Having hastily noticed the chief kinds of carpet in use in this country, and we might say in almost all countries, we come to the question—what form of pattern, or what character of ornament, should form the "enrichment" of such a fabric?
When speaking in a previous chapter [(see page 92)] of wall decorations, we noticed that a wall-paper pattern, or, indeed, a wall pattern of any kind, might desirably have an upward direction and a bilateral symmetry. This can never be the case, however, with a carpet pattern, which must be equally extended all over the surface, or have a simple radiating symmetry, as Fig. 56; and this rule will apply whether the pattern be simple or complicated. It is not wrong, as we have said before, to have a radiating pattern on a wall, but it is wrong to have a bilateral pattern on a floor.
The reason of this is obvious. If such an object as we have indicated is placed on a wall, from whatever point the occupants of the room may view it, it is yet right way upwards to them; but if such an object were placed on a floor it would be wrong way upwards, or sideways, or oblique to most of those who viewed it; and to employ a pattern of this character in such a position is highly absurd, when a pattern can as readily be formed which will avoid this unpleasantness. What would we think were we asked to view a picture, or even to visit an apartment containing such, were this work of art presented to our view in an inverted manner? We should feel astonished at the absurdity; yet this would be no worse than expecting us to view a carpet while the pattern is to us in an inverted position.
And the principle which we have just set forth is one taught by a consideration of plants. If we wander over the moor, where we tread on Nature's carpet, we find that all the little plants which nestle in the short mossy grass are "radiating ornaments"—that is, they are pretty objects which consist of parts spreading regularly from a centre.
I cannot too strongly advise the young ornamentist to study the principles on which Nature works. Knowledge of the laws which govern the development of plant-growth is very desirable; but it is not our place to imitate even the most beautiful of plant-forms—this being the work of the pictorial artists. Yet it is ours to study Nature's laws, and to observe all her beauty, even to her most subtle effects, and then we may safely pillage from her all that we can consistently adapt to our own purposes. But in order that we produce ornament, we must infuse mind or soul into whatever we borrow from her. [(See page 2.)]
With the view of more fully impressing the manner in which Nature teaches us principles which we may apply in art, and of aiding the student in his inquiries, we will give one or two illustrations. Thus Fig. 64 is a drawing of a spray of the guelder rose (Viburnum opulus) when seen from the side, or, as I might express it, when viewed as a wall decoration; and Fig. 70 is the same spray as seen from above, or, to use the same manner of expression, when seen as a floor pattern. Further, Fig. 71 represents a young plant of a species of speedwell (Veronica) as a wall ornament, and Fig. 72, the same plant when seen as a floor ornament; and Figs. 65 and 73 represent a portion of the goosegrass (Galium Aparine) as seen in the same two views.
From these illustrations we see that plants furnish us with types of two essentially different ornaments, which are adapted to the decoration of the two positions of wall and floor, and may be introduced with truthful expression and effect into wall-paper or carpet.
