1857.] Relation of Science and Ornamental Art. 351 



by one or two figures. The manner in which science has revealed 

 the composition of light, and with this the laws of harmonious 

 colouring was alluded to, with the power thus offered of imparting 

 to the student the rules necessary to be attended to in order to 

 produce agreeable effects by juxtaposing colours. It was then 

 hinted that the object of the future remarks would be in a humble 

 way to throw out a few suggestions relative to the laws which 

 govern the aggregation of forms. 



In continuation, it was observed that ornamental art consists of 

 two elements, viz. design and manipulation. The former, which is 

 chief, embracing construction and decoration.* 



A few remarks were then offered upon construction, tending to 

 show that a true principle of construction gives satisfaction, in the 

 absence of which beauty cannot exist. 



What is necessary, in order to produce beauty in construction, 

 was then considered ; but before proceeding to solve this question, 

 the import of the term " beauty " was discussed. To the speaker's 

 mind it conveyed some such idea as the following : that beauty is 

 that quality in an object which causes a thrill of delight to pass 

 through the soul of its beholder. 



. It was then observed, that in taking this view of beauty, all 

 natural objects could not be considered as beautiful ; as some strike 

 the beholder as grotesque, and others as repugnant to all emotions 

 of delight. 



The term, beauty, having been thus considered, the subject was 

 again recurred to, by calling attention to an idea that forms in 

 architecture which certain members assume are the result of 

 natural forces, as attraction, &c., and the more beautiful the object 

 the more powerfully it appears to reveal the fact that it is the 

 result of natural laws. The Greek vases were next alluded to, as 

 presenting the appearance of being formed of a plastic material 

 acted upon by the combined influences of the attraction of the 

 earth and the centrifugal force ; and the speaker considered that 

 these combined influences appeared to a considerable extent to 

 modify, or give rise to their forms. In these instances it was 

 also endeavoured to show that where the laws of attraction have 

 free room to act, or where nature herself modifies the form, beauty 

 is gained. The character of the curves given to the boundary 

 lines of bodies by the influences just alluded to was then noticed ; 

 and it was inferred, that from the very nature of the curves thus 

 produced beauty must be gained. 



Construction having been thus considered, decoration was 

 noticed, and reference was made to a plant (the Dielytra specta- 

 bilis), in which it was pointed out that for the grace and flow of the 

 larger members of the structure we are indebted to attraction, and 

 that the operation of this influence upon arms, which would other- 



* See Redgrave's Report on Design for the Exhibition of 1851. 



