as on the light woolen shawl that is thrown round the shoulders of his
wife, and even the brightly colored glass knicknacks on the mantel-piece,
manufactured in Silesia after the Indian patterns of the Reuleaux
collection, again show the same motive; in the one case in the more
geometrical linear arrangement, in the other in the more freely entwined
spirals.

Now you will perhaps permit me to denominate these three groups of patterns
that occur in our new home fabrics as modern patterns. Whether we shall in
the next season be able, in the widest sense of the word, to call these
patterns modern naturally depends on the ruling fashion of the day, which
of course cannot be calculated upon (Fig. 2).

[Illustration: FIG. 2.]

I beg to be allowed to postpone the nearer definition of the forms that
occur in the three groups, which, however, on a closer examination all
present a good deal that they have in common. Taking them in a general way,
they all show a leaf-form inclosing an inflorescence in the form of an ear
or thistle; or at other times a fruit or a fruit-form. In the same way with
the stucco ornaments and the wall-paper pattern.

The Cashmere pattern also essentially consists of a leaf with its apex
laterally expanded; it closes an ear-shaped flower-stem, set with small
florets, which in exceptional cases protrude beyond the outline of the
leaf; the whole is treated rigorously as an absolute flat ornament, and
hence its recognition is rendered somewhat more difficult. The blank
expansion of the leaf is not quite unrelieved by ornament, but is set off
with small points, spots, and blossoms. This will be thought less strange
if we reflect on the Eastern representations of animals, in the portrayal