its well-being and growth. A frame is placed around it, to shut it off as
much as possible from other surroundings, and thus help us delude ourselves
that we are in the presence of the real thing, either as it would impress
us through our senses or our imagination.

But in ornamental art the case is entirely different. As it is to be
applied and consequently subordinated to something, and does not exist for
itself, it would be impossible, except in very rare instances, to introduce
in a design a natural object in a realistic manner and not violate some
important law of its growth or the conditions of its well-being. For
instance, to exactly repeat a certain rose, with all the accidents of its
growth, many times in a carpet is not natural. Nature never repeats
herself. Moreover, to tread on that which is supposed to suggest to us real
roses is barbarous. It would really be outraging and distorting nature
while pretending to be her faithful disciple and imitator.

We not only derive from nature the most important materials for our
designs, but also the various modes of arranging this material. Various
modes of repetition--radical, bilateral, etc.--were all probably suggested
by some natural arrangement observed in flowers, leaves, etc. Of these
different arrangements it is curious to note that the bilateral is more
characteristic of the higher forms of nature and the radiating of the
lower. The leading principles of ornament--symmetry, proportion, rhythm,
contrast, unity, variety, repose, etc.--are all exemplified in natural
forms. The latter have also suggested many of the most important
architectural forms. The Gothic cathedral, with its clustered columns
branching and forming pointed arches overhead, was probably suggested by a
grove of trees with overarching branches and boughs. The idea of the column
was derived from the papyrus plant, a species of reed growing in the river
Nile. The bud or flower suggested the capital of the column; the stalk, the