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 acknowledge the conditions under which it exists. If a fresco on a wall, for instance, it adorns the wall without attempting to look like a hole cut in it through which something is accidentally seen; if a painting on a vase, it acknowledges the convexity of the shape, and helps to express instead of contradicting it; if on a panel in a cabinet or door, it spreads itself in an appropriate filling on an organic plan to cover it; being, in short, ornamental by its very nature, its first business is to ornament.

There exist, therefore, certain definite tests for the work of the decorative artist. Does the design fit its place and material? Is it in scale with its surroundings and in harmony with itself? Is it fair and lovely in colour? Has it beauty and invention? Has it thought and poetic feeling? These are the demands a decorator has to answer, and by his 43