In selecting forms for still-life grouping and painting, I think increased interest might be gained by arranging significant objects, accessories bearing upon particular pursuits, for instance, in natural relationship and surrounding. Groups suggesting certain handicrafts, for instance, such as the clear glass globe of the wood-engraver, the sand-bag, the block upon it, the tools, gravers lying around, the eye-glass, an old book of woodcuts, and so forth. Other groups suggestive of various arts and industries could be arranged—such motives as metal-work, pottery, literature, painting, music, embroidery, spring, summer, autumn, and winter, might all be suggestively illustrated by well-selected groups of still life. Even different historic periods might be emblematically suggested—I should like to see more done in this way.
To return to design in the flat. If we start with a motive of circular masses, we cannot suddenly associate them with sharp angles—I mean in our leading forms. Of course we can make a network or trellis or diaper of the angles, to form a mat, ground, or a framework on which to place our broad masses, as we may see effectively done by the Chinese and Japanese.
Corresponding Forms
If the principal group of forms in our pattern, say, are fruit forms—apples, pomegranates, or oranges—we must re-echo or carry out the curves in a lesser degree in the connecting stems and leaves. Change the form of the fruit, say, to lemons, and a further variation of connecting or subsidiary curve in stems and leaves will naturally suggest itself, and at the same time in following such principles we shall be expressing in an abstract way more of the character of the tree or plant itself. In looking at the leaf of a tree one may often see a suggestion of the general character and contour of the tree itself, and we know the line: