Arts and Crafts Essays Part 8

Chain-st.i.tch consists of loops simulating the links of a simple chain.

Some of the most famous work of the Middle Ages was worked in this st.i.tch, which is enduring, and of its nature necessitates careful execution. We are more familiar with it in the dainty work of the seventeenth and eighteenth centuries, in the airy brightness and simplicity of which lies a peculiar charm, contrasted with the more pompous and pretentious work of the same period. This st.i.tch is also wrought with a hook on any loose material stretched in a tambour frame.

Tapestry-st.i.tch consists of a building-up of st.i.tches laid one beside another, and gives a surface slightly resembling that of tapestry. I give the name as it is so often used, but it is vague, and leads to the confusion that exists in people's minds between loom-tapestry and embroidery. The st.i.tch is worked in a frame, and is particularly suitable for the drapery of figures and anything that requires skilful blending of several colours, or a certain amount of shading. This facility of "painting" with the needle is in itself a danger, for it tempts some people to produce a highly shaded imitation of a picture, an attempt which must be a failure both as a decorative and as a pictorial achievement. It cannot be said too often that the essential qualities of all good needlework are a broad surface, bold lines and pure, brilliant and, as a rule, simple colouring; all of which being qualities attainable through, and prescribed by, the limitations of this art.

Applique has been, and is still, a favourite method of work, which Vasari tells us Botticelli praised as being very suitable to processional banners and hangings used in the open air, as it is solid and enduring, also bold and effective in style. It is more accurately described as a _method_ of work in which various st.i.tches are made use of, for it consists of designs embroidered on a stout ground and then cut out and laid on silk or velvet, and edged round with lines of gold or silk, and sometimes with pearls. It requires considerable deftness and judgment in applying, as the work could well be spoilt by clumsy and heavy finishing. It is now looked upon as solely ecclesiastical, I believe, and is a.s.sociated in our minds with garish red, gold and white, and with dull geometric ornament, though there is absolutely no reason why church embroidery of to-day should be limited to ungraceful forms and staring colours. A certain period of work, thick and solid, but not very interesting, either as to method or design, has been stereotyped into what is known as Ecclesiastical Embroidery, the mechanical characteristics of the style being, of course, emphasised and exaggerated in the process. Church work will never be of the finest while these characteristics are insisted on; the more pity, as it is seemly that the richest and n.o.blest work should be devoted to churches, and to all buildings that belong to and are an expression of the communal life of the people. Another and simpler form of applied work is to cut out the desired forms in one material and lay upon another, securing the applique with st.i.tches round the outline, which are hidden by an edging cord. The work may be further enriched by light ornament of lines and flourishes laid directly on the ground material.

Couching is an effective method of work, in which broad ma.s.ses of silk or gold thread are laid down and secured by a network or diaper of crossing threads, through which the under surface shines very prettily.

It is often used in conjunction with applique. There are as many varieties of couching st.i.tches as the worker has invention for; in some the threads are laid simply and flatly on the form to be covered, while in others a slight relief is obtained by layers of soft linen thread which form a kind of moulding or stuffing, and which are covered by the silk threads or whatever is to be the final decorative surface.

The ingenious patchwork coverlets of our grandmothers, formed of sc.r.a.ps of old gowns pieced together in certain symmetrical forms, const.i.tute the romance of family history, but this method has an older origin than would be imagined. Queen Isis-em-Kheb's embalmed body went down the Nile to its burial-place under a canopy that was lately discovered, and is preserved in the Boulak Museum. It consists of many squares of gazelle-hide of different colours sewn together and ornamented with various devices. Under the name of patchwork, or mosaic-like piecing together of different coloured stuffs, comes also the Persian work made at Resht. Bits of fine cloth are cut out for leaves, flowers, and so forth, and neatly st.i.tched together with great accuracy. This done, the work is further carried out and enriched by chain and other st.i.tches.

The result is perfectly smooth flat work, no easy feat when done on a large scale, as it often is.

