eaving-design,
but the economy is of the wrong kind. An artist should spend his
thought to spare material or cost in working. When he spares his
_thought_--making the least amount of thought cover the greatest
amount of surface--then is his work worth to the world just what it
has cost him, i.e., very little.

So injurious is the influence of Symmetry in Natural foliage design,
that it might almost be a test question--"Is the design symmetrical?"
When the exigencies of Machine-reproduction necessitate this with
Natural foliage--it is a hardship which the Artist regretfully accepts,
and no one would willingly make a design for Hand-reproduction which
was symmetrical; rather would he spend himself to insure the worthier
result which ensues from Balance.

An example of Symmetry is given in Fig. 4; and of Balance in Fig. 5.
Each panel contains two classes of Elements:--Natural foliage (i.e.,
two branches of the Bay tree), and an Artificial object (i.e., a
Ribbon which ties them). The lower Element (i.e., the Ribbon) is
treated symmetrically in both panels: the higher Element (i.e., the
Branches) are _symmetrical_ in the former panel, and _balanced_ in the
latter. This latter treatment, will be seen to be not only the more
interesting, but the more like the infinite variety of Nature; while
the former is a wasted opportunity, and contrary to Nature.

[Illustration: FIG. 4.]

The Student will observe by experience that the mind soon tires of
Artificiality, both in Curvature and in Symmetry; the lines of Nature
have a pleasant freshness and inexhaustible variety; and the _Natural_
method of treating Nature is not only the most true, but also the most
beautiful.

[Illustration: FIG. 5.]

Sec. 8.--REALISM AND CONVENTIONALISM: DEFINITIONS.

REALISM--the result of _Realistic_ treatment, i.e., the attempt to
render the reproduction as like the reality as is possible, even to
the verge of deception--is the aim of the Pictorial-Artist. In
Pictures the surface appears to have been annihilated, and the
spectator beholds the scene as if there were a hole through the wall.
It is not the highest, and should not be the only aim in Art; but it
has always been sought for and admired. It requires perfect
conditions, of materials and tools; i.e., _complete Technical
appliances_.

CONVENTIONALISM--the result of _incomplete Technical appliances_, and
the attempt to render so much of the Beauty of the original as is
possible, with d