All ornament, according to the source and principle of its design, may be classified as either geometric, naturalistic, or conventional. Ornament of the first class consists of apparently arbitrary arrangements of circles, squares, spirals, or intersecting lines, or repetitions of simple figures. It is the natural form of expression of primitive art, as employed by savages or found on prehistoric remains; but it has been developed in some style, as, for example, the Moorish, into elaborate and beautiful patterns. Naturalistic ornament is that which is closely based upon natural objects, especially flowers and leaves, which are coloured as closely as the limitations of the material permit. Conventional ornament, which may probably be regarded as the highest class, is based upon observation of nature; but the natural forms are not slavishly copied, but conventionalised, in the sense of being selected and simplified, and adapted to the decorative purpose in view. This classification holds good of carpet design, as for other domains of applied art; and it may be interesting to trace the development of the fashion of carpet decoration with this classification in view. The geometric style is characteristic of the youthful days of British carpets, and was at its zenith in Early Victorian times. Designs of this class, rather elaborate than simple in drawing, were associated with bright and strongly contrasted colours, while black grounds, at once the most effective and the most difficult of all ground shades, were greatly in vogue. It is interesting to note that of late we have returned to the use of black, for many years an outlaw colour; though it is employed now in a more artistic manner than it was sixty years ago. With the later Victorian times is associated the development of the naturalistic style in carpets as in other decorative fabrics; flowers, singly or in bouquets, being depicted in bright colours as near to Nature as the technical limitations permitted. This style may perhaps be regarded as flourishing until gradually checked or sobered by conventionalising influences, and notably that of William Morris, to whom, indeed, it is not too much to attribute a revolution in the decorative point of view. But this revolution was both slow and partial; and the naturalistic style, founded, as it is no doubt, upon a love of Nature innate in man, is too deeply rooted ever to lose its popularity completely. It is still with us. And why not? Flowers, though not meant to be trodden under foot, are round about our feet; and they make a double appeal to the carpet designer of intrinsic beauty, and of fitness for ground decoration. A green ground carpet with pink roses, as near as may be to life, represents no doubt something of the aspiration of the dweller in town for the country; and who shall say that it is unworthy? Owen Jones is again worth quoting in this connection, even if his strictures seem excessively severe. He says—