: Composition of Curves.]

But in either case we want harmony. We cannot, therefore, throw together
a number of forms unrelated to each in line, contour, or meaning. We
seek in composing or designing not contradictions, but correspondences
of form, with just an element of contrast to give flavour and point. In
grouping pottery, for instance, we should not place big and little or
squat and slender forms close together without connecting links of some
kind. We want a series of good lines that help one another and lead up
to one another in a kind of friendly co-operation. Broad smooth forms
and rounded surfaces, again, require relief and a certain amount of
contrast. We feel the need of crisp leaves or flowers, perhaps, with
our pottery form. We may safely go far, however, on the principle of
grouping similar or allied forms, giving our composition as a whole
either a curvilinear or angular character in its general lines, masses,
and forms, on the principle of like to like. This will entirely depend
upon our choice of grouping of form; but the more by our selection we
make our composition tend distinctly in the one direction or the other,
the more character it will be likely to possess.

[Illustration (f051b): Grouping of Allied Forms: Composition of Angles.]

[Grouping]

[Illustration (f052): Still-life Group Illustrative of Wood-Engraving.]

In selecting forms for still-life grouping and painting, I think
increased interest might be gained by arranging significant objects,
accessories bearing upon particular pursuits, for instance, in natural
relationship and surrounding. Groups suggesting certain handicrafts, for
instance, such as the clear glass globe of the wood-engraver, the
sand-bag, the block upon it, the tools, gravers lying around, the
eye-glass, an old book of woodcuts, and so forth. Other groups
suggestive of various arts and industries could be arranged--such
motives as metal-work, pottery, literature, painting, music, embroidery,
spring, summer, autumn, and winter, might all be suggestively
illustrated by well-selected groups of still life. Even different
historic periods might be emblematically suggested--I should like to see
more done in this way.

[Illustration (f053): Japanese Diagonal Pattern.]

To return to design in the flat. If we start with a motive of circular
masses, we cannot suddenly associate them with sharp angles--I mean in