Such are a few illustrations of what I have termed formal composition, in which the geometric and structural plans of pure ornament or ornamental line maybe utilized to combine, control, or even suggest figure designs.
II. While formal compositions, though naturally falling into classes and types, may be varied to a very great extent, when we come to informal compositions the variations are unlimited, and a vista of extraordinary and apparently endless choice, invention, and selection opens out before the designer, co-extensive with the variety of nature herself.
In seeking harmonious and expressive composition in the pictorial direction the guides are much less definite and secure. Individual feeling and instinct, which must have an important influence in all kinds of designing, are in this direction paramount. Yet even here, if we look beneath the apparent freedom and informality, we find certain laws at work which seem to differ only in degree from the more definite and constructive control of line which we have been considering. In the first place, there are our direct impressions from nature; and, secondly, our conscious aims and efforts to express an idea in our minds. We have the same restricted and definite forms of language and materials in each case—line, form, space, brushes, pencil, colour, paper, canvas, or clay. We are taken by some particular scene: the composition of line and form at a particular spot attracts us more than another. We do not stop as a rule to ask why, since it usually takes all our time and our best skill to get into shape what we are seeking—and carry away with us an artistic record of the place. We have seen that in the case of certain natural structures, shells, leaves, flowers, the fundamental structural lines are so beautiful that they not only form ornament in themselves, but furnish the basis for whole types and families of ornament. When we look at a landscape, putting aside for the moment all the surface charms of colour and effect, and concentrating our attention upon its lines of structures, we shall find that it owes a great part of its beauty to the harmonious relation of its leading lines, or to certain pleasant contrasts, or a certain impressiveness of form and mass, and at the same time we shall perceive that this linear expression is inseparable from the sentiment or emotion suggested by that particular scene.
A gentle southern landscape—undulating downs, and wandering sheep-walks; the soft rounded masses of the sheep upon smooth cropped turf—all these are so many notes or words in the language of line and form which go to express the idea of pastoral life. They are inextricably bound up with inseparable associations conveyed by such lines and forms. The undulating lines of resting or dancing figures would only give point, true emphasis, and variety, and a note of contrast in the forms would serve to bring out the general sentiment more strongly.
Substitute rugged rocks, swollen torrents, wind-tossed trees and stormy skies, and all is changed. Such things cannot be expressed without much more emphatic lines and masses, and the use of opposing angles and energetic curves of movement which would be destructive of the sentiment of peace, in other cases. Yet even then to convey the expression of energy and rapid movement, concerted groups of lines are none the less necessary (see illustration, p. [159]).