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 flits across the artist's mind. Vierge has shown how much can be done in this way. With a few free lines and the contrast of some dark piece of shading in exactly the right place, he will often tell you more of a subject than will the most elaborately finished picture. This is the method to aim at in architectural illustration. The poetry of architecture and its highest qualities of dignity of mass and outline are smothered by that laborious accuracy which covers every part of the drawing with a vain repetition of unfeeling lines.

Where, however, the illustration is purely imaginative, the decorative standpoint should be kept steadily in view, and the process of selection and abstraction carried very much farther. Here, at length, the illustrator can so order his design that the drawing and the printed type form a single piece of decoration, 244