THE HAEMONY OF COLOUES.
arrangement of the space allotted to these manufacturers is
also very tasteful.
It is much to be regretted that the very elaborately decora-
ted bed exhibited by Messrs. .Rogers & Dean should not
display a more chaste and harmonious assortment of colours.
The designer appears to have mistaken gaudiness for splendour.
The colours of the bed are scarlet, bright green, white, and
straw-colour.; the colour of the canopy is green, trimmed with
gimp of various colours, among which are red and yellow,
while the curtains are of deep blue and orange-coloured
flowers with green leaves on a white ground !
The gorgeous medieval court of Mr. Pugin demands a few
words. While acknowledging the beauty and richness of
many of the objects with which it is decorated, it must be
confessed that in general harmony of effect the court is
inferior to the beautifully arranged' French court containing
the Sevres china and Gobelins tapestry. In the former there
is too much ornament; too much positive colour; too much
unsubdued splendour ; scarlet and gold meet the eye in every
direction, and overpower it with their brilliancy.
The painted glass is too important a subject to be dismissed
in a few words. It should furnish the text of a separate
article. It may, however, be observed, while admitting the
great beauty and excellence of the magnificent window by
Bertini, of Milan, in the nave, that in this Art the English
need not fear to enter into competition with foreigners. Even
in this department, however, some contrasts of colour, which
might have been avoided by a better knowledge of the prin-
ciples by which the harmony of colours is regulated, may be
detected by a practised eye.
The observations in the preceding pages will, it is hoped,
have shown the utility and advantages which may be derived
from the study of the harmony of colours, to those even who
are not actually engaged in the production of coloured goods.
The man of taste, and even the casual observer, can judge
whether the general arrangement of colours is pleasing or
displeasing to the eye; but the artist and the scientific man
take a more comprehensive view; they would ascertain how
an effect had been produced, in order to be able to repeat
or avoid it at pleasure. By means, therefore, of comparing
and analysing, it is found that the contrast of colours, which,
to the superficial observer, appears to be merely a matter of
taste, is, in fact, governed by fixed laws; and. that "good
taste," and "a good eye," are but common terms for that
almost instinctive perception which some persons possess, of
what is in harmony with these laws or contrary to them, and
which is only acquired by others after long and assiduous
study.
That the British painters have "an eye for colour" is
uniformly admitted; how is it then, that the same cannot be
said of the British manufacturers? The answer is because the
eye is educated in the one case, and uneducated in the other.
The first attempts of our painters in colours were not attended
with the successful results of their riper years. Neither do
the early pictures of the great Italian colourists exhibit the
harmony of the works executed in the prime of their artistical
career. The attainment of a good and harmonious style of
colour in painting is the result of much observation and study,
not only of nature, but of the works of other artists : the
same steps must be followed in Art-manufactures, or the same
results will not be attained. When the principles by which
the harmony of colour is regulated are clearly understood,
they are easily carried into practice. Although, as has been
justly remarked, the British manufacturers are inferior in
colouring, and frequently in design, to the continental
exhibitors in decorative art—for under this term we must
include those elaborately ornamented carpets, dress, and
furniture fabrics, exhibited in the Crystal Palace—there is
evidently an improvement upon former designs; and when the
subject of colour has received the attention which it deserves,
we may confidently reckon on a still greater improvement.
The elegant designs, and the harmonious colouring of the
Erench and Italians in their Art-manufactures, has been the
subject of general commendation; but neither of these nations
acquired their good taste in design and colour in a day, or
without study. In former times, it is well known, the'best
Italian artists did not think it beneath them to make designs
for Art-manufacturers; hence the good taste of the Italians
in the lower branches of Art. The Erench have had schools of
design for more than a century, and in consequence of the atten-
tion paid in these schools to the harmony of colours, their Art-
manufactures exhibit a better and more harmonious style of
colouring than many of their works of the higher classes of
Art—a convincing proof of the success attending the study of
the subject, and the advantages to be derived from the
contemplation of good examples. When the British manu-
facturers study colour with the same earnestness as the
British artists have done, the happy results will be visible in
their productions; and not until then can they successfully com-
pete in the decorative arts with their continental neighbours.
In conclusion, I must observe, that if, in the preceding
pages, foreigners have been commended at the expense of the
British for their skill in the arrangement of colours, it has
been done in the full confidence that it was merely necessary
to point out the defect in order to induce our enterprising
manufacturers to overcome it. The superiority of our
countrymen in so many branches of industry — in those
especially which are most essential to the interests and
comforts of mankind—is so manifest, that we can afford to
acknowledge our inferiority as regards the arrangement of
colour. But the British are not content with mediocrity,
aud I feel assured that if another exhibition of the industry
of all nations should ever take place, the same defects will
never again be imputed to us.
I have mentioned that the taste and skill of the Italians and
Erench in the arts of design were not acquired in a day, but
that they have been the growth of years ; I am satisfied that
time only is wanting to render the British fully equal to them
in these arts. It has been urged by some that the superiority
of the latter consists in the production of what is useful, and
that they cannot attain eminence in the ornamental arts; but
the word " impossible," as Lord Brougham says, " is the
mother-tongue of little souls ;'-' and the wrord "cannot" has
had no place in the national vocabulary since the day when
Bobert Bruce watched the repeated, and at length successful
efforts, of the spider to reach the wall of the hovel in which
he lay concealed.
