The dullness which comes of "all work and no play" may be said to affect
the carver at times. He tires of carving leaves and ornaments: what more
natural than to seek change and amusement in the invention of droll
figures of men or animals? The enjoyment which we all feel in
contemplating the outcome of this spirit in ancient work, leads us to
the imitation of both subject and manner, hoping thereby that the same
results may be obtained; but somehow the repetition is seldom attended
with much success, while of original fancies of the same sort we are
obliged to confess ourselves almost destitute. Who can behold the
fantastic humors of Gothic carvings without being both amused and
interested? Those grotesque heads with gaping mouths recall the stories
of childhood, peopled with goblins and gnomes. It is all so natural, and
so much in keeping with the architecture which surrounds it, the carving
is so rude and simple, that it seems absurd when some authority on such
matters makes a statement to the effect that all such expression of
humor has become forever impossible to ourselves.

This important part of the question must be left to your own meditation,
to settle according to your lights; experience will probably lead you
ultimately to the same opinion. Meantime, the point I wish to impress
upon you is this, that until you feel yourself secure, and something of
a master of various branches of your craft, you should not attempt any
subject which aims at being decidedly grotesque. There are very good and
practical reasons for this; one is, that while you are studying your
art, you must do nothing that may tend to obscure what faculties you
have for judging proportion. Now, as all grotesque work is based more or
less on exaggeration, it forms a very dangerous kind of exercise to the
beginner, therefore I should never allow a pupil of mine to so much as
attempt it. Do not think that I wish to discourage every effort which
has not an ultra-serious aim. On the contrary, I am but taking a rather
roundabout way to an admission that the humorous element has, and must
have at all times, a powerful attraction for the wood-carver; and to the
statement of an opinion that it should not be allowed to take a
prominent place in the work of a student; moreover, that it is quite
possible to find in nature a varied and unfailing source of suggestion
in this respect (more, in fact, than we are ever likely to account for),
and which requires