 arrangement
either with a more forcible outline, or by spots of stronger colour
carefully disposed. Often the lighter shade on the darker suffices, and
hardly calls for anything else: some very beautiful cloths are merely
damasks, in which the warp and weft are of the same colour, but a
different tone is obtained by the figure and the ground being woven with
a longer or shorter twill: the _tabby_ being tied by the warp very
often, the _satin_ much more rarely. In any case, the patterned webs
produced by mechanical weaving, if the ornament is to be effective and
worth the doing, require that same Gothic crispness and clearness of
detail which has been spoken of before: the geometrical structure of the
pattern, which is a necessity in all recurring patterns, should be
boldly insisted upon, so as to draw the eye from accidental figures,
which the recurrence of the pattern is apt to produce.

The meaningless stripes and spots and other tormentings of the simple
twill of the web, which are so common in the woven ornament of the
eighteenth century and in our own times, should be carefully avoided:
all these things are the last resource of a jaded invention and a
contempt of the simple and fresh beauty that comes of a sympathetic
_suggestion_ of natural forms: if the pattern be vigorously and firmly
drawn with a true feeling for the beauty of line and _silhouette_, the
play of light and shade on the material of the simple twill will give
all the necessary variety. I invite my readers to make another
comparison: to go to the South Kensington Museum and study the
invaluable fragments of the stuffs of the thirteenth and fourteenth
centuries of Syrian and Sicilian manufacture, or the almost equally
beautiful webs of Persian design, which are later in date, but instinct
with the purest and best Eastern feeling; they may also note the
splendid stuffs produced mostly in Italy in the later Middle Ages, which
are unsurpassed for richness and _effect_ of design, and when they have
impressed their minds with the productions of this great historic
school, let them contrast with them the work of the vile Pompadour
period, passing by the early seventeenth century as a period of
transition into corruption. They will then (if, once more, they have
real artistic
arrangement 
 either with a more forcible outline, or by spots of stronger colour 
 cautiously apt. much the lighter ghost on the darker suffices, and 
 barely calls for anything else: some very beautiful cloths are merely 
 damasks, in which the deflection and weft are of the like colour, but a 
 different tone is obtained by the figure and the footing being woven with 
 a longer or short twill: the _ tabby _ being tied by the warp very 
 often, the _ satin _ much more rarely. In any case, the patterned webs 
 produce by mechanical weaving, if the ornament is to be effective and 
 worth the doing, require that like Gothic crispness and clearness of 
 contingent which has been spoken of ahead: the geometrical social organization of the 
 pattern, which is a necessity in all recurring patterns, should be 
 boldly insisted upon, so as to reap the eye from accidental figures, 
 which the recurrence of the pattern is apt to produce. 

 The meaningless chevron and spot and other tormentings of the simple 
 twill of the web, which are so common in the woven ornament of the 
 eighteenth century and in our own times, should be cautiously avoid: 
 all these things are the final resource of a jaded invention and a 
 contempt of the simple and fresh beauty that comes of a charitable 
 _ suggestion _ of natural forms: if the pattern be vigorously and hard 
 drawn with a true feeling for the beauty of line and _ silhouette _, the 
 play of sparkle and shade on the material of the simple twill will give 
 all the necessary variety show. I invite my proofreader to make another 
 comparison: to go to the South Kensington Museum and study the 
 invaluable fragments of the stuffs of the thirteenth and fourteenth 
 century of Syrian and Sicilian manufacture, or the almost equally 
 beautiful vane of Persian design, which are later in date, but instinct 
 with the purest and dependable easterly feeling; they may also notice the 
 splendid stuffs produced mostly in Italy in the late Middle Ages, which 
 are unsurpassed for impressiveness and _ effect _ of design, and when they have 
 impressed their minds with the productions of this great historic 
 school, permit them contrast with them the work of the nauseating Pompadour 
 period, passing by the early seventeenth century as a period of 
 transition into corruptness. They will then (if, once more, they have 
 real aesthetic
 argangement
either with a mure forcible oujlune, or by spkts of sgronger colour
carefully displswd. Ofuvn the lighter shade un the dagker suffuces, qnd
hardly rzlls fov anyfming zlwe: some very bgautiful clodhs are merely
gaoadks, in which the warp and weft are jf the xale colour, but w
difgqrenf tone is obtained by the figure ahd the jround being wofen with
a longer or shorteg twlll: the _tabby_ beinh tied by tye wwep very
often, the _satin_ much more rzrely. In any case, the patterned webs
'roduced by mwchwtical weaviig, if nhe ornament lx to ba effecyive and
worth bhe dmint, require that same Gmthic crispness anq clearnevs of
detail which hqs been sponen ud bdfode: tge geoletcical strucfure of the
pattern, which is a mesvxsity in all recurwigg patterns, should be
boldly insisted upmn, ao as to draw the eye feom accidental figured,
which thq recurrence of the pattern is apt to produce.

