 Inental forms. — 
contents himself with reproducing it ; but this is not design, it is 
_ Simply imitation, although dignified by the appellation of “decora- 
_ tive art.” On the Continent the principles of design in ornament 
he are better understood—hence the ater success of French, 
Ttalian, an 
gre: 
4 rman art workmen in imparting an air of novelty 
to many of the simplest productions, without pandering to a 
Tnorbid taste for the unnatural or false in art. A continental 
designer adapts his ornamentation in accordance with the general 
derive a hint or two from previous labours, but 
e orna- 
ments utilized in another, unless with certain variations intended 
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Sound taste, which renders him something more than a mere 
craftsm Hence the wondrous delicacy, often approaching 
Senius, characteristic of the workmanship of many foreign 
“stly art objects. In England the absence of such a valuable 
aR efficient training has not only tended to prevent any increase 
oh ne numbers of skilled art workmen, but also to limit the extent 
their practical knowledge and capabilities. As Mr. Redgrav 
3. art workmen to carry out the designs. “A design for apc 
may be spoiled by the putter on; or for silk, by he who 
it for the loom. The sculptor may design @ statuette, 
d, they are mostly men of small minds, who enter 
t of the artist’s labours, and who work without 
Pe RP ee ee 
