As examples of what might be termed picture-patterns we might recur to the wall paintings, as I have said, of ancient Egypt and early art generally, for their simplest forms; but to take a much later instance, and from the art of Florence in the fifteenth century, look at Botticelli's charming little picture of "The Nativity," in the National Gallery. It has all the intentional, or perhaps instinctive, ornamental aim of Italian art, and its colour scheme shows a most dainty and delicate invention in the strictest relation to the subject and sentiment, and is arranged with the utmost subtlety and the nicest art.
Botticelli
The ring of angels above, for instance, is partly relieved upon a gilded ground—to represent the dome of heaven. They bear olive branches, and the colour of their robes alternates in the following order: rose, olive (shot with gold), and white.
The rose-coloured angels have olive and white wings; the white angels, rose and olive wings; and the olive angels, white and rose wings.
This part of the picture by itself forms a most beautiful pattern motive, while it expresses the idea of peace and goodwill.
Then on the brown and gold thatch of the stable occur three more angels in white, rose, and green, respectively. Against a pale sky rise rich olive-green trees, forming the background.
The Virgin strikes the brightest ray of colour in red under-robe and sky-blue mantle. There is a gray white ass and a pale brown cow behind her.
St. Joseph is in steel gray with a golden orange mantle over.