should be obliged to emphasize the objectionable roof line, and as, in any case, we want a dark effect lower down on the walls to give relief to our main building, we will assume that the local color of the older walls is darker than that of the new.  The shadow of the main cornice we will make quite strong, emphasis being placed on the nearer corner, which is made almost black.  This color is repeated in the windows, which, coming as they do in a group, are some of them more filled in than others, to avoid an effect of monotony.  The strong note of the drawing is then given by the foreground figure.

[Illustration:  FIG. 60 C. D. M.]

Another scheme for the treatment of this same subject is illustrated by Fig. 60.  Here, by the introduction of the tree at the right of the picture, a triangular composition is adopted.  Observe that the sidewalk and roof lines at the left side of the building radiate to the bottom and top of the tree respectively.  The shadow of the tree helps to form the bottom line of the triangle.  In this case the foreground figure is omitted, as it would have made the triangularity too obvious.  In the color-scheme the tree is made the principal dark, and this dark is repeated in the cornice shadow, windows and figures as before.  The gray tone of the old building qualifies the blackness of the tree, which would otherwise have made too strong a contrast at the edge of the picture, and so detracted from the interest of the main building.

CHAPTER VII

DECORATIVE DRAWING

In all modern decorative illustration, and, indeed, in all departments of decorative design, the influences of two very different and distinct points of view are noticeable; the one demanding a realistic, the other a purely conventional art.  The logic of the first is, that all good pictorial art is essentially decorative; that of the second, that the decorative subject must be designed in organic relation to the space which it is to occupy, and be so treated that the design will primarily fulfil a purely ornamental function.  That is to say, whatever of dramatic or literary interest the decorative design may possess must be, as it were, woven into it, so that the general effect shall please as instantly, as directly, and as independently of the meaning, as the pattern of an Oriental rug.  The former, it will be seen, is an imitative, the latter an inventive art.  In the one, the elements of the subject are rendered with all possible naturalism; while, in the other, effects of atmosphere and the accidental play of light and shade are sacrificed to a conventional rendering, by which the design is kept flat upon the paper or wall.  One represents the point of view of the painter and the pictorial illustrator; the other that of the designer and the architect.  The second, or conventional idea, has now come to be widely accepted as a true basic principle in decorative art.