stion in this picture,
which, with Ver Meer's "Lady at the Spinet," I should describe as
_pattern-pictures_--that is to say, while they are thoroughly painter's
pictures, and give all the peculiar qualities of oil-painting in the
rendering of tone and values, they yet show in their colour scheme the
decorative quality, and might be translated into patterns of the same
proportions and keys of colours.

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.

[Illustration (f136): Botticelli: "The Nativity" (National Gallery).]

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.

The brightest white occurs in the drapery upon which the infant Christ
lies.

An angel with a group of men appears, kneeling on the left relieved
against white rocks; their colours are--the angel's wings--peacock blue
and green, and a pale rose robe. The next figure is in scarlet; the next
yellow; and the third man wears pale rose over rich grass-green.

Of th