supported by that which has a resemblance to a living creature of any kind, the semblance should only be suggested; and the more unreal and woodeny (if I may make such a word) the support, if possessing the quaintness and humour of a true grotesque, the better.