ns and his time, there
is such a wide difference that surely it points to a corresponding
disparity of aim. Although there is no doubt whatever that such a
striking change of views must have had its origin in some deeper cause
than that which is to be explained by artistic and technical
development, yet I think that for our immediate purpose we shall find a
sufficiently good lesson in comparing the visible results of the two
methods. Broadly speaking, then, the medieval carver cared more for
general effect than for possibilities of technique. He therefore chose
only such natural forms as were amenable to his preconceived
determination to make his work telling at a distance. He had no
botanical leanings, and rejected as unfit every form which would not
bend to his one purpose--that of decoration on a large scale--and which
he aimed at making comprehensive at a glance, rather than calling for
attention to its details. He invented patterns which he knew would
assist in producing this result, and here he further handicapped his
choice by limiting it to such forms as would repeat or vanish at
regulated intervals, reflecting light or producing shadow just where it
was wanted to emphasize his pattern.

The more modern carver, on the contrary, offered an all-embracing
welcome to every form which presented itself to his notice. He rejected
nothing which could by any possibility be carved. Nothing was too small,
too thin, or too difficult for his wonderful dexterity with the carving
tools. His chief end was elaboration of detail, and it was often
carried to a point which ignored the fact that nearly all of it would
become invisible when in position, or, if seen at all, would only appear
in confused lumps and unintelligible masses.

Now, for many reasons, I think we had better take the medieval method as
our model up to a point, and make a certain selection of material for
our studies, based upon some relation to general effect, but not
necessarily imitating a medieval austerity of rejection, which would be
the merest affectation on our part. Upon these principles, and taking
somewhat of a middle course, I shall here note a few types of foliage
which I think may be useful to you in the work upon which you are
engaged.

Leaf forms, with their appropriate flowers or fruit, afford the carver a
very large proportion of his subject material. They serve him as
principal subject, as bordering or background to figures of men or
animal