CHAPTER XIX
THE GROTESQUE IN CARVING
Misproportion not Essential to the Expression of Humor—The Sham Grotesque Contemptible—A True Sense of Humor Helpful to the Carver.
The dullness which comes of "all work and no play" may be said to affect the carver at times. He tires of carving leaves and ornaments: what more natural than to seek change and amusement in the invention of droll figures of men or animals? The enjoyment which we all feel in contemplating the outcome of this spirit in ancient work, leads us to the imitation of both subject and manner, hoping thereby that the same results may be obtained; but somehow the repetition is seldom attended with much success, while of original fancies of the same sort we are obliged to confess ourselves almost destitute. Who can behold the fantastic humors of Gothic carvings without being both amused and interested? Those grotesque heads with gaping mouths recall the stories of childhood, peopled with goblins and gnomes. It is all so natural, and so much in keeping with the architecture which surrounds it, the carving is so rude and simple, that it seems absurd when some authority on such matters makes a statement to the effect that all such expression of humor has become forever impossible to ourselves.
This important part of the question must be left to your own meditation, to settle according to your lights; experience will probably lead you ultimately to the same opinion. Meantime, the point I wish to impress upon you is this, that until you feel yourself secure, and something of a master of various branches of your craft, you should not attempt any subject which aims at being decidedly grotesque. There are very good and practical reasons for this; one is, that while you are studying your art, you must do nothing that may tend to obscure what faculties you have for judging proportion. Now, as all grotesque work is based more or less on exaggeration, it forms a very dangerous kind of exercise to the beginner, therefore I should never allow a pupil of mine to so much as attempt it. Do not think that I wish to discourage every effort which has not an ultra-serious aim. On the contrary, I am but taking a rather roundabout way to an admission that the humorous element has, and must have at all times, a powerful attraction for the wood-carver; and to the statement of an opinion that it should not be allowed to take a prominent place in the work of a student; moreover, that it is quite possible to find in nature a varied and unfailing source of suggestion in this respect (more, in fact, than we are ever likely to account for), and which requires no artificial exaggeration to aid its expression. Some tincture of the faculty is absolutely necessary to the carver who takes his subjects from birds or beasts, in order that he may perceive and seize the salient lines and characteristic forms, of which the key-note is often to be found in a faint touch of humor, and which, like the scent of a flower, adds charm by appealing to another sense.
The same argument applies to the treatment of the human figure. Let no student (and I may include, also, master-carver) think that a grotesque treatment will raise the smile or excite the interest which is anticipated. The "grotesque" is a vehicle for grim and often terrible ideas, lightly veiled by a cloak of humorous exaggeration; a sort of Viking horse-play—it is, in fact, a language which expresses the mixed feelings of sportive contempt and real fear in about equal proportions. When these feelings are not behind the expression, it becomes a language which is in itself only contemptible.
