with the leaves and flowers of the selected plant.

With regard to the first of these practices: it is much more foolish
than the Analysis method; and is little short of blasphemy against the
Great Designer. He has determined how each plant shall grow: how,
within limits of cultivation, its stems and branches shall separate,
each to seek its own share of air and sunshine; how its leaves shall
stand erect or droop, each according to its function; and always in
perfect beauty. And further: how each family of plants shall have its
own method of branching; which is as much a part of its character and
often of its beauty as are the Flowers and Leaves.

The second practice, which generally produces a result similar to the
first, is quite as unthinking. It is more often practiced; and is
responsible for many of the labored and uninteresting designs which
are common. If the Pattern-artist deck-out the old worn-out and common
place spirals with leaves and flowers borrowed from Nature--the result
is like the "voice of Jacob and the hands of Esau;" it is merely a
Disguise of Artificiality.

An example of this method is given in Fig. 3. It was generally
practiced in Germany; and books like "Das Vegetabile Ornamente," by K.
Krumbholz, show it at its best.

[Illustration: FIG. 3.]

If this treatment were universally followed--there would soon be an
end to design with natural foliage. The spectator might observe one
border which appeared to be a Rose, another a Tulip, the third a
Thistle, and the fourth a Fuchsia; and, on examination, discover that