winding ornaments, the Byzantines, the Moors, and the architects of
our cathedrals in their finest works. Intertwined mosaics, and
intersection of arches and ribs, all spring from complication."

To follow the interlacing line of an ornament, gives the mind the
pleasure of untying the Gordian knot, without cutting it. It gives the
excitement of curiosity, pursuit, and discovery. "When we see these
traceries so skilfully plaited, in which straight lines and curves
intermingle, cross, branch out, disappear and recur, we experience a
high pleasure in unravelling a puzzle which at first, perhaps,
appeared to be undecipherable; and in acknowledging that a latent
arrangement may be recognized in what at first, and at a distance,
seems an inextricable confusion." The Celtic, Moorish, and Gothic
styles illustrate and are explained by these remarks; and they are
well worthy the attention of the designer.

Having so freely borrowed from M. Blanc's chapter on the general laws
of ornamentation, I will finish my quotations with the words with
which he concludes: "There is no decoration in the works of nature or
the inventions of men which does not owe its birth to one of the
original principles here enumerated, viz. Repetition, Alternation,
Symmetry, Progression, and Balanced Confusion; or else to one of their
secondary causes, consonance, contrast, radiation, gradation, and
complication; or lastly, to a combination of these different elements,
which all finally lose themselves in a primordial cause--the origin of
the movements of the universe--ORDER."[85]

The extracts from M. Blanc's works I have carefully placed between
commas, being most anxious to express my obligation to him for his
carefully formulated epitome of the laws of design. But though I have
largely quoted, there remains still much most interesting and
suggestive matter, which I recommend the reader to seek in his book.

Though we should call to our aid the general laws of design for all
art, we must select from them what is specially appropriate for the
needs of our craft. From the art of needlework we should eliminate
as much as possible all ideas of _roundness_, all variety of surface
and effects of light and shadow and contrasting colours. Unity,
softness, grace, refinement, brightness, cheerfulness, pleasant
suggestions,--these should be the objects in view when we design the
panels for the drawing-room or boudoir, the hangings for the bed, or
the cover for