The inner vision sees the results of time rather than the impressions of the moment. It sees space rather than landscape: race rather than men: spirits rather than mortals: types rather than individuals.
The inner vision hangs the mind's house with a mysterious tapestry of figurative thoughts, a rich and fantastic imagery, a world where the elements are personified, where every tree has its dryad, and where the wings of the winds actually brush the cheek.
The inner vision re-creates rather than represents, and its virtue consists in the vividness and beauty with which, in the language of line, form, and colour, these visions of the mind are recorded and presented to the outward eye.
There is often fusion here again between two different tendencies, habits of mind, or ways of regarding things. In all art the mind must work through the eye, whether its force appears in closeness of observation or in vivid imaginings. The very vividness of realization even of the most faithful portraiture is a testimony to mental powers.
The difference lies really in the focus of the mental force; and, in any case, the language of line and form we use will neither be forcible or convincing, neither faithful to natural fact nor true to the imagination, without close and constant study of external form and of its structure as well as its aspect.
CHAPTER IX
Of the Adaptation of Line and Form in Design, in various materials and methods—Mural Decoration—Fresco-work of the Italian Painters—Modern Mural Work—Mural Spacing and pattern Plans—Scale—The Skirting—The Dado—Field of the Wall—The Frieze—Panelling—Tapestry—Textile Design—Persian Carpets—Effect of Texture on Colour—Prints—Wall-paper—Stained Glass.
We have been considering hitherto the choice and use of line and form, and various methods of their representation in drawing, both from the point of view of the graphic draughtsman and that of the ornamental designer.