nothing of books bearing directly on the subject, such as the works of Owen Jones, Whewell, Dusser, etc., quaint or peculiarly appropriate mottoes will be seized on with avidity, either suggesting a design or illustrating one already in hand.
But in designing you must bear in mind the fact that you must work always within certain limitations. Absolute imitation of nature is impossible in decorative art. It is one of the principles most to be insisted on, that decoration is not picture making. It must not detract from the original usefulness of the object decorated. It also must be limited by the material in which the design is to be executed. Thus, in needle-work, the characteristic outlines of a flower are all that should be attempted. In working a pink or a corn-flower, for instance, it would be folly to imitate closely the notched edges of the petals. The fact that they are serrated can be indicated by a few lines. In like manner the veins should be suggested rather than closely copied.
Again, the design should be clear and free. Leaves which are naturally crowded and overlap each other should be so far conventionalized as to lie flat and distinct. While we may alter the arrangement of leaves and flowers to suit our purpose to a certain degree, we must remember that the character of the plant form must always be maintained. We may make a trailing or wreath-like design of the ivy, rose, or blackberry, because nature herself suggests such a use. But a wreath formed of tulips, daffodils, or calla-lilies would be a sad mistake. The upright flowers, are, however, very useful for such purposes as borders, mantel balances, etc.; but when thus used, the flowers should always be supported and bound together, in a manner, by one or more horizontal lines of decorative work. If for a border, lines above as well as below the design serve to emphasize it and throw it out. The same effect is produced by work-
