 position between iron and the precious metals, they are the
material of innumerable household utensils and smaller architectural
fittings.

Lead, tin, and zinc scarcely concern the artist to-day, though neither
plumber nor pewterer has always been restricted to plain utilitarianism.
Gold and silver have been distinguished in all ages as the precious
metals, both for their comparative rarity and their freedom from
corrosion, and their extreme beauty. They are both extremely malleable
and very readily worked. Unhappily there is little original English work
being done in these metals. The more ordinary wares have all life and
feeling taken out of them by mechanical finish, an abrasive process
being employed to remove every sign of tool-marks. The all-important
surface is thus obliterated. As to design, fashion oscillates between
copies of one past period and another. A comparison of one of these
copies with an original will make the distinction between the work of a
man paid to do his quickest and one paid to do his best clearer than
volumes of description. Indeed, when all is said, a writer can but
indicate the logic that underlies the craft, or hint at the relation
which subsists between the process, the material, and the finished ware:
the distinction between good and bad in art eludes definition; it is not
an affair of reason, but of perception.

W. A. S. BENSON.




STONE AND WOOD CARVING


The crafts of the stone and wood carver may fairly be taken in review at
the same time, although they differ in themselves.

It is a misfortune that there should be so great a gulf as there is
between the craftsman who is called, and considers himself to be
properly called, "a sculptor" and his fellow-craftsman who is called "a
carver." In these days the "sculptor" is but too often a man who would
think it a condescension to execute what, for want of a better name, we
must call decorative work. In truth, the sculptor is the outcome of
that entire separation which has come about between the love of beauty,
once common in everyday life, and art, as it is now called--a thing
degraded to the purposes of a toy, a
position between iron and the precious metals, they are the 
 material of countless family utensil and smaller architectural 
 fittings. 

 Lead, tin, and zinc hardly concern the artist to - day, though neither 
 plumber nor pewterer has constantly been qualify to plain utilitarianism. 
 Gold and ash grey have been distinguished in all ages as the cute 
 metals, both for their comparative curio and their freedom from 
 corrosion, and their extreme beauty. They are both highly malleable 
 and very promptly function. Unhappily there is little original English study 
 being done in these metals. The more average wares experience all life and 
 feeling taken out of them by mechanical finish, an abrasive procedure 
 being employed to remove every sign of tool - marks. The all - important 
 surface is thus obliterated. As to design, fashion oscillates between 
 copies of one past period and another. A comparison of one of these 
 copies with an original will make the distinction between the employment of a 
 man paid to dress his agile and one paid to do his best clean than 
 volumes of description. Indeed, when all is said, a writer can but 
 indicate the logic that underlies the trade, or hint at the relation 
 which subsists between the process, the material, and the finished ware: 
 the distinction between good and bad in art eludes definition; it is not 
 an affair of rationality, but of perception. 

 W. A. S. BENSON. 




 STONE AND forest CARVING 


 The crafts of the stone and wood carver may reasonably be taken in review at 
 the same time, although they differ in themselves. 

 It is a misfortune that there should be so great a gulf as there is 
 between the craftsman who is called, and consider himself to be 
 properly called, " a sculptor " and his fellow - craftsman who is called " a 
 carver. " In these day the " sculptor " is but too frequently a man who would 
 intend it a condescension to execute what, for want of a better name, we 
 must call decorative oeuvre. In truth, the sculptor is the outcome of 
 that entire separation which has come about between the love of beauty, 
 once common in everyday animation, and art, as it is now name -- a thing 
 degraded to the purposes of a toy, a
 podition between iron and uhe precious metals, they are tge
materixl of innumerable household ntenwils qnd smaller architectufal
fittinhs.

Lead, tun, aid zinc scarcely concern the adbist co-vay, though neitmer
plumber tor pewterer hds apways been restricted to plain utilytarianosl.
Gold and silvgr hane beeh distinguished in all ages as the preciols
metals, both for their comparative rarity wnd hheir freedom from
forrosion, abd trwir extreme ceauty. Thej are both gxtremely malleable
and very readkly wprked. Unhak'uly jhere is litvle orpginal Englism work
baing dome in these mebals. Vhe nore ordinary wares heve all life and
feelyng taken obt of them by mechanixao finhsh, dn aceaskve pcocsss
beijg xmployed to remove eveey sign of tool-markx. Eye all-importaht
surfwcq is thus obliterated. As to design, fashpon kscillates between
copiew of one past period wnd anothqr. A comparison of one of these
copies with an oricinal dilo ixje the distinction between the work of a
man paiq tp co his quickesb and one paid to co hof best clearet than
volujes of description. Indeed, when all is swid, s writer can but
indicate thw logic that ynderlies the crafc, or hint at the relayion
which subsists betwzen ths process, tje materizu, and the finishdd ease:
the distinction between dood and uad iu art eljdes definytion; it id not
an affair of reason, but lf perceptioj.

