This "bloom" was seen to perfection in one or two silk rugs which were shown at the International Exhibition of 1862 in London, and it was not much less apparent in some of the carpets from India shown in the Paris Exhibition of 1867. Most Indian carpets have this colour-bloom to some extent, and few are unworthy of careful study.
Persian carpets (Fig. 80) are also models of what carpets should be; they are less radiant than many of the Indian works, but are almost more mingled in colour-effect. In pattern many of the Indian and Persian carpets are identical, being traditional, yet in colour they differ, and both are worthy of much consideration.
The Morocco carpets (Fig. 81) differ again from both those of India and Persia, and even to a greater degree than the Persian carpet differs from the Indian. In these there is often a prevalence of soft yellows and juicy yellow-greens, intermingled with reds, blues, and grey-whites, in such a manner as to produce a most harmonious and artistic effect. To the young student, and to any who may desire to cultivate his taste in respect to such matters, I say, Study the carpets of the East most carefully, especially those of India, Persia, and Morocco.
Indian carpets, such as we have just referred to, may be seen at the museum in the building of the new India Office at Whitehall, which museum is open free to the public (for examples, [see Figs. 82], 83, 84).
As to the nature of the pattern which may be applied to a carpet, we have "all-over" patterns, or patterns spreading regularly all over the surface; "geometrical" patterns, or those which have an apparent regularity of structure; and panel patterns, or those in which particular parts are, as it were, framed off from other parts.
First, as to "all-over" patterns. These are what we almost always find in both Indian and Persian carpets, and are, undoubtedly, the true form of decoration for a woven floor covering. What is desirable is an evenly spread pattern, such as will give richness without destroying the unity of the entire effect. The pattern may have parts slightly accentuated or emphasised beyond other parts, but not strongly so, and this emphasising of parts must be arranged with the view of securing to the pattern special interest. Thus, if a carpet is viewed at a distance it should not appear as devoid of all pattern, but through the slight predominance of certain leading features (in Indian carpets, generally of ornamental flowers) the plan of the design should be indicated. More detail should be apparent when the work is seen from a nearer point of view, and still more upon close inspection; but in no case should any parts appear strongly pronounced, or otherwise than refined and beautiful, and in no case should there be a want of interest manifested by the pattern.
Carpet patterns are generally better if founded on a geometrical plan. In this way most of the Indian and Persian patterns are constructed. A geometrical plan secures to the design a manifestation of order and thought in its formation. Panel patterns, unless very carefully managed, become coarse. In some Indian carpets we find a sort of panel in which the colour of the ground is changed from that of the general ground of the carpet, but here the panel has usually a truly ornamental form, and is, indeed, rather a large ornament than a sort of frame enclosing a distinct space. Whenever a panel occurs in an Indian, Persian, or Moorish carpet, it is so managed, and its surroundings are such, as to cause it to appear as a part natural to the general design; but it is far otherwise with the panel patterns which we occasionally see in our shop-windows as the produce of native industry, and it is far otherwise with those which are used in vast quantities by the Americans. Judging from the carpets which they order, I imagine that nowhere on earth is taste in matters of decorative art so depraved as it is in America. It is true that the great floral patterns have ceased to be demanded by them, but they are only replaced by coarse, raw-looking panel patterns, coloured in the most vulgar manner, and without even a hint at refinement or harmony of colour. Let the pattern be "loud" and inharmoniously coloured, and the chances of its sale in the American market are great.