erence
between aiming at the bull's-eye or the whole target.

The recent tendency of illustration to produce a result in three or four
flat tones is another voice proclaiming for reserve. The new movement in
decorative art may rightly claim this acknowledgment to it. In the work
of Jules Guerin it is interesting to note how the bit and bridle of these
two factors of breadth have been applied to every stroke, now and then
only, detail being allowed its say, and in but a still small voice.

With the large number of pictorial ideas now being recast in the
decorative formula it is necessary to have a clear notion of the purpose
and the limitations of decorative art, that this new art may not be
misunderstood nor confounded with the purely pictorial.

[Decorative Evolving the Pictorial; The North River--Prendergast; An
Intrusion--Bull; Landscape Arrangement--Guerin]

Decoration is essentially flat. It represents length and breadth. It
applies primarily to the flat vertical plane. It deals with the symbols
of form, with fact by suggestion, with color in mass. It substitutes
light and dark for nature's light and shade. Conceptions evolved upon the
flat vertical plane deal with pictorial data as material for heraldic
quartering, with natural fact as secondary to the happy adjustment of
spaces. Nature to the decorative mind presents a variegated pattern from
which to clip any shape which the color design demands.

The influence on pictorial art of the decorative tendency, has brought
much into the pictorial category which has never been classified.

The Rose Croix influence has witnessed its seed maturing into the _art
nouveau,_ and what was nurtured under the forcing glass of decoration has
suddenly been transplanted into the garden of pictorial art. In
consequence it would appear that the constitution of the latter required
amendments as being scarce broad enough to accommodate the newer thing.
It is difficult, for instance, to reconcile the crowded and spotted
surfaces in Mr. Maurice Prendergast's pictures, to the requirements of the
balanced conception. It must be recognized however that their first claim
for attraction is their color which is usually a harmony in red, yellow
and blue, and when the crowds of people or buildings do not form balancing
combinations they oft-times so fill the canvas as to leave excellent
spaces, more commanding through their isolation than the groups choking
the li