mentist. Both series of facts, or qualities, or characteristics, are
in nature.

[Selection]

Judicious selection, however, is the test of artistic treatment;
selection, that is, with a view to the aim and scope of the work. The
truth of superficial appearance or accidental aspect is _one_ sort of
truth: the truth of the actual constructive characteristics--be they of
figure, flower, or landscape--is _another_. Both belong to the thing we
see--to the object we are drawing; but we shall dwell upon one truth or
set of truths rather than the other, in accordance with our particular
artistic aim, though, whatever this may be, and in whatever direction it
may lead us, we shall find that selection of some sort will be
necessary.

In making studies, however pure and simple, the object of which is to
discover facts and to learn mastery of form, our aim should be to get as
much truth as we can, truth of structure as well as of aspect. But these
(as far as we can make them) exhaustive studies should be accompanied or
followed by analytical studies made from different points of view and
for different purposes.

Studies, for instance, made with a view to arrangements of _line_
only--to get the characteristic and beautiful lines of a figure, a
momentary attitude, the lines of a flower, or a landscape: studies with
a view, solely, to the understanding of structure and form, or again,
with the object of seizing the broad relations of light and shade, or
tone and colour--all are necessary to a complete artistic education of
the eye.

[Accidents and Essentials]

If we are drawn as students rather towards the picturesque and graphic
side of art, we shall probably look for accidents of line and form
more than what I should call the essentials, or _typical_ line and form,
which are the most valuable to the decorative designer.

In both directions some compact or compromise with nature is necessary
in any really artistic re-presentation.

The painter and the sculptor often seek as _complete representation_ as
possible, and what may be called complete representation is within the
range of their resources. Yet unless some individual choice or feeling
impresses the work of either kind it is not a _re-presentation_, but
becomes an _imitation_, and therefore inartistic.

The decorative designer and ornamentist seek to _suggest