er than those ornamented. When ornament gives absolute evenness of
space division in skirt or waist the effect is apt to be monotonous and
unsatisfactory.

The natural places of support for garments are the neck, shoulders and
waist. Ornamentation which emanates from these centers or when used for
borders, if appropriate in design, is usually successful.

ORNAMENT OF TEXTILES

In addition to ornament added to garment, the ornament in the textile
itself must be considered.

[Sidenote: Appropriate Designs]

Textiles may be beautiful in weave, but spoiled by the design. Quite as
important as intrinsic beauty is appropriateness of pattern. How often
do we see woven on our curtains, carpets, and garment materials fans,
bunches of roses tied with ribbons--bows with long, fluttering
ends--landscapes, snow scenes, etc. Nothing is beautiful out of its
place. A fan suggests coolness and grace of motion, but woven in our
textiles it gives the same impression as a butterfly mounted on a
pin--something perverted, imprisoned, or robbed of its natural use.
Nothing is or ever can be beautiful without use--without harmony.
Decorations on textiles are not to tell stories. There is a difference
between landscape painting and using landscapes as a motive for
decorating textiles or pottery. In one case the aim is to annihilate
surface by producing the impression of distance; in the other, the
object is to glorify the surface only.

[Sidenote: Advantage of Plain Material]

For the woman of limited income it is wiser to select plain material of
good texture and weave. Such material is never conspicuous, can be made
over, and is always restful and may be interesting. Any good textile
must impress itself upon the mind by its suggestiveness and beauty of
color. There is a difference between what may be called artistic and
decorative embellishment of textiles. Each has its place in the world
of beauty, but one is the poetry, the other the prose of the art.

[Sidenote: Stripes]

There is a dignity and restfulness in plain material which is never
obtained by varied patterns. When a stripe is used to vary the material,
the style of the textile is changed, elongated if the stripe is
vertical, and widening if it is horizontal. If the main stripe is cut at
right angles with a second stripe, the textile appears more complicated
and repose is lost. The same is true of checks, but no pattern is more
distracting than large plaids, especially w