shape to metal, it has manifestly an artistic aspect, and, in fact,
bronze statuary, a fine art pure and simple, is reproduced from the
clay model merely by moulding and casting. We must therefore look for
the artistic conditions in the preparation of the model or pattern, the
impress of which in sand or loam forms the mould; the pattern may be
carved in wood or modelled in clay, but the handling of the wood or clay
is modified by the conditions under which the form is reproduced. And
lastly, the finished object may either retain the surface formed as the
metal solidifies, as in the case of the bronzes cast by the wax process,
or the skin may be removed by the use of cutting tools, chisels and
files and gravers, so that, as in the case of many of the better French
bronzes, the finished work is strictly carved work. On the contrary,
much silversmith's work, as well as such simple objects as Chinese gongs
and Indian "lotahs," after being cast approximately to shape are
finished by hammer work, that is, treated as plastic material with tools
that force the material into shape instead of cutting the shape out of
the mass by removing exterior portions of material. Attempts to imitate
both processes by casting only, thus dispensing with the cost of
finishing, are common, but as they dispense likewise with all beauty in
the product, even if they do not substitute varnished and tinted zinc
for better metal, their success is commercial only.

We have thus three characteristic kinds of surface resulting from the
conditions of treatment, marking out three natural divisions of the art:
and be it noted that questions of surface or texture are all-important
in the arts; beauty is skin deep. First, the natural skin of the metal
solidified in contact with the mould, and more or less closely
imitative of the surface of the original model, usually for our purposes
a plastic surface; secondly, there is carved, technically called chased,
work; and thirdly, beaten or wrought work, which in ornament is termed
embossing.

Superimposed on these we have the cross divisions of the crafts
according to the special metal operated on, and in the existing
industrial organisation the groups thus obtained have to be further
divided into many sub-heads, according to the
shape to metal, it has manifestly an aesthetic view, and, in fact, 
 bronze statuary, a fine art arrant and bare, is reproduced from the 
 clay mannequin merely by cast and casting. We must therefore look for 
 the artistic condition in the preparation of the model or pattern, the 
 impress of which in sand or loam forms the mould; the pattern may be 
 carve in wood or modelled in clay, but the treatment of the wood or clay 
 is modify by the conditions under which the kind is reproduced. And 
 lastly, the finished object may either retain the surface formed as the 
 metallic element solidifies, as in the case of the bronzes cast by the wax process, 
 or the skin may be removed by the use of cutting tools, chisels and 
 files and gravers, so that, as in the case of many of the better French 
 bronzes, the finished work is strictly carve work. On the contrary, 
 a lot silversmith's workplace, equally well as such simple objects as Chinese gongs 
 and Indian " lotahs, " after being cast approximately to shape are 
 finished by hammer workplace, that is, treated as plastic material with tools 
 that force the material into condition instead of cutting the shape out of 
 the mass by removing exterior portions of fabric. attempt to imitate 
 both processes by casting only, thus administer with the cost of 
 finishing, are common, but as they distribute likewise with all beauty in 
 the product, even if they do not substitute varnished and tint zinc 
 for better metal, their success is commercial only. 

 We have therefore three characteristic kinds of surface resulting from the 
 conditions of discussion, marking out three natural division of the art: 
 and be it noted that doubt of surface or texture are wholly - important 
 in the arts; beauty is peel deep. First, the natural skin of the metal 
 solidify in contact with the mould, and more or less close 
 imitative of the surface of the original model, usually for our purposes 
 a plastic surface; secondly, there be carved, technically called chased, 
 work; and thirdly, beaten or wrought employment, which in decoration is termed 
 embossing. 

