In this method the student was taught (i) to draw each plant with the Stem straightened out, the Leaves flattened out, and the Flowers represented as in side elevation 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 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.