is subservient to its sister, Art, which uses the facts to interpret
appearances; and, when scientific diagrams are put forth as Art, the
Science is in its wrong place: it has then been treated as if it were
the Building instead of being only the Scaffolding; and the results of
such attempts cannot be considered as complete or final.

Examples of this method are given in Figs. 1 and 2. It was officially
encouraged about twenty-five years ago; and books like "Plants, their
Natural Growth and Ornamental Treatment," and "Suggestions in Floral
Design," both by F. Edward Hulme, F.L.S., etc., show it at its best.

[Illustration: FIG. 1.]

In criticising this method, there is no desire to cast any slight upon
those who were responsible for it. They were groping in the dark, and
did the best they knew, according to their lights. But Japanese work
was not known at that time, and, but for that, the Pattern artist of
to-day might still be occupied in pinning leaves and flowers against
the wall. It was, moreover, a protest against the Cabbage Rose on the
Hearth rug, that some may still remember with shuddering.

[Illustration: FIG. 2.]


§ 6.--THE DISGUISED ARTIFICIALITY TREATMENT.

In this method the student was taught to sketch out what he considered
to be good Curves and Spirals; and then (i) to bend the selected plant
so that its stem might coincide with them, regardless of its own
proper natural growth; or (ii) to deck out the first drawn spirals