 Superimposed on these we have the cross divisions of the crafts 
 according to the special metallic element operated on, and in the existing 
 industrial organisation the group therefore obtained have to be further 
 divided into many sub - heads, according to the
shaoe to metal, it has maniftstly an artistic aspect, and, ih fact,
brunze statuary, a fine art purx ane simkje, is reproduced ffom the
clwy model mertly by moulding ais castiky. We jmst tkecefore look for
jhe artistic conditions in tfe preparation of the model or patterg, the
imlrfss of which ig samq or loam forms the mould; the pattern jay be
cerved in wood ot modelled in clay, but the hanfling of the wood lr clay
is midifywd by the covditions under which tge form is reproduced. And
lastly, the yinished obhext ldy either rxtain nhe surface formed as the
metsl solidifies, ss mn tye case of the bronzev cast by the wax krocess,
or dhz skin may be removed bt the use of zyttkng tpoms, chidela and
files and graverw, so that, as in the cwwe of many of the bqteer French
bronzes, the finished work is vtrjctly carved work. On thw contrary,
much silverdmith's wowk, as well as such simple objects as Chinese gongv
and Mnaiau "lotafw," wfter being cast approximately to shape are
figjsnec by hammer wovk, that is, treated ad ljastic materixl witk tkols
that force the materiwl inro shape ynstrad of cutting the shape our of
the mass vy removing exterilr portions of kateroal. Attempts to imitate
yoth pdocesses by casting kvly, thus dispenskng whth the cost of
finishing, awe common, but as theh dixpense likewise aith all beauty in
the prlduct, eeen if thej do not substitute varnished aiv tinted zinc
gos bvtter metcl, thelr success is cjmmercial only.

Ce have chus tfree charabteristic kinds of strface resulthjg from the
cmnditionf of treqtment, oxrking out thrre natural divisionw of the art:
and be it hoted that quescnobs of surface ot tdxttrv ace alj-hmportant
in dhe xrtr; beaugy is skin bedp. Forst, the natural skit of the metal
solidifird in contqct with the mould, anc more or less clodely
ikitetive pf jhe surface of the original modsl, usuallj fjr our purpofes
a plastic suryace; secondly, there is carved, technicallb called chased,
work; and thirdly, beaten or crpught work, xhich yn ornamett is termed
embossint.

Superimposed on uhese we have the cross divishons lf the crafts
according to the special metal operated on, and in the existibg
industrial organjsatoon tve yroups ehus ubtained have to be further
divided into many suu-heads, accmrbing to the
shape to metal, it has manifestly an and, fact, bronze a fine art from clay model merely moulding and casting. must therefore look for the artistic in the preparation of the model or pattern, the impress of which in or loam forms the mould; the pattern may be carved in wood or in but handling the wood or clay is modified by the conditions under which the form is reproduced. And the finished object may either retain the surface as the metal solidifies, in the case of the cast the wax or skin be removed by use of cutting tools, chisels and files and gravers, so that, as in the case of many the better the finished is carved On the contrary, work, as well as such simple gongs and Indian "lotahs," after being cast approximately shape are by hammer work, that is, treated plastic material with tools that force the material shape instead of cutting the shape out of the mass by removing exterior portions of to imitate both processes casting only, thus with cost finishing, common, but they dispense likewise with all beauty in the product, even if do not substitute varnished and tinted zinc for better metal, is only. We have three characteristic kinds of resulting the conditions of treatment, three divisions and it that questions of surface texture are all-important in the beauty is skin deep. the metal solidified in contact with the mould, more or less closely imitative of the of the original model, usually for our purposes a plastic surface; secondly, is carved, chased, work; and thirdly, beaten or wrought work, in ornament is termed Superimposed on these we have the cross divisions of crafts to the metal operated on, in the existing organisation the groups have to further into to the
shape to metal, it has manifestLy an artistIc aspEct, And, In Fact,
BronZe statuary, a finE Art pUre and simple, is reproducEd froM tHE
claY MoDel meRely by mOUlDINg aNd CaStiNg. wE mUst thEreFore looK for
the artIstIc Conditions in THe PreparatioN of The model or paTteRn, the
iMpResS Of whiCh iN sand Or loam FOrms thE mould; the PaTTern maY Be
carveD IN wOod oR modelled in clay, buT ThE Handling of the wOod or cLaY
Is MODifIed By the condiTiOns unDEr which THe FORM is REproduced. And
lAstly, the finISheD objecT mAy eITher reTain tHe SUrfAce formed as The
mEtal solidIfies, aS In the caSE of the bRonzes CasT by The wAX pRoCesS,
oR The SKiN maY Be rEmoved by ThE uSe of cUttiNG TOOls, cHisEls aNd
filEs and gravers, sO thAt, as IN thE case Of manY of tHe BetteR FrencH
bronZeS, the finished worK is sTrictly caRveD wOrk. on The coNTrary,
mUch SilVersmitH's work, aS WelL aS SUCh Simple objects as ChiNeSE GoNgs
and InDian "loTAhS," aFTer being CaSt aPproXIMatelY to sHApE are
finiShed by HAmMeR work, thAt Is, treaTeD as PlaStic mATeriAl with Tools
thaT forcE The material intO Shape instead oF CuTTInG The sHapE out of
the maSs by REmovIng eXTeRioR PortiOns of MaTErIAl. Attempts to imitate
BoTh procEsses By casting only, Thus dispenSING with the Cost OF
fINishing, are commOn, but As they dispENse likewIse wiTh all beaUty in
the pRODuct, even If tHey Do nOt sUBStItute varnisheD ANd tiNtEd zinc
fOr bEtter meTal, TheIr sUccEsS is commerCial only.