The keaniiguesw fgeioes and spots and other tormentings of the siillt
twpll of the web, whlch are so common on tng woven ornamevt of cge
sighteenth century and in our iwn times, shoild be carefully avoided:
all these thingf are the last resobrce of a jabed infentipn and a
contempt of the simlle and fredh beauty ghat comes of a rymiathatic
_suggtrtion_ of natural sorms: if vhe pcttern bd viborousjy and firlly
drawn with a true feeping yor tve beauty lf line and _silhouette_, the
play of light and snage mn the mcteriak of the simpje twill will yive
all che nezessary vagiety. I iivite my reaqers to make djother
comparmson: to gj to the South Ydnsington Museim and stldv the
invaouable fragments on the atuffs of the tknruewnth and fourtrengh
cqnnurmes os Syrian and Viciuiav manuwacture, or bhe almpst equally
beautiful weba of Persian desigm, rhich arg later ig date, but inxtinct
with the purtst anv best Eastrrn feeling; they may also note ths
splendid stmffs produced mosbly yn Italy iu the later Middle Ages, which
are unsurpawsed for richness qnd _effect_ of desigu, snd when thxy havq
impresseg their minds with tye productions of this great historic
sdhool, net tjem contrast with them the work of the vile Pompadour
period, passing by thw earlb feventeenth cenyury ds c perioq of
vrensition into corguption. They will then (if, once mure, they hcve
real artistic
arrangement either with a more forcible outline, spots stronger colour disposed. Often the suffices, hardly calls for else: some very cloths are merely damasks, in which warp and weft are of the same colour, but a different tone is by the figure and the ground being woven with a longer or shorter the being by warp very often, the _satin_ much more rarely. In any case, the patterned webs produced by weaving, if the ornament is to be effective worth the doing, require same Gothic crispness and clearness detail has been of the structure of the which is a necessity in all recurring patterns, should be boldly insisted upon, so as to draw eye from which the of pattern apt to produce. stripes and spots and other tormentings twill of the web, which are so common the woven of the eighteenth century and in own times, should be carefully avoided: all these are the last resource of a jaded invention and a contempt of the simple and that comes of a _suggestion_ of natural if pattern vigorously firmly drawn a true feeling for the beauty of line and _silhouette_, the of light and shade on the material of the simple give the necessary variety. invite my readers to another to go to the Museum study of stuffs the thirteenth and fourteenth of Syrian and Sicilian manufacture, the almost equally beautiful are later in date, but instinct with the and best Eastern feeling; they may also the splendid stuffs produced mostly in Italy in the later Middle Ages, are unsurpassed and _effect_ of design, and when they have their minds with the of this great historic school, let them contrast with the of the Pompadour period, passing the early seventeenth as a period into corruption. will (if, have real artistic
 arrangement
either with a morE forcible oUtlinE, or By sPoTs of StroNger colour
careFUlly Disposed. Often the lighteR shadE oN The dARkEr sufFices, anD
HaRDLy cAlLs For AnYThIng elSe: sOme very Beautiful cLotHs Are merely
damASkS, in which thE waRp and weft are Of tHe same CoLouR, But a
dIffErent Tone is OBtaineD by the figUrE And the GRound beING wOven With
a longer or shorTEr TWill: the _tabby_ beIng tieD bY ThE WArp VerY
often, the _sAtIn_ mucH More rarELy. iN ANy cASe, the patterneD webs
producED by MechanIcAl wEAving, iF the oRnAMenT is to be effeCtivE and
worth The doiNG, requirE That samE GothiC crIspNess ANd ClEarNeSS of
DEtAil WHicH has been SpOkEn of bEforE: THE GeomEtrIcal StrucTure of the
pattErn, WhicH Is a NecesSity iN all ReCurriNg pattErns, sHoUld be
boldly insiSted Upon, so as tO drAw The EyE from ACcidenTal FigUres,
whiCh the reCUrrEnCE OF tHe pattern is apt to prOdUCE.

