CHAPTER X
THE PATTERNED BACKGROUND
Importance of Formal Pattern as an Aid to Visibility—Pattern and Free Rendering Compared—First Impressions Lasting—Medieval Choice of Natural Forms Governed by a Question of Pattern.
Fig. 20.
By a comparison of the piece of Byzantine sculpture, Fig. 20, with the more elaborate treatment of foliage shown in Fig. 21, from late Gothic capitals, in Southwell Minster, it will be seen how an increasing desire for imitative resemblance has taken the place of a patterned foundation, and how, in consequence, the background is no longer discernible as a contrasting form. The Byzantine design is, of course, little more than a pattern with sunk holes for a background, and it is in marble; but those holes are arranged in a distinct and orderly fashion. The other is a highly realistic treatment of foliage, the likeness to nature being so fully developed that some of these groups have veins on the backs of the leaves. The question for the moment is this, which of the two extremes gives the clearest account of itself at a distance? I think there can be little doubt that the more formal arrangement bears this test better than the other, and this, too, in face of the fact that it has cost much less labor to produce. Remember we are only now considering the question of visibility in the design. You may like the undefined and suggestive masses into which the leaves and shadows of the Southwell one group themselves better than the unbending severity of the lines in the other, but that is not the point at present. You can not see the actual work which produces that mystery, and I may point out to you, that what is here romantic and pleasing on account of its changeful and informal shadows, is on the verge of becoming mere bewildering confusion; a tendency which always accompanies attempts to imitate the accidental or informal grouping of leaves, so common to their natural state. The further this is carried, the less is it possible to govern the forms of the background pattern; they become less discernible as contrasting forms, although they may be very interesting as elements of mystery and suggestive of things not actually seen. The consequence is a loss of power in producing that instantaneous impression of harmony which is one of the secrets of effectiveness in carving. This is greatly owing to the constant change of plane demanded by an imitative treatment, as well as the want of formality in its background. The lack of restful monotony in this respect creates confusion in the lights, making a closer inspection necessary in order to discern the beauty of the work. Now the human imagination loves surprises, and never wholly forgives the artist who, failing to administer a pleasant shock, invites it to come forward and examine the details of his work in order to see how well they are executed.