ilt-up"
Work--"Planted" Work--"Pierced" Work 214

CHAPTER XXIII

PICTURE SUBJECTS AND PERSPECTIVE

The Limitations of an Art not Safely Transgressed--Aerial
Perspective Impossible in Relief--Linear Perspective only Possible
in a Limited Way 219

CHAPTER XXIV

ARCHITECTURAL CARVING

The Necessity for Variety in Study--A Carver's View of the Study of
Architecture; Inseparable from a Study of his own Craft--Importance
of the Carpenter's Stimulating Influence upon the Carver--Carpenters'
Imitation of Stone Construction Carried too Far 223

CHAPTER XXV

SURFACE FINISH--TEXTURE

Tool Marks, the Importance of their Direction--The Woody Texture
Dependent upon Clearness of Cutting and Sympathetic Handling 234

CHAPTER XXVI

CRAFT SCHOOLS, PAST AND PRESENT

The Country Craftsman of Old Times--A Colony of Craftsmen in Busy
Intercourse--The Modern Craftsman's Difficulties: Embarrassing
Variety of Choice 240

CHAPTER XXVII

ON THE IMPORTANCE OF COOPERATION BETWEEN
BUILDER AND CARVER

The Infinite Multiplicity of Styles--The "Gothic" Influence: Sculpture
an Integral Element in its Designs--The Approach of the so-called
"Renaissance" Period--Disturbed Convictions--The Revival of the
Classical Style--The Two Styles in Conflict for a Time; their
Respective Characteristics Reviewed--Carvers Become Dependent
upon Architects and Painters--The "Revival" Separates "Designer"
and "Executant" 249

NOTES ON THE COLLOTYPE PLATES 265

THE COLLOTYPE PLATES 271

INDEX 305

LIST OF ILLUSTRATIONS

Page
A Suggestion from Nature and Photography Frontispiece
FIG. 1. 37
FIG. 2. 37
FIG. 3. 39
FIG. 4. 43
FIG. 5. 46
FIG. 6.