Four Treasures Reference Database
Record No. 29393
On the application of the microscope to the art of design
Journal Article
Slack, H.J. (1862) On the application of the microscope to the art of design. The Intellectual Observer, Vol. 1, pp. 111–114, 1 plate.
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gems, inclusions, microscopy, aesthetics, photomicrography, art
Manufacturing experience affords many instances of surprising success achieved by ornamental goods, whose patterns were judiciously selected from natural objects; but although examples of various combinations of form and colour occur in great profusion in those portions of the natural world which are accessible to unassisted sight, the microscope constantly presents us with a rich store of ideas which the decorative artist would do well to study and employ. If colour be the especial subject of his pursuit, the wings of butterflies or the wing-cases of beetles, the petals of flowers—such as London-pride—minute sea-weeds, and other common objects, are highly instructive; and if we were requested to point out an illustration of the union of extraordinary splendour with grateful repose, we could not do better than refer to the armour in which the diamond beetle is arrayed. When Mr. Owen Jones completed his Alhambra Court, at the Crystal Palace, every one was struck by the mingled softness and gorgeousness of the aspect. The eye could look steadily without being wearied, while a visit to the House of Lords, when its colours were new and fresh, afflicted observers with an unpleasant sense of tension, rapidly followed by weariness, from which there was no escape. Even in the cases of persons afflicted with colour blindness, we sometimes find that what may be called colour discords are productive of disagreeable impressions, while colour harmonies, although only partially perceived, call forth pleasurable emotions. Still more striking are the effects of colour harmonies and discords upon individuals whose physical and mental organs are in a sound and cultivated state. They are not satisfied with the mere avoidance of mistakes, or with the presentation of the most elementary concords which pigments can produce. Their tastes lead them to desire to untwist all the chains of colour harmony; they love the complicated effects of tertiary combinations, and are discontented with brilliance if it be destitute of repose.
