Any textile may be considered, from the designer's point of view, as presenting so much surface for pattern, whether that surface is hung upon a wall, or curtains a door or a window, or is spread in the form of carpets or rugs upon floors, or over the cushions of furniture, or adapts itself to the variety of curve surface and movement of the human form in dress materials and costume. Textile beauty is beauty of material and surface, and unless the pattern or design upon it or woven with it enhances that beauty of material and surface, and becomes a part of the expression of that material and surface, it is better without pattern.
To place informal shaded flowers and leaves upon a carpet, for instance, where the warp is very emphatic, and the process of weaving necessitates a stepped or rectangularly broken outline, is to mistake appropriate decorative effect, capacity of material, and position in regard to the eye. We cannot get away, in a carpet, from the idea of a flat field starred with more or less formal flowers, and colour arrangements which owe their richness and beauty, not to the relief of shading, but to the heraldic principle of relieving one tint or colour upon another. The rich inlay of colour which a Persian or any Eastern carpet presents is owing to its being designed upon this principle; and in Persian work that peculiarly rich effect of colour, apart from fine material, is owing to the principle of the use of outlines of different colours defining and relieving the different forms in the pattern upon different grounds. The rectangular influence arising from the technical conditions of the work gives a definite textile character to the design which is very agreeable; besides, as a question of line and form, in a carpet or rug which is rectangular in shape and laid usually upon rectangular floors, the squareness of form harmonizes with the conditions and surroundings of the work in use. The Persian designer, indeed, appears to be so impressed with this feeling, that he uses a succession of borders around the central field of his carpet or rug, still further emphasizing the rectangularity; while he avoids the too rigid effect of a series of straight lines which the crossing of the threads of the weft at right angles to the warp might cause, by changing the widths of his subsidiary borders and breaking them with a constant variety of small patterns, and inserting narrow white lines between the black lines of the border.
Effect of Texture on Colour
In tapestry the effect of the emphatic warp worked vertically in the loom, but hung horizontally, has a very important influence upon the effect. If we took a piece of paper coloured with a flat even tint, and folded it in ridges, the quality of the tint would be at once changed, and so in tapestry the passing of the wool of the wefts, which form the pattern or picture, over the strong lines of the warp—which are broad enough to take the outlines of the cartoon upon them—produces that soft and varied play of colour—really colour in light and shade—which, over and above the actual dyes and artistic selection of tints, gives the peculiar charm and effect in tapestry.
This sheen and variety are more or less evident in all textiles, and a good textile pattern only adds to the variety and richness of the surface. The different thicknesses or planes of surface and the difference of their texture caused by the different wefts being brought to the surface of the cloth or silk (from the simplest contrast of line presented by the simplest arrangements of warp and weft, to the complexities of many-coloured silk stuffs and brocade) alone give a value to the surface pattern.
In cut velvet the same principle of contrast of surface is emphasized still further, the rich deep nap of the less raised parts contrasting pleasantly with the mat effect of the ground.