l also make the main building
stand away from the other. If, however, we were to likewise assume
that the roof of the other building were darker than its walls, we
should be obliged to emphasize the objectionable roof line, and
as, in any case, we want a dark effect lower down on the walls to
give relief to our main building, we will assume that the local color
of the older walls is darker than that of the new. The shadow of the
main cornice we will make quite strong, emphasis being placed on
the nearer corner, which is made almost black. This color is repeated
in the windows, which, coming as they do in a group, are some of
them more filled in than others, to avoid an effect of monotony.
The strong note of the drawing is then given by the foreground
figure.

[Illustration: FIG. 60 C. D. M.]

Another scheme for the treatment of this same subject is illustrated
by Fig. 60. Here, by the introduction of the tree at the right of
the picture, a triangular composition is adopted. Observe that the
sidewalk and roof lines at the left side of the building radiate
to the bottom and top of the tree respectively. The shadow of the
tree helps to form the bottom line of the triangle. In this case
the foreground figure is omitted, as it would have made the
triangularity too obvious. In the color-scheme the tree is made the
principal dark, and this dark is repeated in the cornice shadow,
windows and figures as before. The gray tone of the old building
qualifies the blackness of the tree, which would otherwise have made
too strong a contrast at the edge of the picture, and so detracted
from the interest of the main building.

CHAPTER VII

DECORATIVE DRAWING

In all modern decorative illustration, and, indeed, in all departments
of decorative design, the influences of two very different and distinct
points of view are noticeable; the one demanding a realistic, the
other a purely conventional art. The logic of the first is, that
all good pictorial art is essentially decorative; that of the second,
that the decorative subject must be designed in organic relation to
the space which it is to occupy, and be so treated that the design
will primarily fulfil a purely ornamental function. That is to say,
whatever of dramatic or literary interest the decorative design
may possess must be, as it were, woven into it, so that the general
effect shall please as instantly, as directly, and as independently
of the meaning, as the pattern o