stray from the prescribed path, when large and important views are opened on every side, as I travel on from point to point.

in

In sketching the history of design, as well as I may so short a space, it is only considered in the light in which it illustrates our craft.

I repeat that the design should be informed by the motive which suggested it, and by the need which has called it forth; and it must be moulded to the space it has to fill, and the position it will occupy. The design must be modified into different outward forms, according to whether it is to be fitted to the edge of a building against the sky; to a high panelled wall; to be applied as a frieze, or round the capital of a pillar; to the embroidered cover of an altar, or the silken hangings of a bed, or the framed flat spaces on the walls of a saloon. In fact, "intention," "place," and "shape" are necessary motives and limits to a flat design.

Leaving aside all architectural ornamentation, and adhering only to my own subject, embroidery, I will limit my observations to the three purposes here suggested. Firstly, as the central effect of the holiest part of a church; secondly, in the domestic and comfortable room, to be adorned and made cheerful; and thirdly, as decking the refined and gay saloon or banquetting-hall.

To the church we should devote the most splendid and effective contrasts, to blaze unframed against dark empty backgrounds, or amidst stone and marble decorations ; something set apart from its surroundings, and asserting that separation, is the desirable effect to be attained.

A totally different set of rules come into play when we have to select the decorations of a bedroom. Here a background does not exist. We are surrounded by four walls very near to the eye, so that perspectives are a secondary interest, if indeed they can claim any con

sideration; severe and magnificent ornamentation is out of place, except perhaps in that time-honoured institution -to be found in every great house possessing a suite of reception-rooms-the State bedroom, where the display of hangings and embroideries was the first motive of the decoration of the past, clothing and garnishing the bare spaces on the lofty walls. Space and separateness are not the object or aim of the bedroom of to-day; but lightness, snugness, and cheerful comfort, with which the design of the textile ornaments have much to do. This will in a later chapter come under the head of furniture.

For the saloon we may accept any splendour of rich and costly design, and the variously shaped panels assist in suggesting the form of the decoration. The plain or moulded panels, called in Italian "targhe," or shields, seem to be descended from the actual shields of gold which Solomon hung on the walls of the king's house in the Forest of Lebanon.1 The motive was apparently Tyrian, and traces of it are also to be found in Assyrian sculpture.2

The practice of framing the design gives opportunities for change of materials, colour, and pattern, permitting the employment of different flat surfaces laid on each other, and scope for endless enrichment; the framed picture being, perhaps, the central culminating attraction, crowning, as it were, the textile ornamentation.

I merely give these instances as illustrating the rule that we have more than once laid down, that a design cannot fitly be employed except in the position for which the artist has composed it. I will, however, add that though it is right to give due consideration to the

1 1 Kings x.; Ezek. xxvii. 10, II. See Stanley's "Lectures on the Jewish Church."

Layard's "Nineveh and its Remains,” vol. ii. p. 388; Rawlinson's "Ancient Monarchies," vol. ii. p. 2.

preparation of each work for its intended use, yet we often have charming suggestions offered to us, by the chance acquisition of a beautiful artistic specimen, which finds its own place and accommodates itself to the surrounding colours and forms. These are the happy accidents of which the cultivated artistic eye takes advantage, adding them to the experience which may help those who are seeking for the rules of harmony and contrast in design.

Research into the mysteries and principles of design applies to woven arabesques and patterns, and must include machine-made textile ornament, and all decorative needlework. It is, in fact, the fabric for the million which most especially needs the careful study of guiding rules. When a plant sends forth hundreds of winged, wind-blown seeds, like the thistle, it spreads itself over wide fields, and is more mischievous than a more noxious growth, such as the deadly nightshade, which only drops an occasional berry into the earth. So a common cheap chintz or carpet, with a poor, gaudy, motiveless design, carries a bad style into thousands of homes wherever our commerce extends; disgracing us, while it corrupts the taste of other nations.

In addressing our young designers, I would remind them that in art the race is not always to the strong. Prudence and educated powers, thoughtfulness and study, often carry us where unassisted and uncultivated genius has signally failed. Even such facilities as are afforded by the acquirement of freehand drawing, as taught in our schools of art, are not to be despised. The workman should thoroughly master his tools, or they will hamper him. The first step towards design is that you should learn to draw. After this, appreciation and observation are necessary, and due balance in outline and colour should be studied; and all this is as much needed in

drawing a pattern as in composing a picture. The dif ference lies in our art being only decorative, wherein beauty and fitness are to be remembered, and nothing else; whereas the picture may have to record historical facts, or to inspire poetical thoughts-to awe or to touch the beholder. A decorative design is only asked to delight him. Intelligent delight, however, can only be evoked by intelligent art, and to this, decoration must be subjected.

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CHAPTER III.

PATTERNS.

IN the last chapter on design I have described patterns as the examples or illustrations of the art of decoration, and as being the records of the motives which produced them in different eras. My present object is to class and define patterns as decorative art.

It is argued by some archæologists that the recurrence of a pattern, for instance the "wave," over the whole world, proves that it really came from many sources, under the same conditions of life and art; showing also that a pattern is a thing that, like a flower, must grow, if the culture of the race be equal. I do not believe this. We can nearly always trace the family history of a pattern to its original motive; and in the very few cases where we are unable to do so, it is hardly necessary to cover our ignorance by stretching the fashionable theory of development over the few instances that are as yet unaccountable.

I have been repeatedly asked to procure or to invent a new pattern. Such is my respect for the decorative. achievement called a "pattern," that I cannot hope for the moment of inspiration in which I might create such a thing. If any one has in his lifetime invented a pattern, he has done something truly remarkable, and as rare as is a really original thought on any subject. Patterns are commonly, like men, the result of many centuries of long descent from ancestors of remote. antiquity.