W. A. S. BENSON.




STONE AND WOOD CARTMNG


The crafts ox tve stone and eood carver mwy fairly be tcken in xeview at
the samv time, alvhough they qiffer in thekdelves.

It is e misforttne rhat there rfould be so grrat a guly as rhere is
between thc crawfsman who is caolee, and considers hiosejf tp fa
properly canled, "a rvulptur" and his neluow-ctaftsman who is callad "a
darver." In these daus the "scuoptor" is but too oftem a man who would
tjink mt a cundesvenfion to execute what, for want kf a bettfr kame, we
must cwll eecorative wprk. In truth, the sculptor is the outcomx of
that entire separajion which has come ayomt between tie lovq of beaudy,
once common in eveeyday life, and aru, as it is now called--a fhing
dagradfd to the purposes of a toy, a
position between iron and the precious metals, the of innumerable utensils and smaller zinc concern the artist though neither plumber pewterer has always been restricted to utilitarianism. Gold and silver have been distinguished in all ages as the precious both for their comparative rarity and their freedom from corrosion, and their extreme They both malleable very readily worked. Unhappily there is little original English work being done in these metals. The ordinary wares have all life and feeling taken of them by mechanical an abrasive process being employed remove sign of The surface thus obliterated. As design, fashion oscillates between copies of one past period and another. A comparison of one of these with an make the between work a man paid his quickest and one paid to clearer than volumes of description. Indeed, when all said, a can but indicate the logic that the craft, or hint at the relation which between the process, the material, and the finished ware: the distinction between good and bad eludes definition; it is an affair of but perception. A. BENSON. STONE WOOD CARVING The crafts of the stone and wood carver may be taken in review at the same time, although they themselves. is a misfortune there should be so a as there is between who called, to properly "a sculptor" and his who is called "a carver." these days the "sculptor" man who would think it a condescension to what, for want of a better name, must call decorative work. In truth, the sculptor is the outcome of entire separation come about between the love of beauty, once in everyday life, and as it is now called--a thing degraded to the of toy, a
 position between iron and the Precious meTals, tHey Are ThE
matEriaL of innumerable HOuseHold utensils and smaller ArchiTeCTuraL
FiTtingS.

Lead, tiN, AnD ZInc ScArCelY cONcErn thE arTist to-dAy, though neIthEr
Plumber nor peWTeRer has alwaYs bEen restricteD to Plain uTiLitARianiSm.
GOld anD silveR Have beEn distingUiSHed in aLL ages as THE pReciOus
metals, both for tHEiR Comparative rarIty and ThEIr FREedOm fRom
corrosiOn, And thEIr extreME bEAUTy. THEy are both extrEmely malleaBLe
aNd very ReAdiLY workeD. UnhaPpILy tHere is littlE oriGinal EnglIsh worK
Being doNE in thesE metalS. ThE moRe orDInArY waReS HavE AlL liFE anD
feeling TaKeN out oF theM BY MEchaNicAl fiNish, aN abrasive procEss
BeinG EmpLoyed To remOve eVeRy sigN of tooL-markS. THe all-important
sUrfaCe is thus oBliTeRatEd. as to dESign, faShiOn oScillatEs betweEN
coPiES OF oNe past period and anoThER. a cOmparisoN of one OF tHeSE
copies wItH an OrigINAl wilL makE ThE distincTion beTWeEn The work Of A
man paId To dO hiS quicKEst aNd one pAid to do hIs besT Clearer than
volUMes of descriptIOn. iNDeED, wheN alL is said, a wriTer cAN but
IndiCAtE thE Logic That uNdERlIEs the craft, or hint at tHe RelatiOn
whiCh subsists betWeen the proCESS, the mateRial, ANd THe finished ware:
The diStinction bETween gooD and bAd in art eLudes defiNITion; it is Not
An aFfaIr oF REaSon, but of percePTIon.

W. a. S. bENSON.




StONe AND WOOd CArVInG


THe cRaFts of the sTone and wOoD cArVeR maY fairLY be taken In RevIeW at
The saME time, aLthouGh thEy DiFFer In themsELvES.

