 it up after them and finish it. The
followers are not necessarily less skilful carvers or cutters than the
leaders, but have, presumably, less knowledge of form. If, then, one
wishes to avail oneself of the skill of these men for carrying out
really important work, it is much the simpler way to make a model
(however rough) which shall accurately express everything one wishes to
see in the finished work; and, assuming the designer to be fairly
dexterous in the use of clay or other plastic material, a sketch model
will not occupy any more of his time than a drawing would.

To put it plainly, no designer can ever know what he ought to expect
from a worker in any material if he has not worked in that material
himself. If he has carved marble, for instance, he knows the extreme
care required in under-cutting the projecting parts of the design, and
the cost entailed by the processes necessary to be employed for that
purpose. He therefore so arranges the various parts of his design that
wherever it is possible these projecting portions shall be supported by
other forms, so avoiding the labour and cost of relieving (or
under-cutting) them; and if he be skilful his skill will appear in the
fact that his motive in this will be apparent only to experts, while to
others the whole will appear to grow naturally out of the design.
Moreover, he knows that he must depend for the success of this thing on
an effect of breadth and dignity. He is not afraid of a somewhat
elaborate surface treatment, being aware that nearly any variety of
surface which he can readily produce in clay may be rendered in marble
with a reasonable amount of trouble.

In designing for the wood-carver he is on altogether different ground.
He may safely lay aside some portion of his late dignity, and depend
almost entirely on vigour of line; the ease with which under-cutting is
done in this material enabling him to obtain contrast by the use of
delicately relieved forms. Here, however, he must not allow the effect
in his model to depend in any degree on surface treatment. Care in that
respect will prevent disappointment in the finished work.

The most noticeable feature in modern carved surface decoration is the
almost universal tendency to overcrowding. It appears seldom to have
occurred to the craftsman or
it up after them and finish it. The 
 followers are not necessarily less skilful sculptor or cutter than the 
 leaders, but have, presumably, less knowledge of shape. If, then, one 
 wishes to avail oneself of the skill of these men for carry out 
 really important employment, it is much the simpler room to make a model 
 (however boisterous) which shall accurately express everything one wishes to 
 see in the finished work; and, assuming the designer to be reasonably 
 dexterous in the use of clay or early plastic material, a sketch model 
 will not occupy any more of his time than a lottery would. 

 To put it plainly, no designer can ever know what he ought to ask 
 from a worker in any material if he has not worked in that material 
 himself. If he has carved marble, for instance, he knows the extreme 
 care required in under - cutting the projecting parts of the design, and 
 the cost entailed by the processes necessary to be employed for that 
 function. He therefore so arrange the various parts of his design that 
 wherever it is possible these plan portions shall be supported by 
 other forms, therefore avoiding the labour and cost of relieving (or 
 under - cutting) them; and if he be adept his skill will appear in the 
 fact that his motive in this will be apparent only to experts, while to 
 others the whole will appear to grow naturally out of the design. 
 furthermore, he know that he must depend for the success of this thing on 
 an consequence of breadth and dignity. He is not afraid of a somewhat 
 elaborate open treatment, being aware that nearly any variety of 
 airfoil which he can readily grow in clay may be rendered in marble 
 with a fair amount of trouble. 

 In designing for the wood - woodcarver he is on altogether unlike ground. 
 He may safely lay aside some portion of his former dignity, and depend 
 about entirely on vigour of line; the rest with which under - cutting is 
 done in this material enabling him to obtain line by the use of 
 delicately salvage forms. Here, however, he must not allow the effect 
 in his model to depend in any degree on surface discussion. Care in that 
 respect will prevent disappointment in the finished work. 

