In modern decoration, the most obvious and superficial qualities of Japanese art have generally been seized upon, and its general effect has been to loosen the restraining and architectonic sense of balance and fitness, and a definite ordered plan of construction, which are essential in the finest types of design. On the whole, the effects of the discovery of Japanese art on the modern artistic mind, may be likened to a sudden and unexpected access of fortune to an impoverished man. It is certain to disorganize if not demoralize him. The sudden contact with a fresh and vigorous art, alive with potent tradition, yet intimate with the subtler forms and changes of nature, and in the full possession and mastery of its own technique—the sudden contact of such an art with the highly artificial and eclectic art of a complex and effete civilization must be more or less of the nature of a shock. Shocks are said to be good for sound constitutions, but their effect on the unsound are as likely as not to be fatal.
While fully acknowledging the brilliancy of Japanese art, however, one feels how enormously they were indebted to the art of China, and the greater dignity and impressiveness of the latter becomes more and more apparent on comparison. Both in graphic characterization of birds and animals and flowers and splendour of ornament, the Chinese both preceded and excelled the Japanese. There were recently some striking demonstrations of this at the British Museum, when Mr. Laurence Binyon arranged a series of most remarkable ancient Chinese paintings on silk side by side with Japanese work.
The opening of the Grosvenor Gallery in 1877, owing to the enterprise of Sir Coutts Lindsay, was the means of bringing the decorative school in English painting to the front, and did much towards directing public attention in that direction.
What was known as "aestheticism" has, of course, been freely satirized both by press and stage, which latter, however, was not slow to avail itself of some of its results in the increased variety and picturesqueness of its interior scenes, and the charm of delicate harmonies of colour in draperies and costume. The movement was seized upon by the commercial instinct, which always hastens to make hay while the sun shines, and the aesthetic sun shone very gaily for a time, in the society sense. It was somewhat amusing to see the travesties of ideas which had been current in artistic circles for long before, now proclaimed as the new gospel of aesthetic salvation. But in spite of all the clamour, fashionable extravagance, and ridicule, which obscured the real meaning of the movement, so far as it was a sincere search after more beauty in daily life, its influence is just as strong as ever, and is likely to increase with the growth and spread of greater refinement, and the desire for more harmonious social conditions.
Organizations continued to increase and multiply, having for their object, in one way or another, the "encouragement" of the arts and crafts of design, and whether for good or for evil, it cannot be denied that their number and activity were, and are, remarkable signs of the times—of an awakening interest in decorative art and a general impulse towards ornamental expression. It is true in some instances this impulse runs rather wild, and to some of its ruder results we might even apply the words of the poet Cowper describing the gambols of the kine at high noon:
Though wild their strange vagaries, and uncouth
Their efforts, yet resolved with one consent,
To give act and utt'rance as they may
To ecstasy, too big to be suppress'd.
It would be difficult to enumerate all the different associations having for their object the teaching, or the spread of a knowledge or love of decorative art and handicraft, outside the big trade organizations and decorating firms, but among those who contributed from various sides to the main stream mention may be made of "The Century Guild," identified chiefly with the publication of its "Hobby Horse," with its careful attention to the printer's art under the fine taste in type and book ornaments of Mr. Herbert P. Horne. "The Home Arts and Industries Association," which has started village classes in various handicrafts all over the kingdom, has held annual exhibitions at the Albert Hall, The Royal School of Art Needlework, now in noble premises in Imperial Institute Road, The School of Art Woodcarving in Pelham Place; while design on the strictly industrial and technical side is cared for by the City and Guilds of London Institute under Sir Philip Magnus.