187. In connection with the practice of Pure Design, as I have described it,—the composition and arrangement of lines and spots of paint; of tones, measures, and shapes: this in the modes of Harmony, Balance, and Rhythm, for the sake of Order and in the hope of Beauty,—the student should take up the study of Order in its three modes, as revealed in Nature and achieved in Works of Art.

188. The method of study should be a combination of analysis with synthetic reproduction. Taking any instance of Order, whether in Nature or in some work of Art, the first thing to do is to consider its terms,—its positions, its lines, its areas, its measure and space-relations, its tones and tone-relations,—bringing every element to separate and exact definition. The next thing to do is to note every occurrence of Harmony, of Balance, of Rhythm,—every connection making for consistency, unity, Order. In that way we shall get an exact knowledge of the case. We shall know all the facts, so far as the terms and the principles of Design are concerned. That is what I mean by analysis. By a synthetic reproduction I mean a reproduction of the effect or design, whatever it is, following the images which we have in mind as the result of our analysis. The reproduction should be made without reference to the effect or design which has been analyzed. There should be no direct imitation, no copying. We must not depend so much upon the memory as upon the imagination. Having reproduced the effect or design in this way, following the suggestions of the imagination, the reproduction should be brought into comparison with the effect or design reproduced and the differences noted. Differences should be carefully observed and the previous analysis should be reviewed and reconsidered. When this is done another attempt at reproduction should be made. This process should be repeated until the effect or design is thoroughly understood and imaginatively grasped. The evidence of understanding and comprehension will be seen in the reproduction which is made, which ought to have an essential but not a literal correspondence with the original. Analysis should precede; synthesis should follow.

I hope, in another book or books, to be published later, to give some examples of Order in natural objects or effects, also examples of Order in Works of Art, with a careful analysis of each one, showing how the points, lines, and areas, the measure and the space-relations, the tones and tone-relations come together in the forms of Harmony, Balance, and Rhythm, in the modes of Order, in instances of Beauty. In the mean time, as the methods of analytic study and of synthetic practice are clearly indicated in the preceding pages, the student who has taken pains to understand what he has read will find himself well prepared for the work. He can take up the study of Order in Nature and of Design in Works of Art without further assistance.