12 
GOOD TASTE IN DECORATIVE ART. 
[Nature and Art, January 1, 1867. 
frivolous persons are met with, who, untrustworthy 
in all other matters, still evince much good taste in 
their houses, in dress, and in ornaments ; yet this 
is hut a superficial quality, and, unless combined 
with good sense and good feeling, leads only to a 
mere sensual perception of external fitness in form 
and colour, in the lowest departments of art. But 
such as these, we may be sure, would never command 
attention or respect for their decisions in the Fine 
Arts or in the cognate realms of philosophic 
inquiry and criticism. When sensibility is com- 
bined with the power to create and execute, it con- 
stitutes what is termed genius : when it is combined 
with sound judgment and good feeling, we meet 
with good taste ; and, as Goldsmith has tersely put 
it in his Twelfth Essay, both, in their degree, are 
“ composed of Nature, improved by Art ; of feeling 
tutored by instruction.” Sir Joshua Reynolds, also, 
in his seventh discourse, combating the idea that 
taste is a natural power of selection in every indi- 
vidual, and not to be gainsaid, declares that, if 
such were the case, “ the arts would lie open for 
ever to caprice and casualty, if those who are to 
judge of their excellences had no settled principles 
by which to regulate their decisions, and if the merit 
or defect of performances were to be determined by 
unguided fancy.” These observations of writers on 
art for whose judgment, knowledge, and taste we 
have the very highest respect, though originally 
intended to apply to the fine or liberal arts, are 
equally true as regards matters of taste in orna- 
mental design. 
In all subjects of this description, harmony, or 
fitness of the parts to the whole, forms an essential 
requisite. Good sense, also, is absolutely requisite 
in their general design, and good feeling is shown 
in their special application. 
After these opening remarks on Good Taste in 
general, we proceed to consider its constituents in 
matters of decorative art. Mr. M. Digby Wyatt, 
in a very excellent lecture on “ The Principles 
which should determine Form in the Decorative 
Arts,” has briefly summed them up as consisting 
in Yai'iety, Fitness, Simplicity, and Contrast. To 
these we would add, as of the highest importance, 
Harmony. Other qualities, of a more material 
and technical nature, which we have always to 
consider are Form, Colour, and Effect ; and in 
these particular constituents of design it is that 
we seek for the qualities first enumerated, and, 
according to the presence or absence of them, we 
are justified in determining how far any work 
under notice is characterized by good or bad taste. 
The main points which lead to the production of 
works evincing a correct taste, however widely 
they may differ in themselves or in their styles, are 
as follow : — 
In the designer, a good natural feeling or sensi- 
bility in matters of Form, Colour, and Effect, com- 
bined with good sense. 
In the work itself, simplicity yet variety, contrast 
and yet harmony. 
The application of all these qualities and methods 
should logically be the province of the true and 
perfectly educated architect. It is with great 
pleasure that we quote verbatim the sensible and 
earnest remarks of Mr. Owen Jones ; who, in his 
introduction to the “ Handbook of the Alhambra 
Court, at Sydenham,” forcibly points out the in- 
congruity of “ Greek porticoes, nondescript internal 
putty decorations, Louis Quatorze furniture, cinque- 
cento ornaments, floral papers and floral carpets, in a 
London mansion of the nineteenth century.” “ The 
decorative arts,” he continues, “are of one family, and 
must go hand hi hand with their parent, architec- 
ture; the effort to revive the one will help the other.” 
“ In all ages but our own, the same ornaments, the same 
system of colouring- which prevailed in buildings, pervaded 
all other works, even to the humblest. . . . It is far 
different with ourselves. We have no principles, no unity. 
The architect, the upholsterer, the paper-stainer, the weaver, 
the calico-printer, and the potter, run each his independent 
course ; each struggles fruitlessly ; each produces in art 
novelty without beauty, or beauty without intelligence. 
. . . Men do every day, and every hour of the day, place 
their intuitive knowledge on questions of art in opposition 
to the opinions of those who have made them their especial 
study. This can never be prevented. Art is the patrimony 
of all, but it is the more necessary that it should be regulated. 
. . . No improvement can take place until all classes, 
artists, manufacturers, and the public are better educated 
in art, and the existence of general principles is more fully 
recognised.” 
a 
In these observations we cordially concur, and 
would especially plead for extended education 
amongst the people, in matters of art, by means of 
schools in which all branches of fine and industrial 
art may be taught, and by the publication of cheap 
standard works on such subjects ; among which, 
besides those already noticed, we recommend Mr. 
W. Burges’s “Cantor Lectures,” Dr. Dresser’s “Art 
of Decorative Design,” and the Reports of II. 
Redgrave, R.A., on the Exhibitions in London and 
Paris of 1851 and 1855. The general principles laid 
down in the last work are excellent, though at times 
perhaps too rigidly enforced. For example, the 
author would not allow the constructional forms of 
one material to be applied to another ; therefore, the 
arch form suitable to stone or brick, would be con- 
sidered inapplicable to wood. It is clear that, if such 
a doctrine were carried out thoroughly, architectural 
design in iron and wood must become monotonous 
and poor indeed. We note this instance specially, 
because its adoption has led to much poverty of 
design, in wood particularly. The round and semi- 
circular forms, it should be remembered, are not only 
constructional, they are general throughout Nature 
from the shell to the rainbow ; and are, above all 
others, ornamental in character and fitted for decora- 
tive purposes, as may be seen from examples in all 
styles of art. Originality of design mainly depends 
on freedom of individual action ; and in matters of 
taste, after a proper education has been obtained, each 
artist becomes a law unto himself, and must stand or 
fall according to the value and merit of his work. 
In future numbers we propose to give illustra- 
tions of the principal processes used in the orna- 
mentation of buildings, furniture, etc., representing 
examples beautiful in themselves, interesting to 
the public, and useful to decorators generally. 
