CHAPTER VIII
IMITATION OF NATURAL FORMS
Difficulties of Selection and Arrangement - Limits of an Imitative Treatment - Light and Distance Factors in the Arrangement of a Design - Economy of Detail Necessary - The Word "Conventional".
Broadly stated, the three most formidable difficulties which confront the beginner when he sets out to make what he is pleased to call his design for carving in relief, are: Firstly, the choice of a subject; secondly, how far he may go in the imitation of its details; thirdly, its [83] arrangement as a whole when he has decided the first two points.
Just now we shall deal only with the second difficulty, that is, how far may likeness to nature be carried. We shall do this, because until we come to some understanding on that point, a right choice of subject becomes practically impossible, consequently the consideration of its arrangement would be premature.
There is, strictly speaking, only one aim worthy of the artist's attention, be he carver or painter; and that is the representation of some form of life, or its associations. Luckily, there is a mighty consensus of opinion in support of this dictum, both by example and precept, so there is no need to discuss it, or question its authority. We shall proceed, therefore, to act upon it, and choose for our work only such material as in some way indicates life, either directly, as in trees, animals, or figures, or by association, and as explanation thereof, as in drapery and other accessories—never choosing a subject like those known to painters as "still life," such as bowls, fiddles, weapons, etc., unless, as I have said, they are associated with the more important element. [84]
You have already discovered by practise that wood has a grain which sets bounds to the possibilities of technique. You have yet to learn that it has also an inordinate capacity for swallowing light. Now, as it is by the aid of light that we see the results of our labor, it follows that we should do everything in our power to take full advantage of that helpful agency.
It is obvious that work which can not be seen is only so much labor thrown away. There is approximately a right relative distance from which to view all manner of carvings, and if from this position the work is not both distinct and coherent, its result is valueless.
Then what is the quality which makes all the difference between a telling piece of carving, and one which looks, at a moderate distance, like crumpled paper or the cork bark which decorates a suburban summer-house? The answer is, attention to strict economy in detail. Without economy there can be no arrangement, and without the latter no general effect. We are practically dealing, not with so much mere wood, but unconsciously we are directing our efforts to a manipulation of the light of day—playing with the [85] lamps of the sky—and if we do not understand this, the result must be undoubtedly failure, with a piece of wood left on our hands, cut into unintelligible ruts.
But what, you will say, has all this to do with copying the infinite variety of nature's detail; surely it can not be wrong to imitate what is really beautiful in itself? You will find the best answer to this in the technical difficulties of your task. You have the grain of the wood to think of, and now you have this other difficulty in managing the light which is to display your design. The obstinacy of the wood may be to some extent conquered, and indeed has been almost entirely so, by the technical resources of Grinling Gibbons, but the treatment demanded by the laws of light and vision is quite another question, and if our work is to have its due effect, there is no other solution of the problem than by finding a way of complying with those laws.
If I want to represent a rose and make it intelligible at a glance from such and such a point of view, and I find after taking infinite pains to reproduce as many as I can of its numerous petals, and as [86] much as possible of its complicated foliage, that I had not reckoned with the light which was to illuminate it, and that instead of displaying my work to advantage, it has blurred all its delicate forms into dusky and chaotic masses, would I not be foolish if I repeated such an experiment? Rather, I take the opposite extreme, and produce a rose this time which has but five petals, and one or two sprays of rudimentary foliage. Somehow the result is better, and it has only taken me a tenth part of the time to produce. I now find that I can afford, without offending the genius of light, or straining my eyesight, to add a few more petals and one or two extra leaves between those I have so sparingly designed, and a kind of balance is struck. The same thing happens when I try to represent a whole tree—I can not even count the leaves upon it, why then attempt to carve them? Let me make one leaf that will stand for fifty, and let that leaf be simplified until it is little more than an abstract of the form I see in such thousandfold variety. The proof that I am right this time is that when I stand at the proper distance to view my work, it is all as distinct as I could wish it to be. Not a leaf-point [87] is quite lost to sight, except where, in vanishing into a shadow, it adds mystery without creating confusion.
We have in this discovery a clue to the meaning of the word "Conventional": it means that a particular method has been "agreed upon" as the best fitted for its purpose, i.e., as showing the work to most advantage with a minimum of labor. Not that experience had really anything to do with the invention of the method. Strange to say, the earliest efforts in carving were based upon an unquestioning sense that no other was possible, certainly no attempts were made to change it until in latter days temptations arose in various directions, the effects of which have entailed upon ourselves a conscious effort of choice in comparing the results of the many subsequent experiments.
Before I continue this subject further, I shall give you another exercise, with the object of making a closer resemblance to natural forms, bearing in mind the while all that has been said about a sparing use of minute detail with reference to its visible effect. We shall in this design attempt some shaping on the surface of the leaves and a little rounding too, which [88] may add interest to the work. In my next lecture to you, I shall have something to say about another important element in all designs for wood-carving. I mean the shapes taken by the background between the leaves, like the patches of sky seen behind a tree.
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