LIST OF ILLUSTRATIONS

Page
A Suggestion from Nature and Photography[Frontispiece]
Fig. 1.[34]
Fig. 2.[35]
Fig. 3.[39]
Fig. 4.[43]
Fig. 5.[46]
Fig. 6.[46]
Fig. 7.[47]
Fig. 8.[52]
Fig. 9.[54]
Fig. 10.[58]
Fig. 11.[69]
Fig. 12.[73]
Fig. 13.[73]
Fig. 14.[74]
Fig. 15.[79]
Fig. 16.[88]
Fig. 17.[91]
Fig. 18.[94]
Fig. 19.[94]
Fig. 20.[96]
Fig. 21.[100]
Fig. 22.[103]
Fig. 23.[105]
Fig. 24.[111]
Fig. 25.[113]
Fig. 26.[113]
Fig. 27.[116]
Fig. 28.[119]
Fig. 29.[120]
Fig. 30.[120]
Fig. 31.[120]
Fig. 32.[123]
Fig. 33.[123]
Fig. 34. CARVING IN PANELS OF FIG 33[126]
Fig. 35.[127]
Fig. 36.[127]
Fig. 37.[131]
Fig. 38.[131]
Fig. 39.(a)[131]
Fig. 39.(b)[133]
Fig. 40.[133]
Fig. 41.[133]
Fig. 42.[135]
Fig. 43.[135]
Fig. 44.[137]
Fig. 45.[137]
Fig. 46.[139]
Fig. 47.[146]
Fig. 48.[146]
Fig. 49.[146]
Fig. 50.[146]
Fig. 51.[146]
Fig. 52.[145]
Fig. 53.[161]
Fig. 54.[166]
Fig. 55.[166]
Fig. 56.[168]
Fig. 57.[170]
Fig. 58.[174]
Fig. 59.[174]
Fig. 60.[176]
Fig. 61.[178]
Fig. 62.[180]
Fig. 63.[183]
Fig. 64.[187]
Fig. 65.[187]
Fig. 66.[190]
Fig. 67.[190]
Fig. 68.[198]
Fig. 69.[200]
Fig. 70.[202]
Fig. 71.[208]
Fig. 72.[209]
Fig. 73.[209]
Fig. 74.[223]
Fig. 75.[229]
Fig. 76.[229]
Fig. 77.[229]
Fig. 64.[187]
The Collotype Plates[271]
I.—Old Carved Chest in York Cathedral.[I]
II.—Figure from the Tomb of Henry IV. in Canterbury Cathedral.[II]
III.—Aisle Roof—Mildenhall Church, Suffolk.[III]
IV.—Nave Roof—Sall Church, Norfolk.[IV]
V.—Portion of a Carved Oak Panel—The Sheepfold.[V]
VI—Portion of a Carved Oak Panel—The Sheepfold.[VI]
VII.—Preliminary Drawing of a Lion for Carving. By Phillip Webb.[VII]
VIII.—Book Cover Carved in English Oak—"Tale of Troy."[VIII]
IX.—Book Cover Carved in English Oak—"Tale of Troy."[IX]
X.—Book Cover Carved in English Oak—"Reynard the Fox".
(only carved portions shown.)		 [X]
XI.—Carving from Choir Stalls in Winchester Cathedral.[XI]
XII.—Carving from Choir Screen—Winchester Cathedral.[XII]
XIII.—Font Canopy—Trunch Church, Norfolk.[XIII]
XIV.—Two designs for Carving, by Philip Webb.
One executed, one in drawing.		 [XIV]
XV.—Leg of a Settle, carved in English Oak.[XV]
XVI.—Pew Ends in Carved Oak—Brent Church, Somersetshire. [XVI]

CHAPTER I

PREAMBLE

Student and Apprentice, their Aims and Conditions of Work—Necessity for some Equality between Theory and Practise—The Student's Opportunity lies on the Side of Design.

The study of some form of handicraft has of late years become an important element in the training of an art student. It is with the object of assisting such with practical directions, as well as suggesting to more practised carvers considerations of design and treatment, that the present volume has been written. The art of wood-carving, however, lends itself to literary demonstration only in a very limited way, more especially in the condensed form of a text-book, which must be looked upon merely as a temporary guide, of use only until such time as practise and study shall have strengthened the judgment of the student, and enabled him to assimilate the many and involved principles which underlie the development of his craft.

If the beginner has mastered to some extent the initial difficulties of the draftsman, and has a fair general knowledge of the laws of design, but no acquaintance with their application to the art of wood-carving, then the two factors which will most immediately affect his progress (apart from natural aptitude) are his opportunities for practise, and his knowledge of past and present conditions of work. No one can become a good carver without considerable practise—constant, if the best results are to be looked for. Just as truly, without some knowledge of past and existing conditions of practise, none may hope to escape the danger of becoming, on the one hand, dull imitators of the superficial qualities of old work; or on the other, followers of the first will-o'-the-wisp novelty which presents itself to their fancy.