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 attain to the great German's magnificent directness and tremendous intensity of expression.

Deliberate selection, both in subject and treatment, becomes therefore a matter of the first importance. The designer should reject subjects which do not admit of a decorative treatment. His business is not with science, or morals, but with art for its own sake; he should, therefore, select his subject with a single eye to its artistic possibilities. As to the line itself, it is impossible to offer any suggestion, for the line used is as much a part of the designer's idea as the words of a poem are of a poet's poetry; and the invention of these must come of itself. But once in consciousness, the line must be put under rigid control as simply a means of expression. There is an insidious danger in the line. Designers sometimes seem 246