Difficulties of Selection and Arrangement—Limits of an Imitative Treatment—Light and Distance Factors in the Arrangement of a Design—Economy of Detail Necessary—The Word "Conventional"
Necessity for every Carver Making his own Designs—Method of Carving Rounded Forms on a Sunk Ground
Importance of Formal Pattern as an Aid to Visibility—Pattern and Free Rendering Compared—First Impressions Lasting—Medieval Choice of Natural Forms Governed by a Question of Pattern
Adaptation of Old Designs to Modern Purposes—"Throwing About"—Critical Inspection of Work from a Distance as it Proceeds
Dangers of Imposing Words—Novelty more Common than Originality—An Unwholesome Kind of "Originality"
Exercise in Background Pattern—Care as to Stability—Drilling and Sawing out the Spaces—Some Uses for Pierced Patterns
Carvings can not be Independent Ornaments—Carving Impossible on Commercial Productions—The Amateur Joiner—Corner Cupboards—Introduction of Foliage Definite in Form, and Simple in Character—Methods of Carving Grapes
Old Work Best Seen in its Original Place—Museums to be approached with Caution.—Methodical Memoranda—Some Examples—Assimilation of Ideas Better than Making Exact Copies
False Impressions Fostered by Fragmentary Exhibits—Environment as Important as Handicraft—Works Viewed as Records of Character—Carvers the Historians of their Time
Medieval and Modern Choice of Form Compared—A Compromise Adopted—A List of Plant Forms of Adaptable Character