With any textile, as I have said, we are as designers dealing with surface. It is surface ornament that is wanted also in printed cotton. Now good line and form and pure tints have the best effect, because they do not break the surface into holes, and give a ragged or tumbled appearance, which accidental bunches of darkly-shaded flowers in high relief undoubtedly do. If small rich detail and variety are wanted, we should seek it in the inventive spirit of the Persian and Indian, and break our solid colours with mordants or arabesques in colour of delicate subsidiary pattern instead of using coarse planes of light and shadow, or showing up ragged and unrelated forms upon violent grounds.
The true idea of a print pattern is of something gay and fanciful: bright and fresh in colour, and clear in line and form: a certain quaintness is allowable, and in purely floral designs there is room for a considerable degree of what might be called naturalism, so far as good line-drawing and understanding of flower form goes, emphasis of colour being sought by means of planes of colour, rather than by planes of shadow.
I had intended to touch upon other provinces of design, but I have taken up so much space with those I have been discussing already that I can only now briefly allude to these.
Wall-Paper
Of wall-paper, which may be regarded in the light of more or less of a substitute for mural painting, and also textile wall-hangings, much the same general principles and many of the same remarks apply as have been already used in regard to mural decoration. The designer has much freedom as to motive, and his ingenuity is only bounded by or concentrated in a square of twenty-one inches. If he has succeeded in making an agreeable pattern which will repeat not too obviously over an indefinite space, to form a not obtrusive background, and which can be printed and sold to the ordinary citizen, he is supposed to have satisfied the conditions.
But he may be induced to go further and attempt the design of a complete decoration as far as dado, field, frieze, and ceiling go; and this would involve all the thought necessary to the mural painter, narrowed down to the exigencies of mechanical repeat.
Allied to the wall is the window, and in glazing and the art of the glass-painter we have another very distinct and beautiful sphere of line design. In plain leading the same law of covering vertical surface holds good as to selection of plan and system of line: almost any simple geometric net is appropriate, if not too complex or small in form to hold glass or to permit lead to follow its lines. Leaded panels of roundels (or "bull's eyes") of plain glass have a good effect in casements where a sparkle of light rather than outward view is sought for.
Stained Glass