Wall-paper Decoration
“The Oak Tree”
Designed by Walter Crane
In designing complete schemes for wall-paper one’s aim has been to balance the different quantities of pattern in the different parts, and to re-echo the leading lines, masses, and colours by different expedients, so as to keep an essential relationship between each part.
Relationship is, of course, the essential in all decoration, otherwise it becomes a patchwork of conflicting pattern and colour. It matters not what our materials may be, or by what means, costly or simple, we seek to obtain our effect, whether by painting, carving, gilding and rich textiles, metal or plaster work, stamped leather or wall-paper, stencilling, tiles and plain painting or stained wood and whitewash. All must be in keeping, and seem fit and in its right place and proportion, and suitable to its conditions and surroundings; rich and splendid if the aim is to be rich and splendid, simple and quiet if the aim is to be simple and quiet; but without the pretence of richness or obtrusive display on the one hand, or the extreme rudeness, baldness, and ugliness which sometimes accompany what looks like the affectation of simplicity on the other.
OF THE PROGRESS OF TASTE IN DRESS IN RELATION TO ART EDUCATION.
If taste in dress could be traced to, or its cultivation and exercise were solely due to, the influence of the constant study of beautiful forms and fine historical models in design, as well as of the living human figure, we might be justified in looking to our schools of art to give us the best types and standards in costume. There are, however, too many missing links between the ordinary art student and the practical designer, between the tasteful person and the leader of fashion, to enable us to prove a close connection of cause and effect in the matter.
No doubt the general and extended cultivation of a knowledge of art even on the ordinary art-school lines has contributed not a little to the general interest in artistic questions, and quickened the average eye to some extent; but it must be said that we have not yet succeeded in making our schools of art remarkable as sources of invention, of initiative, or, on the whole, distinguished for capacity of artistic selection. We should be expecting too much, perhaps, to look for these things from training grounds. We ought to be satisfied if they ultimately turn out a fair average of capable artists, or, rather, enable students to become capable artists.
Even if all schools were equally well equipped in respect of models and teaching staff, under the present system there is practically but little margin left by the regime of the Board of Education for individual experiment and inquiry off the main lines of the prescribed courses of study in which passes or honours are obtainable.