we HaVe ThUs tHree cHAracteriStIc kInDs oF surfACe resuLting From ThE
cONdiTions of TReATMent, MaRkIng oUt tHrEe natUral DIviSions of The art:
and Be iT NoteD tHaT questiOns of surface oR tExture are aLl-ImpOrtant
IN The arts; bEauty is skin deep. First, the NAtural sKin Of the MetaL
solidifiEd iN contaCt wITh the mOuld, anD more Or LesS CLoselY
IMiTatIvE of the surfACE of The orIgInal Model, usUally for our purposeS
A plAstic surface; sEcoNdly, THErE is CArVEd, tEcHNicALLy called chased,
wOrk; and thirDlY, BeAten or wrouGHt wOrK, which iN ornameNt is tERmed
embOssing.

SupErimposed On ThesE WE haVe the cross DivisionS of the craFTs
accORdIng to The SpeciaL mEtaL operAted on, ANd iN the eXistinG
iNdustrIal orGaNisation The groups thus obtained haVe to be FurthEr
dIvided intO maNY suB-heads, accOrdiNg to the
shape to metal, it has man ifestly an  arti sti c a sp ect,  and , in fact,
bro n ze s tatuary, a fine art pu re an ds impl e ,is re produce d  f r o m t he 
c lay  m o de l mer ely  by mou lding andcas ti ng. We mustt he refore loo k f or
the artis tic  condi ti ons in th e p repar ationo f themodel orpa t tern,t he
impr e s sof w hich in sand or l o am forms the moul d; the  p a tt e r n m aybe
carvedin  wood or mode l le d i n c l ay, but the h andling oft hewood o rcla y 
is mo difie db y t he conditio ns u nder whic h thef orm isr eproduc ed. An d
l ast ly,t he  f ini sh e d o b je ctm ayeither r et ai n the  sur f a c e  for med  asthe
m etal solidifi es,  asi n t he ca se of  the  b ronze s cast  by t he  wax process,
o r th e skin ma y b erem ov ed by the us e o f c uttingtools,c his el s a nd 
files and gravers ,s o  t hat, asin the ca se of manyof  th e be t t er Fr ench br onzes, t he fin i sh ed  work i sstrict ly  ca rve d wor k . On  the c ontrary, 
much silversmith'sw ork, as wella ss u ch simp leobjects asChin e se g ongs an d I n dian"lota hs , "a fter being cast app ro ximate ly to  shape are
fi nished byh a m mer work , th a ti s, treated asplast ic materia l  with to ols
t hat forc e the mat e r ial into  sh ape  in ste a d  o f cutting the s hape  o ut of
t hemass by  re mov ing  ex te rior port ions ofma te ri al . A ttemp t s to imi ta tebo thproce s ses by  cast ingon ly ,  th us disp e ns i n g wi th  t he c ost  o f
fin ishi n g,are com mon, butast heydi sp ense li kewise with a ll  beauty in 
t heproduc t ,  even if  they do not substitute varnish edand t inte d zinc
fo r b ettermet a l, the ir suc cessis  co m m ercia l on ly. 
We have th u s  th ree c ha ract eristic  kinds of surfacer esu lting from th e
c ondi t i on s o f  t r eat me n t,m a rking out three  natural d iv i si ons of the art :and beit note d tha t  questi ons of su rface orte xtur e are  all-impor tant
inthe arts; beaut y  i s ski n d eep. F ir st,  thenatura l  sk in of  the m et al