VIII±
arrangement of the space allotted to these manufacturers is
also very tasteful.
It is much to be regretted that the very elaborately decora-
ted bed exhibited by Messrs. .Rogers & Dean should not
display a more chaste and harmonious assortment of colours.
The designer appears to have mistaken gaudiness for splendour.
The colours of the bed are scarlet, bright green, white, and
straw-colour.; the colour of the canopy is green, trimmed with
gimp of various colours, among which are red and yellow,
while the curtains are of deep blue and orange-coloured
flowers with green leaves on a white ground !
The gorgeous medieval court of Mr. Pugin demands a few
words. While acknowledging the beauty and richness of
many of the objects with which it is decorated, it must be
confessed that in general harmony of effect the court is
inferior to the beautifully arranged' French court containing
the Sevres china and Gobelins tapestry. In the former there
is too much ornament; too much positive colour; too much
unsubdued splendour ; scarlet and gold meet the eye in every
direction, and overpower it with their brilliancy.
The painted glass is too important a subject to be dismissed
in a few words. It should furnish the text of a separate
article. It may, however, be observed, while admitting the
great beauty and excellence of the magnificent window by
Bertini, of Milan, in the nave, that in this Art the English
need not fear to enter into competition with foreigners. Even
in this department, however, some contrasts of colour, which
might have been avoided by a better knowledge of the prin-
ciples by which the harmony of colours is regulated, may be
detected by a practised eye.
The observations in the preceding pages will, it is hoped,
have shown the utility and advantages which may be derived
from the study of the harmony of colours, to those even who
are not actually engaged in the production of coloured goods.
The man of taste, and even the casual observer, can judge
whether the general arrangement of colours is pleasing or
displeasing to the eye; but the artist and the scientific man
take a more comprehensive view; they would ascertain how
an effect had been produced, in order to be able to repeat
or avoid it at pleasure. By means, therefore, of comparing
and analysing, it is found that the contrast of colours, which,
to the superficial observer, appears to be merely a matter of
taste, is, in fact, governed by fixed laws; and. that "good
taste," and "a good eye," are but common terms for that
almost instinctive perception which some persons possess, of
what is in harmony with these laws or contrary to them, and
which is only acquired by others after long and assiduous
study.
That the British painters have "an eye for colour" is
uniformly admitted; how is it then, that the same cannot be
said of the British manufacturers? The answer is because the
eye is educated in the one case, and uneducated in the other.
The first attempts of our painters in colours were not attended
with the successful results of their riper years. Neither do
the early pictures of the great Italian colourists exhibit the
harmony of the works executed in the prime of their artistical
career. The attainment of a good and harmonious style of
colour in painting is the result of much observation and study,
not only of nature, but of the works of other artists : the
same steps must be followed in Art-manufactures, or the same
results will not be attained. When the principles by which
the harmony of colour is regulated are clearly understood,
they are easily carried into practice. Although, as has been
justly remarked, the British manufacturers are inferior in
colouring, and frequently in design, to the continental
exhibitors in decorative art—for under this term we must
include those elaborately ornamented carpets, dress, and
furniture fabrics, exhibited in the Crystal Palace—there is
evidently an improvement upon former designs; and when the
subject of colour has received the attention which it deserves,
we may confidently reckon on a still greater improvement.
The elegant designs, and the harmonious colouring of the
Erench and Italians in their Art-manufactures, has been the
subject of general commendation; but neither of these nations
acquired their good taste in design and colour in a day, or
without study. In former times, it is well known, the'best
Italian artists did not think it beneath them to make designs
for Art-manufacturers; hence the good taste of the Italians
in the lower branches of Art. The Erench have had schools of
design for more than a century, and in consequence of the atten-
tion paid in these schools to the harmony of colours, their Art-
manufactures exhibit a better and more harmonious style of
colouring than many of their works of the higher classes of
Art—a convincing proof of the success attending the study of
the subject, and the advantages to be derived from the
contemplation of good examples. When the British manu-
facturers study colour with the same earnestness as the
British artists have done, the happy results will be visible in
their productions; and not until then can they successfully com-
pete in the decorative arts with their continental neighbours.
In conclusion, I must observe, that if, in the preceding
pages, foreigners have been commended at the expense of the
British for their skill in the arrangement of colours, it has
been done in the full confidence that it was merely necessary
to point out the defect in order to induce our enterprising
manufacturers to overcome it. The superiority of our
countrymen in so many branches of industry — in those
especially which are most essential to the interests and
comforts of mankind—is so manifest, that we can afford to
acknowledge our inferiority as regards the arrangement of
colour. But the British are not content with mediocrity,
aud I feel assured that if another exhibition of the industry
of all nations should ever take place, the same defects will
never again be imputed to us.
I have mentioned that the taste and skill of the Italians and
Erench in the arts of design were not acquired in a day, but
that they have been the growth of years ; I am satisfied that
time only is wanting to render the British fully equal to them
in these arts. It has been urged by some that the superiority
of the latter consists in the production of what is useful, and
that they cannot attain eminence in the ornamental arts; but
the word " impossible," as Lord Brougham says, " is the
mother-tongue of little souls ;'-' and the wrord "cannot" has
had no place in the national vocabulary since the day when
Bobert Bruce watched the repeated, and at length successful
efforts, of the spider to reach the wall of the hovel in which
he lay concealed.
VIII±