Where shall the tartan be placed? It is certainly primitive, and apparently had no intention beyond that of employing as many coloured threads as there were dyes, so as to form the brightest contrasts, or else to be as invisible as possible either in the sunshine or in the shade. The Gauls brought this kind of weaving with them from the East, and probably invented the pattern, if such a motiveless design can be so called. It had its classical name, “Polymita,” and was admired in Rome when newly imported, as being something original and barbaric. The Romans found it in Britain, and Boadicea wore a tartan dress on the day of her defeat. Perhaps even then fashions came from France, and it may have been her best tunic from across the Channel. This fabric may have been imported by the Belgic Gauls, and was so easily woven on house looms, that it became in time the feudal dress of the Scottish tribes and clans, and the colours were ingeniously arranged to show the most different effects. The tartan has always been a resource for the woollen trade, and the fashion constantly recurs in France, either from sentiment or the actually inherited Gallic taste; but it remains a primitive pattern, and nothing can make it artistic. No embroidery can soften the constantly recurring angles, and only fringes can be employed to decorate a tartan costume. Pliny tells us of the ingenuity of Zeuxis, who, to show his wealth, had his name embroidered in gold in the squared compartments of his outer garment.[97]
Primitive patterns still linger in many savage nations, but especially throughout uncivilized Africa. Curious to say, the very ancient fossilized early art of Egypt does not assist us to trace it back to a prehistoric style, though it may lead us into prehistoric times.
NATURALISTIC.
The phases of the naturalistic patterns are constantly recurring. Art is always tending to realism, in the laudable effort to reach the motive without the shackles of rules. Each phase has fallen a prey to symbolism, to conventionalism, or to mannerism, which last symptom marks the decline and fall of art. We shall find these phases everywhere in the design of patterns.
Naturalism has always striven, by simple repetition, to reduce to patterns the forms of flowers, fruits, animals, birds, insects, reptiles, and other natural objects.
In flower patterns the simplest forms by repetition make sometimes the richest patterns, and the most effective. (Plate [11], Nos. 1 and 2.)
It is remarkable that one very beautiful class of natural objects is rarely employed in ancient decoration[98]—shells and corals. The barbarous tribes of the West Coast of Africa alone seem to have appreciated their forms, and added them to their small repertory of naturalistic patterns. They do not appear in any European or Asiatic textiles till the seventeenth century, when shells were much used in the decorations of the reigns of Queen Anne and Louis Quatorze.
The first change from naturalism into the conventional was through symbolism, and belonged to the time when unwritten thought was first recorded by pictured signs, which then ceased to be merely decoration. We find that the naturalism of the earliest Egyptians and Asiatics was soon entirely absorbed by the effort to express some hidden meaning or mystery, and then to fit the representation to a special place and purpose, and to restore it, as it were, to decorative art.
Pl. 11.