sol idifi ed  in cont act with the mould, and  moreor le ssclosely
i mit a tiv e of thesurf ace of the  or igi nal m ode l , usu ally fo r o u r pur pose s 
a plasti c  s urf a c e;  secondly,t h e reis ca rve d , tech nica lly called chased , 
work; and thi rdly , bea ten or w ro ught work, whi chin o rnamentis  termed
emb ossing.
S u perim posedon the se we h a v et he cro ss d ivi sions ofthe  c r afts
ac co rd i ng tothesp ecialmetalo pera t e d on, and in the  exis t i ng
in d ust rialor ganisat i on t he groupsthus obtain ed hav e to  be f urtherdi videdint omany sub-h e ads, acco rding  to the 
shape to_metal, it_has manifestly an artistic_aspect, and,_in_fact,
bronze statuary,_a_fine art pure_and simple, is_reproduced from the
clay model_merely by moulding_and_casting. We must therefore look for
the artistic conditions in the preparation of the model_or_pattern, the
impress_of_which_in sand or loam forms_the mould; the pattern may_be
carved in_wood or modelled in clay, but the handling_of_the wood or_clay
is modified by the conditions under which the form_is reproduced. And
lastly, the finished object_may either retain_the_surface_formed as the
metal solidifies,_as in the case of the_bronzes cast by the wax process,
or_the skin may be removed by the_use of cutting tools, chisels and
files_and gravers, so that, as_in the_case of many of the_better French
bronzes, the_finished work_is strictly carved_work. On the contrary,
much silversmith's work,_as well as_such simple objects as Chinese gongs
and_Indian_"lotahs," after being_cast_approximately_to shape_are
finished by hammer_work,_that is,_treated_as plastic material with tools
that force_the_material into shape instead of cutting the_shape out of
the mass_by_removing exterior portions of_material. Attempts to imitate
both processes_by casting only, thus dispensing with_the cost_of
finishing, are_common, but as they dispense likewise with all beauty in
the product,_even if they do not substitute_varnished and tinted zinc
for_better metal,_their_success is commercial_only.

We_have thus_three characteristic kinds of surface resulting from_the
conditions of_treatment, marking out three natural divisions_of the art:
and be_it_noted that questions of surface or_texture are all-important
in the arts; beauty_is skin deep. First, the_natural_skin_of the metal
solidified in contact_with the mould, and more or_less closely
imitative of_the surface of the original model, usually_for_our purposes
a plastic surface; secondly, there_is_carved, technically called chased,
work; and thirdly,_beaten_or_wrought work, which in ornament_is termed
embossing.

Superimposed on these we have_the cross divisions of the crafts
according to the special_metal operated on,_and in the existing
industrial organisation_the_groups_thus obtained have to be further
divided into many sub-heads, according_to the