and character in some more or less systematic design or
pattern-work--adapted to special methods and materials--intended to
decorate a wall-surface or a textile, for instance; we might certainly
start with a general sketch of its appearance as before, but we should
find that we should want to understand it in its detail; the law of its
growth and construction; we should want to dwell upon its typical
character and form, the controlling lines of its masses, rather than on
its accidental aspects, because it would really be only with these that
we could successfully deal in adapting anything in nature to the
conditions and limitations of a design. To do this requires as much art
as to make a clever graphic sketch, perhaps more; but it is certainly
not so easily understood and appreciated, as a rule. Pattern-work is
taken so much for granted, except by those technically interested,
whereas a graphic sketch may bring the drama of nature, and of human
character and incident, before our eyes. It does not require us to stop
and think out the less obvious meaning, or trace the invention or grace
of line, to appreciate the rhythmic, silent music which the more
formalized and abstract decorative design may contain, _quite apart from
the forms it actually represents_.

[Illustration (f022): Study of Horned Poppy]

[Illustration (f023): Adaptation of the Horned Poppy in Design: Vertical
Panel For Needlework.]

[Question and Answer in Line]

Here we discover another function of line. For, directly we endeavour to
construct a decorative design--that is, a design intended to adorn or to
express an object or surface--we find that we must build it upon some
sort of a plan, or geometric controlling network or scaffolding, so as
to give it unity, rhythm, and coherence--especially so in the case of
repeating designs. Even in an isolated panel or picture the necessity of
this linear basis will be felt, since one cannot draw a line or define a
form without demanding an answer--that is, a corresponding, re-echoing
line or mass.

[Illustration (f024): Curves 1.Q and 2.A]

The curve (1. Q) is a proposition or question. It is answered or
balanced by the corresponding curve (2. A), and forms the basis for a
scroll design.

[Illustration (f025): Curves 1 and 2]

The five radiating lines (1) are obviously incomplete by themselves, but
if we add another four, in reverse order, (2) we get a centre