The same will be true of his seleci of contours or embellishments, for as a craftsman he is always aware of the b requirement of purpose. Proportion. Good design in furniture is the product of several factors, the least of which is the observance of proper proportion. Good proportion resi from a harmonious relationship between the various parts, a balancing of mas: Here again the utility or the purpose for which the object is intended will del mine the direction of the primary mass; in a bookcase the largest dimension i be in a vertical plane, whereas in a desk the primary mass will be horizon This dominant mass may be subdivided vertically, horizontally, or in both dir tions; into two, three, or more masses, which must be proportionally located. 1 following suggested ratios will, in general, satisfy the eyes of the beholder, tl insuring a sense of good proportion: 1. Of two horizonal divisions one section should be larger than the other. Eq; horizontal divisions tend to become monotonous. 2. For the same reason, the central of three horizontal sections should p dominate. 3. Four or more horizontal sections should gradually diminish in size, with t largest one at the bottom. 4. Two vertical sections should be equal. The eyes would be dissatisfied w: an unequal lateral ratio. 5. Of three vertical divisions, predominance should be given the center sectic 6. With four vertical divisions, three choices are possible: all four sections с be constructed of equal size: the two central sections can be of equal size b larger than the two outer, equal sections; or the reverse. The esthetic appreciation of proper proportion is customarily attributed to t' possession of a mythical quality known as "good taste." By many, this discrimina ing feeling is believed to be inherent, conferred by some good fairy at birth. Tl truth of the matter is that regardless of a person's innate artistic bent or la< of it, the decision as to good taste will be automatically taken care of by the eye after thev have been afforded proper yardsticks for comparison. Our everrestle eyes automatically travel toward and focus upon successive centers of interes iSOch as the dominating masses or divisions described above. Our eves, in the Htomatic search for variety and interest, become dissatisfied with the. monoton fcequal divisions and masses. For one who has been otherwise preoccupied, jpay be necessary to arrange a brief training period for the eyes, by affording thei . sufficient opportunities to observe and study examples of wellproportioned furniture of recognized workmanship. Outline. In considering the shape or outline of furniture, utility again exerts a deciding influence. The formation of the basic structure is determined by the purpose the piece is to serve; this basic shape can be modified to a graceful outline only to an extent that will not impair the fundamental requirement of utility. The same is true of the shaping of divisions and of decoration.