A grotesque is something startling, laughable, perhaps ridiculous. A woman with the head of a goose and a flowery tail may be a symbolical, but it never can be an agreeable object. When the idea conveyed is a great one, then it is excusable. The Ninevite bull, with a human head and five legs, is a grotesque, but it is also a symbol of majesty and might. A Satyr is a grotesque, but he has been so long recorded and accepted that he has ceased to surprise us; and the Greeks spent so much genius in making him a graceful creature, that he has become picturesque, if not beautiful.
Arabesques and Grotesques have now so long prevailed in decoration, that we have ceased to criticize them on principle, and accept them gratefully, in proportion to the gay fancy and reticent genius of the designer. Most Arabesques are, in fact, only graceful nonsense.
Pl. 9.
Spanish Coverlet, from Goa. Velvet and gold, Plâteresque style, seventeenth century.
Vitruvius (writing first century B.C.) says, that “in his time, on the covering of the walls were painted rather monstrosities than images of known things. Thus, instead of columns you will see reeds with crisp foliage, and candlesticks supporting temples; and on the top of these there are rods and twisted ornaments, and in the volutes senseless little figures sitting there; likewise flowers with figures growing out of their calyxes. Here a human head, there an animal’s.”[69] Evidently Vitruvius did not approve of grotesques, and his contemporary criticism is most valuable and amusing.
In the Louis Quatorze period, a species of vegetable grotesque was the fashion, from which we suffer even now, and it deserves censure. Leaves and flowers of different plants were made to grow from the same stem, as only artificial flowers could do. The Greeks introduced into their decorations sprays and wreaths of bay, olive, oak, ivy, and vine, with their fruits; which are exquisitely composed and carefully studied from nature. It is true that they sometimes invented flowers of different shapes, following each other on the same stem, and untrammelled by any natural laws. These classical freaks of fancy are so graceful that their want of truth does not shock us, but they are more safely copied than imitated.
The Renaissance was particularly marked in Spain and Portugal by the embroideries which the latter drew from their Indian possessions in Goa, whilst we in England were sedulously thrusting from our shores any beautiful Indian textiles that we imagined could injure our own home manufactures. It was, consequently, the worst phase of needlework with us, while Spanish and Portuguese embroideries of the sixteenth and seventeenth centuries are especially fine, their designs being European, and their needlework Oriental. Their Renaissance, which went by the name of the Plâteresque, is a style apart. (Pl. [9].) The reason of its name is that it seems to have been originally intended for, and is best suited to, the shapes and decorations of gold and silver plate. It is extremely rich and ornate; not so appropriate to architecture as to the smaller arts, and wanting, perhaps, the simplicity which gives dignity. The style called Louis Quatorze following on the Renaissance in Germany, England, Spain, Italy, and France, assumed in each of these countries distinguishing characteristics, into which we have not time to enter now. In this style France took the lead and appropriated it, and rightly named it after the magnificent monarch who fostered it. This was a splendid era; and its furniture and wall decorations, dress, plate, and books shine in all the fertile richness and grace of French artistic ingenuity.[70] The new style asserted itself everywhere, and remodelled every art; but the long reign of Louis Quatorze gave the fashion time to wane and change. Under Louis XV. the defects increased and the beauties diminished. The fine heavy borders were broken up into fragmentary forms; all flow and strength were eliminated; and what remained of the Louis Quatorze style became, under its next phase, only remarkable for the sparkling prettiness which is inherent in all French art.
In Italy this very ornate style was distinguished as the “Sette-cento,” and was a chastened imitation or appropriation of the Spanish Plâteresque and the French Louis Quatorze. In Germany it was a decided heavy copy of both, of which there are splendid examples in the adornment of the German palaces, royal and episcopal. In England the Continental taste was faintly reflected during the reign of Queen Anne and the first Georges; but except in the characteristic upholstery of the Chippendales, and one or two palaces, such as Blenheim and Castle Howard, we did not produce much that was original in the style of that day.