_ or _plan_. (ii) The Flowers were
further _pulled in pieces_, and the Petals were _flattened out_ in a
manner similar to the Entomologists' practice of displaying their
"specimens" scientifically. Often, also (iii) the Stems and Buds were
_cut through_; and "patterns" were made with the Sections.

With regard to the first of these practices (i): it should be observed
that much of the beauty of appearance of natural foliage results from
the variety of view, the subtile curvature, and the foreshortening, as
seen in perspective; and that to sacrifice all these for the sake of a
_diagram_ would be a wasted opportunity.

With regard to the other practices (ii) and (iii): it is obvious that
these statements of the facts of the plant are useful as a part of the
Science of Botany; but can no more be considered as making Decoration
than Anatomical diagrams can be looked upon as Pictures. Some
knowledge of external Botany is useful to a Pattern artist as some
knowledge of external Anatomy is useful to the Pictorial artist. In
each of these cases, the Science, which discovers and records facts,
is subservient to its sister, Art, which uses the facts to interpret
appearances; and, when scientific diagrams are put forth as Art, the
Science is in its wrong place: it has then been treated as if it were
the Building instead of being only the Scaffolding; and the results of
such attempts cannot be considered as complete or final.

Examples of this method are given in Figs. 1 and 2. It was officially
encouraged about twenty-five years ago; and books like "Plants, their
Natural Growth and Ornamental Treatment," and "Suggestions in Floral
Design," both by F. Edward Hulme, F.L.S., etc., show it at its best.

[Illustration: FIG. 1.]

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