KERAMIC STUDIO 
i99 
In Fig. 4 we see the mis- 
take made by using hard, an- 
gular motives to ornament 
objects having curved outlines. 
It is the old difficulty of the 
square block in the round hole, 
it is never comfortable. How 
much more harmonious for the 
purpose are designs in curves 
as suggested in Fig. 5. 
although easily effective in a loud voiced way, are difficult to 
manage and apt to become bizarre without attaining the naive 
quaintness of rude and primitive styles. Contrast is necessary 
to avoid monotony; it is indeed the life of ornament, yet it 
must be well governed or it becomes merely discord. Forms 
in the ornament contrasting with the shape of the object 
should differ much from its size as well, hence they are better 
in the detail than in the principal lines. For a piece of fine 
outline a design should be sought which will give repose by 
harmonizing main lines, contrast being secured in the subor- 
dinate features. And as the circle or some full, swelling 
curve forms the outline of most keramic shapes it follows that, 
excepting when we have cylindrical or conical shapes, the 
decoration is best planned on curved lines. Fig. 9 shows 
some totally bad, discordant ornamentations. Fig. 10 gives 
the same shapes with decorations arranged on harmonizing 
It must always be remembered that the ornament must 
fit the outline from every point of view, like the details of a 
piece of sculpture. In this requirement the decoration of 
vases and jars is even more exacting than the composition of 
pictures which are to be viewed from one point only. In the 
case of a cylinder or truncated cone there is more latitude in 
the lines of the decoration as the outline is made up of both 
curved and straight lines, harmonizing with either in the 
ornament (Figs. 6 and 7). 
A design combining both kinds of line is very effective 
for such shapes, affording both harmony and contrast (Fig. 8). 
It should be looked to, however, that the two kinds of line 
are not equal in quantity. If the main lines in the ornament 
are straight, bring some curves into the subordinate lines, and 
vice versa. 
Decorations in marked contrast to the lines of the object, 
lines, contrasting lines occurring in the details. In Fig. 1 [ the 
element of contrast is secured by the varied character and 
size of the curves. 
As a matter of taste the finer the form the less need there 
is of decoration beyond that given by a beautiful color and 
exquisite glaze, as is seen in some of the most precious ex- 
amples from the orient which need the enhancement of orna- 
ment as little as do pearls and gem-stones. The finer the 
form and material, the greater thought must be exercised 
that the decoration is in perfect harmony, so that it shall en- 
hance instead of doing an injury to the beauty already there. 
And again the decoration of a fine material should never be 
such a complete covering as to conceal that precious quality 
or make it hard to discover. So, as a rule, with wares already 
precious in shape and substance, the less of the surface should 
be covered by decoration, especially with mat colors, gilding, 
jewels and raised work, that change or conceal the true sur- 
face. The value of broad spaces, of plain or graded tints and 
of rich, solid color, is too little appreciated. 
Go again to the orient and see how a few touches applied 
in exactly the right spot make all the decoration required for 
some of the masterpieces of keramic art. Or visit the Tiffany 
warerooms or any museum where the wonderful " favrile " 
glass may be seen and notice what slight suggestions serve 
where any ornament at all is placed upon those resplendent 
and dreamlight forms. But think not that the few strokes or 
the dreamy suggestion in these instances mean little work. It 
is easy to make pretty things; a little taste and industry will 
do this. But to make fine things that look so simple — not 
till one tries it again and again will he understand the years 
of study and practice that are behind the few little easy 
touches that have fallen so carelessly in exactly the right 
place. Into such art there have gone masterly technique and 
the imagination of poets. 