Darning and running need little explanation. The former st.i.tch is familiar to us in the well-known Cretan and Turkish cloths: the st.i.tch here is used mechanically in parallel lines, and simulates weaving, so that these handsome borders in a deep rich red might as well have come from the loom as from the needle. Another method of darning is looser and coa.r.s.er, and suitable only for cloths and hangings not subject to much wear and rubbing; the st.i.tches follow the curves of the design, which the needle paints, as it were, shading and blending the colours.

It is necessary to use this facility for shading temperately, however, or the flatness essential to decorative work is lost.

The foregoing is a rough list of st.i.tches which could be copiously supplemented, but that I am obliged to pa.s.s on to another important point, that of design. If needlework is to be looked upon seriously, it is necessary to secure appropriate and practicable designs. Where the worker does not invent for herself, she should at least interpret her designer, just as the designer interprets and does not attempt to imitate nature. It follows from this, that it is better to avoid using designs of artists who know nothing of the capacities of needlework, and design beautiful and intricate forms without reference to the execution, the result being unsatisfactory and incomplete. Regarding the design itself, broad bold lines should be chosen, and broad harmonious colour (which should be roughly planned before setting to work), with as much minute work, and st.i.tches introducing play of colour, as befits the purpose of the work and humour of the worker; there should be no scratching, no indefiniteness of form or colour, no vagueness that allows the eye to puzzle over the design--beyond that indefinable sense of mystery which arrests the attention and withholds the full charm of the work for a moment, to unfold it to those who stop to give it more than a glance. But there are so many different st.i.tches and so many different modes of setting to work, that it will soon be seen that these few hints do not apply to all of them. One method, for instance, consists of trusting entirely to design, and leaves colour out of account: white work on white linen, white on dark ground, or black or dark blue upon white. Again, some work depends more on magnificence of colour than on form, as, for example, the handsome Italian hangings of the seventeenth century, worked in floss-silk, on linen sometimes, and sometimes on a dusky open canvas which makes the silks gleam and glow like precious stones.

In thus slightly describing the methods chiefly used in embroidery, I do so princ.i.p.ally from old examples, as modern embroidery, being a dilettante pastime, has little distinct character, and is, in its best points, usually imitative. Eastern work still retains the old professional skill, but beauty of colour is rapidly disappearing, and little attention is paid to durability of the dyes used. In speaking rather slightingly of modern needlework, I must add that its non-success is often due more to the use of poor materials than to want of skill in working. It is surely folly to waste time over work that looks shabby in a month. The worker should use judgment and thought to procure materials, not necessarily rich, but each good and genuine of its kind.

Lastly, she should not be sparing of her own handiwork, for, while a slightly executed piece of work depends wholly on design, in one where the actual st.i.tchery is more elaborate, but the design less masterly, the patience and thought lavished on it render it in a different way equally pleasing, and bring it more within the scope of the amateur.

MAY MORRIS.

OF LACE

Lace is a term freely used at the present time to describe various sorts of open ornament in thread work, the successful effect of which depends very much upon the contrasting of more or less closely-textured forms with grounds or intervening s.p.a.ces filled in with meshes of equal size or with cross-ties, bars, etc. Whence it has come to pa.s.s that fabrics having an appearance of this description, such as embroideries upon nets, cut linen works, drawn thread works, and machine-woven counterfeits of lace-like fabrics, are frequently called laces. But they differ in make from those productions of certain specialised handicrafts to which from the sixteenth to the eighteenth centuries lace owes its fame.

These specialised handicrafts are divisible into two branches. The one branch involves the employment of a needle to loop a continuous thread into varieties of shapes and devices; the other is in the nature of making corresponding or similar ornament by twisting and plaiting together a number of separate threads, the loose ends of which have to be fastened in a row on a cushion or pillow, the supply of the threads being wound around the heads of lengthened bobbins, so shaped for convenience in handling. The first-named branch is needlepoint lace-making; the second, bobbin or pillow lace-making. Needlepoint lace-making may be regarded as a species of embroidery, whilst bobbin or pillow lace-making is closely allied to the twisting and knotting together of threads for fringes. Embroidery, however, postulates a foundation of material to be enriched with needlework, whereas needlepoint and pillow lace are wrought independently of any corresponding foundation of material.

The production of slender needles and small metal pins is an important incident in the history of lace-making by hand. Broadly speaking, the manufacture for a widespread consumption of such metal pins and needles does not date earlier than the fourteenth century. Without small implements of this character delicate lace-making is not possible. It is therefore fair to a.s.sume that although historic nations like the Egyptian, a.s.syrian, Hebrew, Greek, and Roman, made use of fringes and knotted cords upon their hangings, cloaks, and tunics, lace was unknown to them. Their bone, wooden, or metal pins and needles were suited to certain cla.s.ses of embroidery and to the making of nets, looped cords, etc., but not to such lace-making as we know it from the early days of the sixteenth century.

About the end of the fifteenth century, with the development in Europe of fine linen for underclothing, collars and cuffs just visible beyond the outer garments came into vogue, and a taste was speedily manifested for tr.i.m.m.i.n.g linen undershirts, collars and cuffs, with insertions and borders of kindred material. This taste seems to have been first displayed in a marked manner by Venetian and Flemish women; for the earliest known books of engraved patterns for linen ornamental borders and insertions are those which were published during the commencement of the sixteenth century at Venice and Antwerp. But such patterns were designed in the first place for various sorts of embroidery upon a material, such as darning upon canvas (_punto fa su la rete a maglia quadra_), drawn thread work of reticulated patterns (_punto tirato_ or _punto a reticella_), and cut work (_punto tagliato_). Patterns for quite other sorts of work, such as point in the air (_punto in aere_) and thread work twisted and plaited by means of little leaden weights or bobbins (_merletti a piombini_), were about thirty years later in publication. These two last-named cla.s.ses of work are respectively identifiable (_punto in aere_) with needlepoint and (_merletti a piombini_) with bobbin lace-making; and they seem to date from about 1540.

The sixteenth-century and earliest known needlepoint laces (_punto in aere_) are of narrow lengths or bands, the patterns of which are composed princ.i.p.ally of repeated open squares filled in with circular, star, and other geometric shapes, set upon diagonal and cross lines which radiate from the centre of each square to its corners and sides.

When the bands were to serve as borders they would have a dentated edging added to them; this edging might be made of either needlepoint or bobbin lace. As time went on the dimensions of both lace bands and lace vand.y.k.es increased so that, whilst these served as tr.i.m.m.i.n.gs to linen, lace of considerable width and various shapes came to be made, and ruffs, collars, and cuffs were wholly made of it. Such lace was thin and wiry in appearance. The leading lines of the patterns formed squares and geometrical figures, amongst which were disposed small wheel and seed forms, little triangles, and such like. A few years later the details of these geometrically planned patterns became more varied, tiny human figures, fruits, vases and flowers, being used as ornamental details.

But a more distinct change in character of pattern was effected when flowing scrolls with leaf and blossom devices, held together by means of little ties or bars, were adopted. Different portions of the scrolls and blossoms with their connecting links or bars would often be enriched with little loops or _picots_, with st.i.tched reliefs, and varieties of close and open work. Then came a taste for arranging the bars or ties into trellis grounds, or grounds of hexagons, over which small ornamental devices would be scattered in balanced groups. At the same time, the bobbin or pillow lace-workers produced grounds of small equal-size meshes in plaited threads. This inventiveness on the part of the bobbin or pillow workers reacted upon the needlepoint workers, who in their turn produced still more delicate grounds with meshes of single and double twisted threads.

Lace, pa.s.sing from stage to stage, thus became a filmy tissue or fabric, and its original use as a somewhat stiff, wiry-looking tr.i.m.m.i.n.g to linen consequently changed. Larger articles than borders, collars, and cuffs were made of the new filmy material, and lace flounces, veils, loose sleeves, curtains, and bed-covers were produced. This transition may be traced through the first hundred and twenty years of lace-making. It culminated during the succeeding ninety years in a development of fanciful pattern-making, in which realistic representation of flowers, trees, cupids, warriors, sportsmen, animals of the chase, emblems of all sorts, rococo and architectural ornament, is typical. Whilst the eighteenth century may perhaps be regarded as a period of questionable propriety in the employment of ornament hardly appropriate to the twisting, plaiting, and looping together of threads, it is nevertheless notable for _tours de force_ in lace-making achieved without regard to cost or trouble. From this stage, the climax of which may be placed about 1760, the designing of lace patterns declined; and from the end of the eighteenth to the first twenty years or so of the nineteenth centuries, laces, although still made with the needle and bobbins, became little more than finely-meshed nets powdered over with dots or leaves, or single blossoms, or tiny sprays.

Within the limits of a brief note like the present, it is not possible to discuss local peculiarities in methods of work and styles of design which established the characters of the various Venetian and other Italian points, of the French points of Alencon and Argentan, of the cloudy Valenciennes, Mechlin, and Brussels laces. Neither can one touch upon the nurturing of the industry by nuns in convents, by workers subsidised by State grants, and so forth. It would require more s.p.a.ce than is available to fairly discuss what styles of ornament are least or most suited to lace-making; or whether lace is less rightly employed as a tissue for the making of entire articles of costume or of household use, than as an ornamental accessory or tr.i.m.m.i.n.g to costume.

Whilst very much lace is a fantastic adjunct to costume, serving a purpose sometimes like that of _appoggiature_ and _fioriture_ in music, other lace, such as the carved-ivory-looking scrolls of Venetian raised points, which are princ.i.p.ally a.s.sociated with the _jabots_ and ruffles of kings, ministers, and marshals, and with the ornamentation of priests' vestments, is certainly more dignified in character. The loops, twists, and plaits of threads are more noticeable in laces of comparatively small dimensions than they are in laces of great size.

Size rather tempts the lace-worker to strive for ready effect, and to sacrifice the minuteness and finish of hand work, which give quality of preciousness to lace. The _via media_ to this quality lies between two extremes; namely, applying dainty threads to the interpretation of badly shaped and ill-grouped forms on the one hand, and on the other hand adopting a style of ornament which depends upon largeness of detail and ma.s.siveness in grouping, and is therefore unsuited to lace. Without finish of handicraft, producing beautiful ornament suited to the material in which it is expressed, lace worthy the name cannot be made.

The industry is still pursued in France, Belgium, Venice, Austria, Bohemia, and Ireland. Honiton has acquired a notoriety for its pillow laces, many of which some hundred years ago were as varied and well executed as Brussels pillow laces. Other English towns in the Midland counties followed the lead chiefly of Mechlin, Valenciennes, Lille, and Arras, but were rarely as successful as their leaders. Saxony, Russia, and the Auvergne produce quant.i.ties of pillow laces, having little pretence to design, though capable of pretty effects when artistically worn. There is no question that the want of a sustained intelligence in appreciating ingenious hand-made laces has told severely upon the industry; and as with other artistic handicrafts, so with lace-making, machinery has very considerably supplanted the hand. There is at present a limited revival in the demand for hand-made laces, and efforts are made at certain centres to give new life to the industry by infusing into it artistic feeling derived from a study of work done during the periods when the art flourished.

ALAN S. COLE.

OF BOOK ILl.u.s.tRATION AND BOOK DECORATION

Book ill.u.s.tration is supposed to have made a great advance in the last few years. No doubt it has, but this advance has not been made on any definite principle, but, as it were, in and out of a network of cross-purposes. No attempt has been made to cla.s.sify ill.u.s.tration in relation to the purpose it has to fulfil.

Broadly speaking, this purpose is threefold. It is either utilitarian, or partly utilitarian partly artistic, or purely artistic. The first may be dismissed at once. Such drawings as technical diagrams must be clear and accurate, but by their very nature they are non-artistic, and in regard to art it is a case of "hands off" to the draughtsman.

Ill.u.s.tration as an art, that is, book decoration, begins with the second cla.s.s. From this standpoint an ill.u.s.tration involves something more than mere drawing. In the first place, the drawing must ill.u.s.trate the subject, but as the drawing will not be set in a plain mount, but surrounded or bordered by printed type, there is the further problem of the relation of the drawing to the printed type. The relative importance attached to the printed type or the drawing is the crucial point for the ill.u.s.trator. If all his thoughts are concentrated on his own drawing, one line to him will be much as another; but if he considers his ill.u.s.tration as going with the type to form one h.o.m.ogeneous design, each line becomes a matter of deliberate intention.

