Novelty in itself is no claim to consideration; in fact, on being shown some product of which it is said "Nothing like it has ever been seen before," the temptation is great to respond, "May its like never be seen again." Novelty apart, form must possess proportion, balance and grace. A chair must invite the sitter, a vase must stand securely, a carpet must lie flat. The absence of these things may evidence an individuality on the part of the designer but it is art at the expense of truth.
The second necessary condition is fitness which again is expressed in several ways. A porcelain vase is required to be light, graceful and refined. A piece of ruder pottery may be no less satisfactory if it exhibit vigor, strength and solidity. A large pot for a growing tree is, for these reasons, more appropriate in grès than in porcelain. Porcelain is translucent but such a quality is of no advantage in the case of a flower pot; the strength of a massive body is, however, demanded by the circumstances of use and hence the unfitness of the one and the fitness of the other.
Another point of fitness is concerned in the correspondence between size, form and weight. It often happens that one takes hold of a piece of pottery and experiences a shock. The mind unconsciously forms an estimate of what the weight will be but the piece does not respond. The effort put forth in accordance with the appearance of the object either lifts it suddenly into the air or fails to raise it from the table. The artist critic takes note of these things. To handle his wares is a constant pleasure, for one is not continually disappointed by unexpected violences. This correspondence or equilibrium is apart from the use of a piece of pottery. It is quite as legitimate to express one's ideas in clay in the presentation of simple beauty as it is to express them with paint upon canvas. At the same time there is always a satisfaction in a vase or flower pot that it can be used if required. Thus a vase which will not hold water is technically imperfect and the _bête noire_ of the conscientious potter.
It is in the harmony of these things that the rôle of the critic is seen to advantage. If the artist be capable of criticizing his own work he is in a position to command attention but he must either discipline himself or be disciplined by others, which, after all, is the way of the world at large.