Wood-Carving: Design and Workmanship

The series will appeal to handicraftsmen in the industrial and mechanic arts. It will consist of authoritative statements by experts in every field for the exercise of ingenuity, taste, imagination—the whole sphere of the so-called dependent arts. BOOKBINDING AND THE CARE OF BOOKS. A Handbook for Amateurs, Bookbinders, and Librarians. By Douglas Cockerell. With 120 Illustrations and Diagrams by Noel Rooke, and 8 collotype reproductions of binding. 12mo. $1.25 net; postage, 12 cents additional. SILVERWORK AND JEWELRY. A Text-Book for Students and Workers in Metal. By H. Wilson. With 160 Diagrams and 16 full-page Illustrations. 12mo. $1.40 net; postage, 12 cents additional. WOOD CARVING: DESIGN AND WORKMANSHIP. By George Jack. With Drawings by the Author and other Illustrations. In Preparation : CABINET-MAKING AND DESIGNING. By C. Spooner.

A Suggestion from Nature and Photography. See page 197.
In issuing these volumes of a series of Handbooks on the Artistic Crafts, it will be well to state what are our general aims.
In the first place, we wish to provide trustworthy text-books of workshop practise, from the points of view of experts who have critically examined the methods current in the shops, and putting aside vain survivals, are prepared to say what is good workmanship, and to set up a standard of quality in the crafts which are more especially associated with design. Secondly, in doing this, we hope to treat design itself as an essential part of good workmanship. During the last century most of the arts, save painting and sculpture of an academic kind, were little considered, and there was a tendency to look on design as a mere matter of appearance . Such ornamentation as there was was usually obtained by following in a mechanical way a drawing provided by an artist who often knew little of the technical processes involved in production. With the critical attention given to the crafts by Ruskin and Morris, it came to be seen that it was impossible to detach design from craft in this way, and that, in the widest sense, true design is an inseparable element of good quality, involving as it does the selection of good and suitable material, contrivance for special purpose, expert workmanship, proper finish, and so on, far more than mere ornament, and indeed, that ornamentation itself was rather an exuberance of fine workmanship than a matter of merely abstract lines. Workmanship when separated by too wide a gulf from fresh thought—that is, from design—inevitably decays, and, on the other hand, ornamentation, divorced from workmanship, is necessarily unreal, and quickly falls into affectation. Proper ornamentation may be defined as a language addressed to the eye; it is pleasant thought expressed in the speech of the tool.