There is a considerable school with whom a decorative arrangement is the chief motive. There are also those who seek to combine the interest of form and colour with some symbolic idea. Outstanding in this classification is a work by R. Scott Irvine, “Deadly Nightshade,” in which the sinister quality of the plant is indicated to some degree by the stylised painting of stems and leaves in snake-like forms, and in which the dominant idea is linked on to present conditions through the introduction, with no effort at proportionate scale, of a German I aeroplane, whose twisted propellor blades carry the suggestion that it is an integral part of the nightshade subject matter.