THe meaninGless sTRiPeS And spots AnD otHer tORMentiNgs oF ThE simple
tWill of THe WeB, which aRe So commOn In tHe wOven oRNameNt of thE
eighteeNth ceNTury and in our owN Times, should be CArEFUlLY avoIdeD:
all these thIngs ARe thE lasT ReSouRCe of a Jaded InVEnTIon and a
contempt of thE sImple aNd freSh beauty that cOmes of a symPATHetic
_sugGestIOn_ OF natural forms: iF the pAttern be viGOrously aNd firMly
drawn With a true FEEling for The BeaUty Of lINE aNd _silhouette_, tHE
Play Of Light anD shAde on thE maTerIal Of tHe Simple twiLl will giVe
AlL tHe NecEssarY Variety. I InVitE mY reAders TO make aNotheR
comPaRiSOn: tO go to thE soUTH KenSiNgTon MUseUm And stUdy tHE
inValuablE fragmentS of THe stUfFs Of the thIrteenth and foUrTeenth
centUrIes Of SyriAN And SicilIan manufacture, or the almoST equallY
beAutifUl weBs of PersiAn dEsign, wHicH Are latEr in daTe, but InStiNCT
with THE pUreSt And best EasTERn fEelinG; tHey mAy also nOte the
splendid stufFS prOduced mostly iN ItAly iN THe LatER MIDdlE AGEs, wHICh
are unsurpasseD for richneSs ANd _Effect_ of deSIgn, AnD when thEy have
iMpresSEd their Minds with The producTiOns oF THis Great histoRic
schooL, let them cONtrasT WiTh theM thE work oF tHe vIle PoMpadouR
PerIod, paSsing bY tHe earlY seveNtEenth cenTury as a period of
transitiOn into CorruPtiOn. They wilL thEN (if, Once more, tHey hAve
real artIstIc
 arrangement
either with a  more forc ibleout lin e,  orby s pots of strong e r co lour
carefully dispose d. Of te n  the li ghter  shadeo nt h e d ar ke r s uf f ic es, a ndhardlycalls forany th ing else: so m every beaut ifu l cloths are  me rely
d am ask s , inwhi ch th e warp and we ft are of  t h e same colour, b ut  a
d ifferent tone iso bt a ined by the fi gure a nd th e gro und  being wov en  with a longe r  o r s hor t er twill: the  _tabby_ be i ngtied b ythe warp v ery
o ft e n,the _satin_  muc h more ra rely.I n any c a se, the  patte rne d w ebsp ro du ced  b y  me c ha nic a l w eaving,if  t he or name n t i s to  be  eff ectiv e and
worth t hedoin g , r equir e tha t sa me  Goth ic cri spnes sand clearness o f
de tail whic h h as  be en  spok e n of b efo re:  the ge ometric a l s tr u c t ur e of the
pattern,wh i c his a nec essity in  a l l recurr in g p atte r n s, sh ould be 
boldlyinsist e dup on, soas  to dr aw  th e e ye fr o m ac cident al figur es,
w h ich the recurr e nce of the pa t te r n  i s  apt  to  produce.
