An example of Symmetry is given in Fig. 4; and of Balance in Fig. 5.  Each panel contains two classes of Elements:—­Natural foliage (i.e., two branches of the Bay tree), and an Artificial object (i.e., a Ribbon which ties them).  The lower Element (i.e., the Ribbon) is treated symmetrically in both panels:  the higher Element (i.e., the Branches) are symmetrical in the former panel, and balanced in the latter.  This latter treatment, will be seen to be not only the more interesting, but the more like the infinite variety of Nature; while the former is a wasted opportunity, and contrary to Nature.

[Illustration:  FIG. 4.]

The Student will observe by experience that the mind soon tires of Artificiality, both in Curvature and in Symmetry; the lines of Nature have a pleasant freshness and inexhaustible variety; and the Natural method of treating Nature is not only the most true, but also the most beautiful.

[Illustration:  FIG. 5.]

Sec. 8.—­REALISM AND CONVENTIONALISM:  DEFINITIONS.

REALISM—­the result of Realistic treatment, i.e., the attempt to render the reproduction as like the reality as is possible, even to the verge of deception—­is the aim of the Pictorial-Artist.  In Pictures the surface appears to have been annihilated, and the spectator beholds the scene as if there were a hole through the wall.  It is not the highest, and should not be the only aim in Art; but it has always been sought for and admired.  It requires perfect conditions, of materials and tools; i.e., complete Technical appliances.

CONVENTIONALISM—­the result of incomplete Technical appliances, and the attempt to render so much of the Beauty of the original as is possible, with due 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.