tain boundaries; otherwise it becomes lawless. Rules, like
all other controlling circumstances, are of the greatest service to
the artist, as they suggest what he can do, as well as decide what he
ought not to attempt. All boundaries are highly suggestive; the size
of a sheet of paper--the form of a panel--the colours in the box of
pigments--even the touch of the brush which comes to hand,--all these
help to shape the idea to our ends, and assist us in giving to the
original motive the form which is most suitable. These restrictions
are often regarded as impediments by the impatient artist; whereas he
ought to look on them as hints and suggestions, and claim their
assistance, instead of struggling against them. Let us accept the
principle that it is good for each of our efforts at decoration that
we are controlled by the space allotted to its composition. The
relative size (small, perhaps, for a table-cover, but large for that
of a book) and the shape to which we are limited, alter all the
conditions of a design. Whether it is square or oblong, or lengthened
into a frieze; whether it must be divided into parts, including more
than one motive, or be grouped round one centre; whether it is to be
repeated more than once within the range of the eye, or whether it is
to disappear into space upwards or horizontally; and whether it is to
stand alone, or be framed with lines or a border,--all these
restrictions must govern the design, or, in its highest phase, the
composition.

The composition must consist of supporting lines well balanced, and
"values" filling up the whole surface of the space, which is to
contain it, and beyond which it must not seek to extend. As we have in
embroidery no distances--only a foreground--the design must be placed
all on one plane. The title of "composition" cannot be granted to a
bouquet or a bird cast on one corner of a square of linen, however
gracefully it may be drawn. It does not cover the space allotted to
it.

If we carefully study the great and guiding principles that have been
distinctly formulated by some of the Continental authorities on
decorative art, we shall find much help in composing our designs.
Nothing is more interesting than to search for the foundation of the
structure which centuries have helped to raise, and to dig out, as it
were, the original plan or thought of the founder. So it is most
instructive to learn the fundamental rules by which such results are
secured.