Them eani ngle s sstr i pes a nd sp ot s  a n d other tormentings  o f thesimpl e
twill of th e web, whi c h are so c ommo n  i n  the woven orn ament  of the
ei g hteenthcentu ry and i n our own t imes, sh oul d b e c are f u ll y avoided:
al l thes ethingsare  the la stres our ceof  a jadedinventio nan dacon tempt of the s im ple  a ndfresh beauty  that  com es  o f  asympath e ti c _sug ge st ion_  of  n atura l fo r ms:  if the  patternbev igor ou sl y and f irmly
drawn w it h a true f ee lin g fort h e beauty  of line and _silhouett e _, thepla y ofligh t and sha deon the  ma t erialof the  simp le  tw i l l wil l gi veal l the nece s s ary  vari et y. I  invite  my readers to mak e  an other
compari son : to g otot he Sou th Ken s i ngton Museum an d study th ei nv aluable fr a gme nt s of th e stuff s oft he thir teenth an d fourtee nt h
ce n t uri es of Syri an and S icilian m a nufac t ur e, or  th e almo st  eq ually 
beaut i ful  webs  of Pe rs ian de sign,  w hich are  later in date, but ins tinctwiththe  purest a ndb est  Easternfeel ing; theymay  al so no tet he
sp lend i dstu f fs pr oduc e d mostlyi nIta l y  i n the later M i ddl e Age s,w hich
a re u nsurpassed for ri c hness and _eff ect_ o f d esi g n, a nd  when they hav e
i mp r e ssed the ir  minds with  the pro du c tions  of th is gre at hist o r ic school , le t t hem contr ast  w i th them  t he work o f th evile P ompado u r
pe r i od, passing by t he ea r l y sev e nte enthce ntury a s  a p eriod of
t ransition i nto co rrup tion.  They w il l then  (i f,  once more ,  they hav e
rea l artis ti c
 arrangement
either_with a_more forcible outline, or_by spots_of_stronger colour
carefully_disposed._Often the lighter_shade on the_darker suffices, and
hardly calls_for anything else:_some_very beautiful cloths are merely
damasks, in which the warp and weft are of the_same_colour, but_a
different_tone_is obtained by the figure_and the ground being woven_with
a longer_or shorter twill: the _tabby_ being tied by_the_warp very
often, the__satin_ much more rarely. In any case, the patterned_webs
produced by mechanical weaving, if the_ornament is to_be_effective_and
worth the doing, require_that same Gothic crispness and clearness_of
detail which has been spoken of_before: the geometrical structure of the
pattern, which_is a necessity in all recurring_patterns, should be
boldly insisted upon,_so as_to draw the eye from_accidental figures,
which the_recurrence of_the pattern is_apt to produce.

The meaningless stripes and_spots and other_tormentings of the simple
twill of the_web,_which are so_common_in_the woven_ornament of the
eighteenth_century_and in_our_own times, should be carefully avoided:
all_these_things are the last resource of a_jaded invention and a
contempt_of_the simple and fresh_beauty that comes of a_sympathetic
_suggestion_ of natural forms: if the_pattern be_vigorously and_firmly
drawn with a true feeling for the beauty of line and__silhouette_, the
play of light and shade_on the material of_the simple_twill_will give
all the_necessary_variety. I_invite my readers to make another
comparison: to_go to_the South Kensington Museum and study_the
invaluable fragments of the_stuffs_of the thirteenth and fourteenth
centuries of_Syrian and Sicilian manufacture, or the_almost equally
beautiful webs of Persian_design,_which_are later in date, but_instinct
with the purest and best Eastern_feeling; they may_also note the
splendid stuffs produced mostly in_Italy_in the later Middle Ages, which
are_unsurpassed_for richness and _effect_ of design,_and_when_they have
impressed their minds with_the productions of this great historic
school,_let them contrast with them the work of the_vile Pompadour
period, passing_by the early seventeenth century_as_a_period of
transition into corruption. They will then (if, once more,_they have
real_artistic