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.] Sec. 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 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 these were not Rose, Tulip, Thistle, and Fuchsia; but merely that very artificial old friend--the Spiral-scroll--_in disguise_. An apologist for this method remarks:--" ... In such matters as the ramification of plants, ... nature is always making angles and elbows [_sic_] which we are obliged, in decorative treatment, to change into curves for our purpose;...". This opinion needs only to be applied to animals in order to exhibit its absurdity; and with regard to plants, it will be seen that this tampering has not even the poor merit of success. Sec. 7.--NOTE ON SYMMETRY.