Now, in the early days of printing, when both type and ill.u.s.tration were printed off a single block, the latter standpoint was adopted as a matter of course, and as the art developed and men of genuine ability applied themselves to design, this intimate relation between printer and designer produced results of inimitable beauty. Each page of a fine Aldine is a work of art in itself. The eye can run over page after page for the simple pleasure of its decoration. No black blots in a sea of ign.o.ble type break the quiet dignity of the page; each part of it works together with the rest for one premeditated harmony. But gradually, with the severance of the arts, the printer lost sight of the artist, and the latter cared only for himself; and there came the inevitable result which has followed this selfishness in all the other arts of design.

Printing ceased to be an art at all, and the art of book decoration died of neglect; the ill.u.s.trator made his drawing without thought of the type, and left it to the printer to pitch it into the text, and reproduce it as best he could.

The low-water mark in artistic ill.u.s.tration was reached perhaps in the early part of this century, and the greatest offender was Turner himself. The ill.u.s.trations which Turner made for Rogers's Poems show no sort of modification of his habitual practice in painting. They may have been beautiful in themselves, but it evidently never entered into Turner's head that the method, which was admirable in a picture aided by all the resources of colour, was beside the mark when applied to the printed page with all the limitations of black and white and the simple line. One looks in vain in Turner's ill.u.s.trations for any evidence that he was conscious of the existence of the rest of the page at all.

Something more than a landscape painter's knowledge of drawing is necessary. The custom of getting ill.u.s.trations from painters who have little knowledge of decorative design has led to the invention of all sorts of mechanical processes in order to transfer easel-work direct to the printed page. The effect of this upon book decoration has been deadly. Process-work of this sort has gone far to kill wood-engraving; and as to its result, instead of a uniform texture of line woven as it were over the entire page, the eye is arrested by harsh patches of black or gray which show a disregard of the printed type which is little less than brutal. Leaving recent work out of account, one exception only can be made, and that is in the case of William Blake.

The inherent conditions of book decoration point to the line drawn by hand, and reproduced, either by wood-engraving or by direct facsimile process, as its proper method. Indeed, the ideal of paginal beauty would be reached by leaving both the text and the ill.u.s.trative design to hand, if not to one hand. This, however, is out of the question; the cost alone is prohibitive. The point for the book-decorator to consider is, what sort of line will range best with the type. In the case of the second division of our cla.s.sification, which, in default of a better name, may be called "record work," it is impossible to apply to the line the amount of abstraction and selection which would be necessary in pure design. To do so, for instance, in the case of an architectural ill.u.s.tration, would destroy the "vraisemblance" which is of the essence of such a drawing. Even in this case, however, the line ought to be very carefully considered. It is important to recollect that the type establishes a sort of scale of its own, and, taking ordinary lettering, this would exclude very minute work where the lines are close together and there is much cross-hatching; and also simple outline work such as Retsch used to labour at, for the latter errs on the side of tenuity and meagreness as much as process-reproduction of brush-work sins in the opposite extreme. The line used in architectural ill.u.s.tration should be free, accurate, and unfaltering, drawn with sufficient technical knowledge of architecture to enable the draughtsman to know where he can stop without injury to his subject. The line should not be obstinate, but so light and subtle as to reflect without effort each thought that 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 ill.u.s.tration. The poetry of architecture and its highest qualities of dignity of ma.s.s and outline are smothered by that laborious accuracy which covers every part of the drawing with a vain repet.i.tion of unfeeling lines.

Where, however, the ill.u.s.tration 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 ill.u.s.trator can so order his design that the drawing and the printed type form a single piece of decoration, not disregarding the type, but using it as in itself a means of obtaining texture and scale and distributed effect. The type is, as it were, the technical datum of the design, which determines the scale of the line to be used with it. With a wiry type no doubt a wiry drawing is desirable, but the types of the great periods of printing are firm in outline and large and ample in distribution. a.s.suming, then, that one of these types can be used, the line of the accompanying design should be strongly drawn, and designed from end to end with full allowance for the white paper. No better model can be followed than Durer's woodcuts. The amount of work which Durer would get out of a single line is something extraordinary, and perhaps to us impossible; for in view of our complex modern ideas and total absence of tradition, probably no modern designer can hope to 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 to be inebriated with their own cunning; they go on drawing line after line, apparently for the simple pleasure of deftly placing them side by side, or at best to produce some spurious imitation of texture. As soon as the line is made an end in itself, it becomes a wearisome thing. The use of the line and the imitation of texture should be absolutely subordinated to the decorative purposes of the design, and the neglect of this rule is as bad art as if a musician, from perverse delight in the intricacies of a fugue, were to lose his theme in a chaos of counterpoint.