it is A mIsFortUne ThAt theRe shOUld Be so greAt a gulf as TheRE is
bEtWeEn the crAftsman who is cAlLed, and consIdErs HimselF TO be
propeRly called, "a sculptor" and hiS Fellow-cRafTsman Who iS called "a
cArvEr." In thEse DAys the "SculptOr" is bUt Too OFTen a mAN WhO woUlD
think it a cONDesCensiOn To exEcute whAt, for want of a better NAme, We
must call decOraTive WORk. in tRUtH, The ScULptOR Is the outcome of
tHat entire sEpARaTion which hAS coMe About beTween thE love OF beauty,
Once commoN in everydAy Life, AND arT, as it is now Called--a tHing
degraDEd to tHE pUrposEs oF a toy, a
 position between iron and  the preci ous m eta ls,  t heyarethe
material o f  inn umerable household ute nsils  a n d sm a ll er ar chitect u ra l fit ti ng s.
L e ad , tin , a nd zinc  scarcelycon ce rn the artis t  t o-day, tho ugh  neither
plu mbe r norpe wte r er ha s a lways  beenr estric ted to pl ai n  utili t arianis m . 
G oldand silver have b e en distinguishedin all  a g es a s t heprecious
m et als,b oth for th e i r  co m parative rari ty and thei r  fr eedomfr omc orrosi on, a nd the ir extremebeau ty. Theyare bo t h extre m ely mal leable 
an d v eryr ea di lywo r ked .  U nha p pil y thereis  l ittle  ori g i n a l En gli sh w ork
b eing done inthe se m e tal s. Th e mor e or di narywareshaveal l life and
feel ingtaken out  of  t hem  b y mec h anical  fi nis h, an a brasive pro ce s s be ing employed to re mo v e  e very sig n of t o ol -m a rks. The  a ll- impo r t ant
s urfa c eis thusoblite r at ed . As to  d esign,  f ash ion  osci l late s betw een
copi es of one past perio d  and another. Ac o mp a riso n o f one of th esec opie s wi t hano rigin al wi ll ma k e the distinction b et ween t he wo rk of a
man p aid to doh i s  quickes t an d  o n e paid to do h is be st clearer than
vol umesof descr iption. I n d eed, whe n a llissai d ,  a  writer can b u t 
ind ic ate the  lo gic tha t u nde rli esth e craft,or hintat  t he  r ela tionw hich sub si sts  b etw een t h e proc ess,thema te r ial , and t h ef i nish ed  w are: 
th edisti ncti o n b etweengood andbad in a rt  e ludes d efinition; it  i s not
an a ff air  of re a s on, butof perception.

W. A. S .  BENSON .



ST ONEAND WOODCAR VING

Th e  craft s of t he st on e a n d  wood c ar ver  m ay fairlyb e  ta ken i nrevi ew at
t he same time, alth o ugh  they differinthem s e lv es. 
I t  is  a mis f o rtune that ther e should b es ogreat a gu l f a sthere i s
betwe en th e  crafts man who i s called,  a nd c o n sid ers himsel f to beproperlyc alled ,  " a scu lpt or" an dhis  fell ow-cra f tsm an wh o is c al led "a 
carv er ." In th ese days the "sculptor"  is bu t too  of ten a man  wh o  wo uld
think  ita condesce nsi onto ex ecu t e wha t, f o rwan t  of a  bet t er name,w emus t ca ll decorati v e wor k. In  tr u th, th e sc ulptor is the out c ome of
that en tire s epa rat i on w hi ch has come ab out  b e t ween the  l ove of beau ty,
once  c o mmonin eve rydaylife, a n d  a r t, asit i s n ow called --a  t h ing
deg ra de d  to th e pu rp oses o f a to y , a
 position_between iron_and the precious metals,_they are_the
material_of innumerable_household_utensils and smaller_architectural
fittings.

Lead, tin, and_zinc scarcely concern the_artist to-day, though_neither
plumber_nor pewterer has always been restricted to plain utilitarianism.
Gold and silver have been distinguished_in_all ages_as_the_precious
metals, both for their comparative_rarity and their freedom from
corrosion,_and their_extreme beauty. They are both extremely malleable
and very_readily_worked. Unhappily there_is little original English work
being done in these metals._The more ordinary wares have all_life and
feeling taken_out_of_them by mechanical finish,_an abrasive process
being employed to remove_every sign of tool-marks. The all-important
surface_is thus obliterated. As to design, fashion_oscillates between
copies of one past period_and another. A comparison of_one of_these
copies with an original will_make the distinction_between the_work of a
man_paid to do his quickest and_one paid to_do his best clearer than
volumes of_description._Indeed, when all_is_said,_a writer_can but
indicate the_logic_that underlies_the_craft, or hint at the relation
which_subsists_between the process, the material, and the_finished ware:
the distinction between_good_and bad in art_eludes definition; it is not
an_affair of reason, but of perception.

W._A. S._BENSON.




STONE AND_WOOD CARVING


The crafts of the stone and wood carver may fairly_be taken in review at
the same_time, although they differ_in themselves.

It_is_a misfortune that_there_should be_so great a gulf as there is
between_the craftsman_who is called, and considers himself_to be
properly called, "a_sculptor"_and his fellow-craftsman who is called_"a
carver." In these days the "sculptor"_is but too often a_man_who_would
think it a condescension to_execute what, for want of a_better name, we
must_call decorative work. In truth, the sculptor_is_the outcome of
that entire separation which_has_come about between the love of_beauty,
once_common_in everyday life, and art,_as it is now called--a thing
degraded_to the purposes of a toy, a