A desire for Symmetry often accompanies these two treatments. This is a quality to be avoided whenever possible in Natural foliage design. The so-called "Turn-over patterns" are an economy in Weaving-design, but the economy is of the wrong kind. An artist should spend his thought to spare material or cost in working. When he spares his _thought_--making the least amount of thought cover the greatest amount of surface--then is his work worth to the world just what it has cost him, i.e., very little. So injurious is the influence of Symmetry in Natural foliage design, that it might almost be a test question--"Is the design symmetrical?" When the exigencies of Machine-reproduction necessitate this with Natural foliage--it is a hardship which the Artist regretfully accepts, and no one would willingly make a design for Hand-reproduction which was symmetrical; rather would he spend himself to insure the worthier result which ensues from Balance. An example of Symmetry is given in Fig. 4; and of Balance in Fig. 5. Each panel contains two classes of Elements:--Natural foliage (i.e., two branches of the Bay tree), and an Artificial object (i.e., a Ribbon which ties them). The lower Element (i.e., the Ribbon) is treated symmetrically in both panels: the higher Element (i.e., the Branches) are _symmetrical_ in the former panel, and _balanced_ in the latter. This latter treatment, will be seen to be not only the more interesting, but the more like the infinite variety of Nature; while the former is a wasted opportunity, and contrary to Nature. [Illustration: FIG. 4.] The Student will observe by experience that the mind soon tires of Artificiality, both in Curvature and in Symmetry; the lines of Nature have a pleasant freshness and inexhaustible variety; and the _Natural_ method of treating Nature is not only the most true, but also the most beautiful. [Illustration: FIG. 5.] Sec. 8.--REALISM AND CONVENTIONALISM: DEFINITIONS. REALISM--the result of _Realistic_ treatment, i.e., the attempt to render the reproduction as like the reality as is possible, even to the verge of deception--is the aim of the Pictorial-Artist. In Pictures the surface appears to have been annihilated, and the spectator beholds the scene as if there were a hole through the wall. It is not the highest, and should not be the only aim in Art; but it has always been sought for and admired. It requires perfect conditions, of materials and tools; i.e., _complete Technical appliances_. CONVENTIONALISM--the result of _incomplete Technical appliances_, and the attempt to render so much of the Beauty of the original as is possible, with due regard to their capabilities--is the aim of the Decorative-Artist. It is not the highest aim; though a necessary curb in Decorative-Art, both for the technical reason, and also as a result of the Position or Function of the object.