If, then, to conclude, we are to return to the best traditions of book decoration, the artist must abandon the selfish isolation in which he has. .h.i.therto worked. He must regard the printed type not as a necessary evil, but as a valuable material for the decoration of the page, and the type and the ill.u.s.tration should be considered in strict relation to each other. This will involve a self-restraint far more rigid than any required in etching, because the point to be aimed at is not so much the direct suggestion of nature, as the best decorative treatment of the line in relation to the entire page. Thus, to the skill of the draughtsman must be added the far-seeing imagination of the designer, which, instead of being content with a hole-and-corner success, involving disgrace to the rest of the page, embraces in its consciousness all the materials available for the beautification of the page as a whole. It is only by this severe intellectual effort, by this self-abnegation, by this ready acceptance of the union of the arts, that the art of book ill.u.s.tration can again attain to a permanent value.

REGINALD BLOMFIELD.

OF DESIGNS AND WORKING DRAWINGS

The drawings which most deeply interest the workman are working drawings--just the last to be appreciated by the public, because they are the last to be understood. The most admired of show drawings are to us craftsmen comparatively without interest. We recognise the "compet.i.tion" drawing at once; we see how it was made in order to secure the commission, not with a view to its effect in execution (which is the true and only end of a design), and we do not wonder at the failure of compet.i.tions in general. For the man who cares least, if even he knows at all, how a design will appear in execution is the most likely to perpetrate a prettiness which may gain the favour of the inexpert, with whom the selection is likely to rest.

The general public, and all in fact who are technically ignorant on the subject, need to be warned that the most attractive and what are called "taking" drawings are just those which are least likely to be designs--still less _bona fide_ working drawings. The real workman has not the time, even if he had the inclination, to "finish up" his drawings to the point that is generally considered pleasing; the inventive spirit has not the patience. We have each of us the failings complementary to our faculties, and _vice versa_; and you will usually find--certainly it is my experience--that the makers of very elaborately finished drawings seldom do anything but what we have often seen before; and that men of any individuality, actual designers that is to say, have a way of considering a drawing finished as soon as ever it expresses what they mean.

You may take it, then, as a general rule that highly finished and elaborate drawings are got up for show, "finished for exhibition" as they say (in compliance with the supposed requirements of an exhibition rather than with a view to practical purposes), and that drawings completed only so far as is necessary, precise in their details, disfigured by notes in writing, sections, and so on, are at least genuine workaday designs.

If you ask what a design should be like--well, like a design. It is altogether a different thing from a picture; it is almost the reverse of it. Practically no man has, as I said, the leisure, even if he had the ability, to make an effective finished picture of a thing yet to be carried out--perhaps _not_ to be carried out. This last is a most serious consideration for him, and may have a sad effect upon his work.

The artist who could afford thus to give himself away gratis would certainly not do so; the man who might be willing to do it could not; for if he has "got no work to do"--that is at least presumptive evidence that he is not precisely a master of his craft.

The design that looks like a picture is likely to be at best a reminiscence of something done before; and the more often it has been done the more likely it is to be pictorially successful--and by so much the less is it, strictly speaking, a design.

This applies especially to designs on a small scale, such as are usually submitted to catch the rare commission. To imitate in a full-sized cartoon the texture of material, the casualty of reflected light, and other such accidents of effect, is sheer nonsense, and no practical workman would think of such a thing. A painter put to the uncongenial task of decorative design might be excused for attempting to make his productions pa.s.s muster by workmanship excellent in itself, although not in the least to the point: one does what one can, or what one must; and if a man has a faculty he needs must show it. Only, the perfection of painting will not, for all that, make design.