o the origin of the decoration, and
the moment we think of it, the eye is annoyed by seeing a deep fringe
of one or two colours traversing the whole widths of the frontal and
super-frontal, quite irrelevantly, and without any reference to the
masses of colours, woven or embroidered, above them; and the
consequence of this carelessness is, that it makes it look as if this
part of the decoration, came from another source, independent of the
composition which it ought to supplement. The fringe should belong to
the whole design, and be carefully fitted to the spaces occupied by
the colours above it, each of its compartments or divisions being
filled in with those tints which are most conspicuous in the general
design and would show effectively in the warp. It is not necessary to
account for all the colours, as the threads employed to form the woof
would naturally disappear at the sides of the web. The sections of the
fringe should be skilfully arranged so as to reappear at equal
distances, or at least they should be so balanced as to produce that
effect. If this is impossible, the fringe should be all of one shade,
matching exactly the ground of the textile. It may be relieved by
clustered knobs, or hanging beads or cups of different colours and
gold. The celebrated pluvial at Aix-la-Chapelle has a fringe of gold
bells hanging to a gold cord, which amalgamates with the pattern.[552]
The veils of the Sanctuary in the wilderness were fringed with
attached ornaments, bells, blossoms, knops, flowers, and fruit, which
sounds extremely pretty.

To resume, let me once more urge that in church work neither time nor
trouble be spared; nor yet money grudged, if possible. The design
should be full of intention, the stitching perfect, and the materials
most carefully chosen for tints, for endurance and smoothness.
Remember that no inferior substitute will serve to give present
effect, nor will it last into the future.

Design, as I have elsewhere said, is all the better for being to a
certain degree circumscribed, relegated, and regulated by the laws of
traditional usage, as well as those of good taste, and this applies
especially to ecclesiastical design.

These laws serve as the frame which encloses the motive thought, and
makes it a complete whole, that can admit of no amplifications.

New symbols should not be adopted except for the expression of new
facts or altered circumstances, and these can but seldom enter into
liturgica