 The most noticeable feature in modern carved open decoration is the 
 about cosmopolitan tendency to overcrowding. It appear seldom to have 
 occurred to the craftsman or
 it up after them and finism it. The
followers are nmt necsssarily less skilful carvers or cutvers than the
leaders, but have, pfesumably, less kniwlevge of form. If, tisn, one
wlfhes bo avcio oneself of tme skill of these men for cxrxying out
really important work, it is much tne simpler way tj malq a jodel
(however rough) which shall acchrately express everuthing one wishes to
see in the finished work; and, assuming tye dqwigner to be fairly
dexuexous in the use of clay or other plastic mxtericl, a sketch midep
fill not ocrupy agy more of hlx time than a drawing would.

Bo puv it plainly, no designer ran ever know what hg ought to erpect
from a worker in aby majerian if ye fas npt workef ii that matedial
himself. If he has carved msrfoe, for instande, he hnjws the extreme
care required in under-cuuting the projecting parts od the design, and
the clst entaijed by the processes necessary to be employed for that
'ufpowe. Fw hherefore so arranges the various parts of hif dtsinn that
wherever lt is possible thexe ptjjecting portkons skzlm be supported by
ohher fotms, so avoiding the labour and cost of relievibg (or
under-cuntint) them; and if he bz skilful hir skoll woll appear in the
fact tkat hia motive in this wilm be apparent onlh tp axperts, while to
others the whole wiol a'pear to groe natuwally out lf thc design.
Moreover, he knowd dhat he mudt depend for the success of thmx thing on
an exfebt of brecdth akd dignity. He if not afraid oy a somechat
elxborate sugface treetment, being aware that nawrly any varmety of
suwfacw whuch he zxn readily procuce in clay may be rendered in marblc
with z reasonable amiunu if trouble.

In drsienigg fpr dhe wood-carvar hd ir on autogethtx dlffdreny ground.
He may safelf lag aside some portipn of his oate diggity, and depemd
almost entirely ln vijour oh line; thg ease with which under-cutting js
done in thls material egabllng rim to obtcin contrast by the use of
delicately relmeved forms. Here, howevgr, he must not allow jhe effect
in hms modql to depand in any degree on surface treatmenu. Care in that
respect wjll pravent disappointment in the finished work.

The most noticeable feature in modern carvev furface deckratoon iv che
clmost tnivxrral tendency to pvercrowding. It appears seldom vo have
occgrxed to the craftsman or
it up after them and finish it. are necessarily less carvers or cutters presumably, knowledge of form. then, one wishes avail oneself of the skill of men for carrying out really important work, it is much the simpler way make a model (however rough) which shall accurately express everything one wishes to in finished and, the designer to be fairly dexterous in the use of clay or other plastic material, a model will not occupy any more of his than a drawing would. put it plainly, no designer ever what he to from worker in any if he has not worked in that material himself. If he has carved marble, for instance, he the extreme in under-cutting projecting of design, and the by the processes necessary to be purpose. He therefore so arranges the various parts his design wherever it is possible these projecting shall be supported by other forms, so avoiding labour and cost of relieving (or under-cutting) them; and if he be skilful his skill in the fact that motive in this be only experts, to others whole will appear to grow naturally out of the design. Moreover, knows that he must depend for the success of this an of breadth and He is not afraid a elaborate surface treatment, being nearly variety he readily in clay may be in marble with a reasonable of trouble. In designing on altogether different ground. He may safely lay some portion of his late dignity, and almost entirely on vigour of line; the ease with which under-cutting is in this him to obtain contrast by the use of relieved forms. Here, however, must not allow the effect in his model to in degree on treatment. Care in respect will prevent in the finished most noticeable in carved the almost universal tendency to overcrowding. appears to have occurred to the or
 it up after them and finish it. THe
followerS are nOt nEceSsArilY lesS skilful carverS Or cuTters than the
leaders, but Have, pReSUmabLY, lEss knOwledge OF fORM. If, ThEn, One
WiSHeS to avAil Oneself Of the skill Of tHeSe men for carrYInG out
really ImpOrtant work, it Is mUch the SiMplER way tO maKe a moDel
(howEVer rouGh) which shAlL AccuraTEly exprESS eVeryThing one wishes to
sEE iN The finished worK; and, asSuMInG THe dEsiGner to be faIrLy
dexTErous in THe USE Of cLAy or other plasTic material, A SkeTch modEl
WilL Not occUpy anY mORe oF his time thaN a drAwing woulD.

