, and
this cannot be expressed if the design or treatment be purely
pictorial--if vague perspective distances and strong foreground
accents be used without symmetry or order, except that order which
governs itself alone. In other words, the decoration must be organic.

[Illustration: FIG. 62 ALFRED G. JONES]

[Side note: _Classes of Decorative Design_]

Decorative illustrations may be broadly classified under three
heads as follows: First, those wherein the composition and the
treatment are both conventional, as, for example, in the ex-libris
by Mr. A. G. Jones, Fig. 62. Second, where the composition is
naturalistic, and the treatment only is conventional, as in Mr.
Frost's design. Third, where the composition is decorative but
not conventional, and the treatment is semi-natural, as in the
drawing by Mr. Walter Appleton Clark, Fig. 63. (The latter subject
is of such a character as to lend itself without convention to a
decorative effect; and, although the figure is modeled as in a
pictorial illustration, the organic lines are so emphasized throughout
as to preserve the decorative character, and the whole keeps its
place on the page.) Under this third head would be included those
subjects of a pictorial nature whose composition and values are
such as to make them reconcilable to a decorative use by means
of borders or very defined edges, as in the illustration by Mr.
A. Campbell Cross, Fig. 64.

[Illustration: FIG. 63 W. APPLETON CLARK]

[Illustration: FIG. 64 A. CAMPBELL CROSS]

[Side note: _The Decorative Outline_]

Another essential characteristic of decorative drawing is the emphasized
Outline. This may be heavy or delicate, according to the nature of
the subject or individual taste. The designs by Mr. W. Nicholson
and Mr. Selwyn Image, for instance, are drawn with a fatness of
outline not to be obtained with anything but a brush; while the
outlines of M. Boutet de Monvel, marked as they are, are evidently
the work of a more than usually fine pen. In each case, however,
everything is in keeping with the scale of the outline adopted,
so that this always retains its proper emphasis. The decorative
outline should never be broken, but should be kept firm, positive,
and uniform. It may be heavy, and yet be rich and feeling, as may
be seen in the Mucha design, Fig.65. Generally speaking, the line
ought not to be made with a nervous stroke, but rather with a slow,
deliberate drag. The natural wavering of the hand