Furniture Constructed with a View to Carving—Reciprocal Aims of Joiner and Carver—Smoothness Desirable where Carving is Handled—The Introduction of Animals or Figures
Misproportion Not Essential to the Expression of Humor—The Sham Grotesque Contemptible—A True Sense of Humor Helpful to the Carver
The Introduction of Animal Forms—Rude Vitality better than Dull "Natural History"—"Action"—Difficulties of the Study for Town-Bred Students—The Aid of Books and Photographs—Outline Drawing and Suggestion of Main Masses—Sketch-Book Studies, Sections, and Notes—Swiss Animal Carving—The Clay Model: its Use and Abuse
Intelligible Background Outline Better than Confused Foreshortening—Superposition of Masses
Undercutting as a Means and as an End; its Use and Abuse—"Built-up" Work—"Planted" Work—"Pierced" Work
The Limitations of an Art not Safely Transgressed—Aerial Perspective Impossible in Relief—Linear Perspective only Possible in a Limited Way
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—Carpenters' Imitation of Stone Construction Carried too Far
Tool Marks, the Importance of their Direction—The Woody Texture Dependent upon Clearness of Cutting and Sympathetic Handling
The Country Craftsman of Old Times—A Colony of Craftsmen in Busy Intercourse—The Modern Craftsman's Difficulties: Embarrassing Variety of Choice
The Infinite Multiplicity of Styles—The "Gothic" Influence: Sculpture an Integral Element in its Designs—The Approach of the so-called "Renaissance" Period—Disturbed Convictions—The Revival of the Classical Style—The Two Styles in Conflict for a Time; their Respective Characteristics Reviewed—Carvers Become Dependent upon Architects and Painters—The "Revival" Separates "Designer" and "Executant"