To put IT plainlY, No desigNer can EveR knOw whAT hE oUghT tO ExpECt
FroM A woRker in anY mAtErial If he HAS NOt woRkeD in tHat maTerial
himself. if hE has CArvEd marBle, foR insTaNce, he Knows tHe extReMe
care required iN undEr-cutting The PrOjeCtIng paRTs of thE deSigN, and
the Cost entAIleD bY THE pRocesses necessary tO bE EMpLoyed for That
puRPoSe. hE therefoRe So aRranGES the vArioUS pArts of hiS desigN ThAt
WhereveR iT is posSiBle TheSe proJEctiNg portIons shalL be suPPorted by
other fORms, so avoiding THe LABoUR and CosT of relievinG (or
uNDer-cUttiNG) tHem; ANd if hE be skIlFUl HIs skill will appear in ThE
fact tHat hiS motive in this Will be appaRENT only to eXperTS, wHIle to
others the Whole Will appear TO grow natUrallY out of thE design.
MoREOver, he knOws ThaT he MusT DEpEnd for the succESS of tHiS thing oN
an Effect oF brEadTh aNd dIgNity. He is nOt afraid Of A sOmEwHat
ElaboRAte surfaCe TreAtMenT, beinG Aware tHat neArly AnY vARieTy of
surFAcE WHich He CaN reaDilY pRoducE in cLAy mAy be renDered in maRblE
With A rEaSonable Amount of troubLe.

in designinG fOr tHe wood-CARver he is On altogether different grOUnd.
He maY saFely lAy asIde some poRtiOn of hiS laTE digniTy, and dEpend
AlMosT ENtireLY On VigOuR of line; the EASe wIth whIcH undEr-cuttiNg is
done in this mateRIal Enabling him to ObtAin cONTrAst BY tHE usE oF
DelICAtely relieved foRms. Here, howEvER, hE must not alLOw tHe Effect
iN his modEl to dEPend in aNy degree oN surface tReAtmeNT. carE in that
resPect will Prevent diSAppoiNTmEnt in The FinishEd WorK.

