Fig. 74.
CHAPTER XXIV
ARCHITECTURAL CARVING
The Necessity for Variety in Study—A Carver's View of the Study of Architecture; Inseparable from a Study of his own Craft—Importance of the Carpenter's Stimulating Influence upon the Carver—Carpenter's Imitation of Stone Construction Carried too Far.
That the study of wood-carving should be confined to the narrow field of its own performances would be the surest way to bring contempt upon an art which already offers too many temptations for the easy embodiment of puerile motives. Such a limited range would exclude all the stimulating lessons to be derived from the many other kinds of carving and sculpture; forgetful that they are, after all, but different forms of the same art, differing only in technique and application. It would take no note of the stately sculptures of Greece—the fountain-head of all that is technically and artistically perfect in expression of form—or of the splendor of imagination displayed in the ivories of Italy. Many another source of inspiring impetus would be neglected, including the greatest of all, the influence of architecture, and through it, the dignified association or the carver's art with all that is noble in the life of mankind.
The dry and uninviting aspect which a serious study of architecture presents to some minds is such that it is too often avoided as both useless and wearisome. Much of this diffidence is due to a misconception of the aims which should govern the student of decorative design in making an acquaintance with its principles. The study should not be looked upon as pertaining exclusively to the functions of an architect, nor as having only an accidental connection with particular crafts. It must be remembered that in the old days mason and carpenter were both craftsmen and architects, and the sculptor and wood-carver had an equal share in creating every feature which gives any distinction of style to the buildings that were the outcome of their united efforts. So, instead of looking upon the subject as only a study of dates for the antiquary, and rules of construction for the architect, the carver should take his own view, and regard architecture for the time being as what in some sense it really is: a very large kind of carving, which includes and gives reason for his own particular branch. The importance of the subject is proved by the experience of centuries; history showing plainly how the two arts grew in strength and beauty only when closely associated, and shared each other's fate in proportion to their estrangement.
In this place I can say but very little upon such a vast subject; all I can do is to call your attention to one or two examples of carved work combined with structural carpentry, in order that you may see for yourselves what a power of effect lies in that union, and how by contrast it enhances the value and interest of both. I do this in the hope that it may possibly lead you to a more complete study of architecture, for which there is no lack of opportunity in books and museums, but more especially in what remains of the old buildings themselves, with which a familiar and personal acquaintance will be much better than a theoretical or second-hand one.