ue regard to their capabilities--is the aim of the
Decorative-Artist. It is not the highest aim; though a necessary curb
in Decorative-Art, both for the technical reason, and also as a result
of the Position or Function of the object.

It will thus be seen that the two words, when used with regard to
foliage of any kind, refer to the _Method of representing it_, and not
to its Kind or its manner of Growth.

Sec. 9.--SCALES FROM REALISM TO CONVENTIONALISM.

These two methods, when applied absolutely, form the two
extremes:--The most complete REALISM being at one end, and the most
limited CONVENTIONALISM at the other. There are scales of gradual
reduction between them, which may be shown on two charts:

(i) Reduction in the NUMBER OF PARTS which preserve their Realistic
rendering.

(ii) Reduction in the DEGREE OF REALISM through all parts.

(i) According to the number of the features or parts of the design
which are treated with less than realism. Thus there might be a panel
representing a Window-opening with an architectural framing, with a
Flower-vase on the sill, and a Landscape-background. The first part to
be reduced in realistic rendering would be the Background, the second
would be the Framing, leaving the third, the Flower-vase, as the
survival. This is a Scale of reduction in _Number of Parts_.

It may be shown, in tabular arrangement, thus:--

REALISM............................................CONVENTIONALISM.

COMPLETE PICTORIAL REALISM, in which all parts are realistically
represented (see Sec. 10).

SEMI-PICTORIAL REALISM, in which the Back-ground is reduced to
a flat-tint, while all the remaining parts are realistically
represented (see Sec. 11).

DECORATIVE REALISM, in which the chief Feature (_only_)
is realistically represented, and all the other parts are
reduced to conventional renderings (see Sec. 12).

COMPLETE CONVENTIONALISM, in which all parts are reduced to
conventional renderings (see Conventionalism).

Inasmuch as there is some realistic part remaining in each of the
first three methods--these are classified under the heading of
REALISM.

(ii) According to the Degree in which color, gradation, or shading, is
sacrificed, in consequence of the limited Means at the disposal of the
Artist; resulting in the gradual departure from Realism to the most
severe Conventionalism. The reduction is applied to all part