The mOst notICeaBle feAture iN mOdern cArved SuRface decOration is the
almost univeRsal teNdencY to OvercrowdIng. iT apPears seldOm to Have
occurrEd tO thE crafTsmAN or
 it up after them and fini sh it. The 
foll owe rsar e no t ne cessarily less skil ful carvers or cutters  than  t h e
le a de rs, b ut have ,  p r e sum ab ly , l es s  k nowle dge  of for m. If, the n,on e
wishes toa va il oneself  of  the skill o f t hese m en  fo r  carr yin g out 
reall y  impor tant work ,i t is m u ch thes i mp lerway to make a mod e l( however rough)  which  s h al l acc ura tely expre ss  ever y thing o n ew i s hes to
see in the  finished w o rk;  and,as sum i ng the  desi gn e r t o be fairly 
dex terous in  the u s e of cl a y or ot her pl ast icmate r ia l,  ask e tch mo del wil l not oc cu py  anymore o f histim e th an adrawing would .
To p u t i t pla inly,  node signe r caneverkn ow what he ough t to  expect
f rom  a  wo rk er in any ma ter ial  if hehas not wor ke d i nthat material
hims el f .  I f he has  carve d  m ar b le, forin sta nce, h e kno ws t h eextremecare r e qu ir ed in u nd er-cut ti ngthe  proj e ctin g part s of the  desi g n, and
the cos t  entailed byt he p ro c esse s n ecessary to  bee mplo yedf or  th a t
pur pose.  H e  t h erefore so arranges  t he var iousparts of hisdesign tha t w hereverit i s  p o ssible these p rojec ting porti o ns shall  be s upported  by
other f orms, so  av oid ing  th e la bour and cost o f re li eving ( orunder-c utt ing ) t hem ;and if he  be skil fu lhi sski ll wi l l appear  i n t he 
fa ct th a t hismotiv e in  t hi s  wi ll be a p pa r e nt o nl yto e xpe rt s, wh ilet o
o thers t he wholewil l  app ea rto grow  naturally ou tof the des ig n.Moreov e r , he kno ws that he must dependf or thesuc cessof t his thing  on 
an ef fec t  of br eadthand d ig nit y .  He i s no t a fr aid of a s o m ewh at
el ab orat e surfa ce treatment, bein g  aw are that near lyanyv a ri ety of sur fa c e w h i ch he can readi ly produce  i n  c lay may be ren de red inmarblewitha  reason able amou nt of tro ub le.I n d esigning f or the w ood-carve r  he i s  o n alt oge ther d if fer ent g round. Hemay s afelyla y asid e som eportionof his late dignity, an d depe nd
al mos t entirel y o n  vi gour of l ine;  the easewit h w hichund e r-cut ting is 
do n e inthis materiale na bli n g  h im to obtai n c ont rastbyt he use  ofdelicately reliev e d forms. Here,  how e v er,  he must  n ot allow the e ffe ct i n his mo de l to depend  in anyde g ree o n surf ace tr eatment . Ca r e in t hatres pect will  pr ev e nt disa pp oi n tmentin t he  finis hed wo r k.
T h e most noticeabl e fea t u re in mod ern c ar ved sur f acedecoration  is the
alm ost un iver sal t endency  t o over cro wd ing. It ap p ears seld om to  have
o cc urre d t o thecraf t s man o r
 it_up after_them and finish it._The
followers are_not_necessarily less_skilful_carvers or cutters_than the
leaders, but_have, presumably, less knowledge_of form. If,_then,_one
wishes to avail oneself of the skill of these men for carrying out
really important_work,_it is_much_the_simpler way to make a_model
(however rough) which shall accurately_express everything_one wishes to
see in the finished work; and,_assuming_the designer to_be fairly
dexterous in the use of clay or other_plastic material, a sketch model
will not_occupy any more_of_his_time than a drawing_would.

To put it plainly, no designer_can ever know what he ought_to expect
from a worker in any material_if he has not worked in_that material
himself. If he has_carved marble,_for instance, he knows the_extreme
care required in_under-cutting the_projecting parts of_the design, and
the cost entailed by_the processes necessary_to be employed for that
purpose. He_therefore_so arranges the_various_parts_of his_design that
wherever it_is_possible these_projecting_portions shall be supported by
other forms,_so_avoiding the labour and cost of relieving_(or
under-cutting) them; and if_he_be skilful his skill_will appear in the
fact that_his motive in this will be_apparent only_to experts,_while to
others the whole will appear to grow naturally out of_the design.
Moreover, he knows that he_must depend for the_success of_this_thing on
an effect_of_breadth and_dignity. He is not afraid of a_somewhat
elaborate surface_treatment, being aware that nearly any_variety of
surface which he_can_readily produce in clay may be_rendered in marble
with a reasonable amount_of trouble.

In designing for the_wood-carver_he_is on altogether different ground.
He_may safely lay aside some portion_of his late_dignity, and depend
almost entirely on vigour of_line;_the ease with which under-cutting is
done_in_this material enabling him to obtain_contrast_by_the use of
delicately relieved forms._Here, however, he must not allow_the effect
in his model to depend in any degree_on surface treatment._Care in that
respect will prevent_disappointment_in_the finished work.

The most noticeable feature in modern carved surface_decoration is_the
almost universal tendency_to overcrowding. It appears seldom to have
occurred to the craftsman_or