Even when the leaves appear somewhat dispersed upon the stem, a principle of order can yet be distinctly traced in the manner of their arrangement, as is diagrammatically expressed in Figs. 74, 75, 76; and here, also, the top view gives us a regular radiating ornament.[25]
The same law prevails in the flower that we have traced as existing in the arrangement of leaves upon the stem: thus Fig. 77, which represents the London pride (Saxifraga umbrosa), affords an example of a regular radiating flower, which we find so placed, in different examples, as to appear as a floor or wall ornament; and Figs. 78 and 79, the former being the flower of the speedwell (Veronica), and the latter that of the common pansy (Viola tricolor), furnish us with illustrations of bilateral flowers intended only as wall ornaments. In order to secure our seeing the pansy only laterally, it is furnished with a bent stalk; hence it never rests horizontally upon the summit of its stem, but always hangs so that it is perfectly seen only from the side.
There are cases, however, in which bilateral flowers are placed horizontally; but it is very interesting to notice that when this occurs the disposition or arrangement of the flowers is such as to restore the radiating symmetry. Thus, if we take the candytuft (Iberis) or the common hemlock (Conium), we find that while each flower is bilateral in character, the flowers are yet arranged around a centre in such a manner that the smaller portion of each flower points to the centre of the flower-head, while the larger parts point outwards from the centre of the group. These, then, are the teachings of plants, to which we are called upon to hearken.
The above illustrations are not only useful examples of the suggestions of plant-forms to the ornamentist, but form excellent material to the art-student for the conventional treatment of leaves and sprays, buds and blossoms. They will also serve to indicate the kind of plant-forms that should be chosen for decorative purposes. Students of this branch of art would find it a useful practice to make a collection of flowers and plants or parts of plants that appear to offer features similar to those of which we have been writing, and test their capabilities for decorative purposes, by endeavouring to arrange them for the ornamentation of wall and floor, as we have treated the plant-forms indicated in this chapter.
We have now seen the principle on which all carpet patterns should be constructed as distinctive from wall patterns, and in order to impress the necessity of giving a radiating basis to the ornaments placed upon carpets, and not a bilateral structure, we have referred to the principle of plant growth, where we noticed that all plants, when viewed as floor ornaments (when viewed from above), are of a radiating character; whereas if they are seen as wall or vertical ornaments, they are either radiating or bilateral. This is a necessity of a carpet pattern, that it have a radiating structure, or, in other words, that it point in more than two directions.
Man naturally accustomed to tread on grass, when brought into a state of civilisation, seeks some covering for his floor which shall be softer to the tread and richer in colour than stone or brick. And in our northern climate he seeks also warmth; hence he chooses not a mere matting, or lattice of reeds, but a covering such as shall satisfy his requirements.
In early times our floors appear to have been strewn with sand—a custom still lingering in some country districts; then came the habit of strewing reeds over the floor, and on the part of the opulent, sweet-scented reeds (Acorus calamus). And it is curious to notice, in connection with this subject, that one of the charges brought by Henry VIII. against Cardinal Wolsey was that of extravagance in the use of sweet reeds. This use of reeds was succeeded by the employment of mats of simple appearance, formed of a kind of grass, and these by the introduction of wool mats, which, at first, were chiefly imported, but afterwards manufactured in our own country. The wool mats were in their turn replaced by carpets, which gradually increased in size till their proportions became such as to cover the entire floor on which they were placed.
This brief history brings us to notice what is required of a carpet:—it should be soft in texture, rich in appearance, and of "bloomy" effect.
We may add to these requirements by saying that a carpet should also be a suitable background to all works of furniture or other objects placed upon it, and that in character it should accord with the objects with which it is associated in any particular apartment.
Considering more fully these requirements, we notice that a carpet should be soft. This is very desirable, for softness gives a sense of comfort, and with softness is generally combined durability of the fabric; but softness can scarcely be regarded as an art-quality. Yet as the art which an object bears is more leniently viewed when the fitness of the object to the purpose for which it is intended is apparent, we may safely regard softness as a very desirable quality of a carpet.