CHAPTER XVII
STUDIES FROM NATURE—FOLIAGE
Medieval and Modern Choice of Form Compared—A Compromise Adopted—A List of Plant Forms of Adaptable Character.
It is high time now that we had some talk about the studies from nature which are to furnish you with subjects for your work. I shall at present deal only with studies of foliage, as that is what you have been practising, and I wish you to carry on your work and studies as much as possible on the same lines.
Between the few abstract forms, representing a general type of foliage, so dear to the heart of the medieval carver, and the unstinted variety of choice displayed in the works of Grinling Gibbons and his time, there is such a wide difference that surely it points to a corresponding disparity of aim. Although there is no doubt whatever that such a striking change of views must have had its origin in some deeper cause than that which is to be explained by artistic and technical development, yet I think that for our immediate purpose we shall find a sufficiently good lesson in comparing the visible results of the two methods. Broadly speaking, then, the medieval carver cared more for general effect than for possibilities of technique. He therefore chose only such natural forms as were amenable to his preconceived determination to make his work telling at a distance. He had no botanical leanings, and rejected as unfit every form which would not bend to his one purpose—that of decoration on a large scale—and which he aimed at making comprehensive at a glance, rather than calling for attention to its details. He invented patterns which he knew would assist in producing this result, and here he further handicapped his choice by limiting it to such forms as would repeat or vanish at regulated intervals, reflecting light or producing shadow just where it was wanted to emphasize his pattern.
The more modern carver, on the contrary, offered an all-embracing welcome to every form which presented itself to his notice. He rejected nothing which could by any possibility be carved. Nothing was too small, too thin, or too difficult for his wonderful dexterity with the carving tools. His chief end was elaboration of detail, and it was often carried to a point which ignored the fact that nearly all of it would become invisible when in position, or, if seen at all, would only appear in confused lumps and unintelligible masses.
Now, for many reasons, I think we had better take the medieval method as our model up to a point, and make a certain selection of material for our studies, based upon some relation to general effect, but not necessarily imitating a medieval austerity of rejection, which would be the merest affectation on our part. Upon these principles, and taking somewhat of a middle course, I shall here note a few types of foliage which I think may be useful to you in the work upon which you are engaged.
Leaf forms, with their appropriate flowers or fruit, afford the carver a very large proportion of his subject material. They serve him as principal subject, as bordering or background to figures of men or animals; they occur as mere detached spots, to break the monotony of spaces or lines; and in a thousand other ways give exercise to his invention.
As a general rule, those leaves with serrated, or deeply cleft and indented edges, lend themselves most readily to decorative treatment. Large, broad leaves, with unbroken surfaces, and triangular or rounded outlines, are less manageable. Those most commonly taken as models are:
The Vine, with its Grapes.—This was freely used by medieval carvers, at first for its symbolic significance, but afterward even more on account of its rare beauty of form. The play of light and shade on its vigorous foliage, the variety of its drawing in leaf, vine, and tendril, and the contrast afforded by its bunches of oval fruit, caused it to be accepted as a favorite subject for imitation in all kinds of carving. It lends itself kindly to all sorts of relief, either high or low, in almost any material. It is so recognizable, even in the rudest attempts at imitation, that its popularity is well deserved.