ition it becomes ridiculous. I therefore deprecate this kind of
ornament in textile work. For this reason embroidery, which can be
fitted to each space that is to be covered, is preferable to woven
designs, however richly or perfectly they may be carried out.

Another class of design, which must be considered apart, is the
conventional-geometrical, of which the special distinction appears to
be that it consists of echoes or fragments of what we have seen
elsewhere. These conventional patterns are often merely the _detritus_
of past styles or motives crushed and placed by time in a sort of
kaleidoscope. They remind one of the little wreaths of broken shells
and coloured sea-weeds left on the sands by the retiring waves after a
storm, and are sometimes full of beauty and suggestion. (Pl. 17.) We
trace in these fragmentary patterns forgotten links with different
civilizations; and we ponder on the historical events which have
brought them into juxtaposition. These kaleidoscope patterns are to be
seen in Persian and Turkish carpets of the present day, and we find,
on examination, little bits which can only be the remnants of a
broken-up motive, probably as much lost now to the designer who
inherits the traditional form, as to us who can only see the vague
results.

I illustrate this remark by giving the border of a modern Persian
carpet which has certainly had Egyptian ancestry. The boat, the
beetle, and the prehistoric cross are to be found in it.

[Illustration: Fig. 8.
Persian Carpet.]

Many conventional patterns of to-day are descendants of the
lattice-work of Chinese art, and of the zigzags, lines, and discs of
barbarous primitive ornamentation.

The traceries in Indian stone windows show some of the most charming
geometrical forms, and are akin to the Persian and Russian modes of
composing conventional patterns. They appear on very ancient metal
work, and are the motives of all the embroideries in the Greek islands
and the principalities, and of the linen embroideries of Russia. Their
Byzantine origin gave its impress to the European schools of the
Middle Ages, and the pattern-books of Germany and Venice of the
sixteenth century are full of them. They are best suited for the
mosaic stitches, and, kept in their places as decoration, they are
useful for carpets and borders.

It should be impressed on our young artists, that, in composing their
designs, they must be influenced by the materials to be employe