There should be some contrast to prevailing colour as it is a benefit, and the universal value of carpets in a plan of beautification is exactly that they provide contrast in small spaces, it should be blended in with other tints and tones so that it manages to make its effect without negatively hampering the general plan.
Therefore, if there is a room where the walls are closely resembling a pale shade of copper, the carpets should bring in a diversity of reds that would become usual parts of the same scale, e.g. secondary notes in the octave; but still should add splashes of comparative blues and balancing greens; even, deep gold, and black and white could be included; the latter in small forms and lines which only signify or augment the general effect.
It is truly a fascinating problem, as to why the strong colours usually found in Oriental rugs should look so much better with weaker shades of colours on the walls and furniture than even the most shrewdly selected carpets can possibly do. It is a fact that bad Oriental rugs exist, extremely bad ones, just as there may be a villain within a collection of the pious, but it is surely hampered by the long centuries of Eastern manufacture, reaching back to the dawn of civilization. This has provided Eastern nations with secrets not to be easily mastered by the populace of nowadays.
However if it would be difficult to tell with confidence as to what is the reason behind good rugs fitting all places and conditions, whilst any additional object of human assembly must have its location carefully organized for it, we might perhaps take for granted to understand why the most striking of modern carpets are not as easily manageable and hence successful.
Firstly, having made clear that there should be some amount of contrast, some boost of contrasting colour, anything that the artist calls snap, is necessarily required in every flourishing colour plan, we shall see that if we are able to arrive at this by straight forward means of placing a carpet, it is important to choose one which holds more than a single colour in its composition, and colour shown as design must be included in the laws of automatic assembly; that is, it should come in as a repetitive design, and here in lies the real problem.
The similar forms and matching colours have to come in the similar way in each yard, or each half or three-quarter yard of the carpet. It follows, then, that it must be consistently sprinkled or regularly amble over each yard or half yard of the exterior; and this regularity results in spots, and spots are unbearable in the whole scheme of colour. So, if the space is very broad then the space as the floor of a room would be covered by sections of continually recurring design with no production of a spotty effect, even though it can be rather modified by the hard work of the good designer. Nonetheless, in spite of his best information and purpose, the difficulty remains.
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