our leading forms. Of course we can make a network or trellis or diaper
of the angles, to form a mat, ground, or a framework on which to place
our broad masses, as we may see effectively done by the Chinese and
Japanese.

[Corresponding Forms]

[Illustration (f054): Treatment of Fruit and Leaf Forms: Corresponding
Curvature]

If the principal group of forms in our pattern, say, are fruit
forms--apples, pomegranates, or oranges--we must re-echo or carry out
the curves in a lesser degree in the connecting stems and leaves. Change
the form of the fruit, say, to lemons, and a further variation of
connecting or subsidiary curve in stems and leaves will naturally
suggest itself, and at the same time in following such principles we
shall be expressing in an abstract way more of the character of the tree
or plant itself. In looking at the leaf of a tree one may often see a
suggestion of the general character and contour of the tree itself, and
we know the line:

"Just as the twig is bent the tree's inclined."

In dealing with angular motives the same principle would be followed,
but corresponding to the difference of motive. Let the form of your
detail be reflected in the character of your mass.

I have spoken of the necessity in designing of seeking correspondences
in form, and although, could we place every form in proper sequence and
supply all the intermediary links to unite them harmoniously, forms of
extreme diversity might thus be associated, given great extension of
space (as in wall decoration, for instance), even then we should want
these forms to correspond and recur. Yet, as a rule, having to deal in
design with what are really parts rather than wholes, we can only
endeavour by making the design of these parts simple and harmonious in
line and form, and true to their special conditions, to render their
association decoratively possible.

[Illustration (f055a): Correspondence in General Contour Between Leaf
and Tree.]

[Illustration (f055b): Some Analogies in Form.]

Certain forms seem to lend themselves to design in ornament better than
others, because they give the designer certain lines and masses which
can be harmoniously repeated or combined with other allied forms or
lines. Design from this point of view becomes a search for analogies of
form.

[Analogies of Form]

I mentioned certain s