ted in a way entirely different to that adopted by
the painter--that is to say, in detached groups, each having some due
relation to the original surface of the wood, and only very little to
their perspective positions. In Fig. 74 are two diagrams of a landscape
composition. The one is appropriate to a painted picture and the other
to carving; both have pretty nearly the same number of features, except
that in the carving there is no _effect_ of distance attempted, whereas
in the painting everything leads to this one particular distinction. The
road goes _into_ the picture, the bridge is seen end on, the house and
mill are diminished in size, and the horizon is strongly enforced by a
shadow echoed in the sky. The carving looks ridiculous beside the
painting, but it is a severe test, as it is not a subject which should
be carved at all in that condensed way.

[Illustration: FIG. 74.]

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--Carpenter's Imitation of Stone Construction Carried too
Far.

That the study of wood-carving should be confined to the narrow field of
its own performances would be the surest way to bring contempt upon an
art which already offers too many temptations for the easy embodiment of
puerile motives. Such a limited range would exclude all the stimulating
lessons to be derived from the many other kinds of carving and
sculpture; forgetful that they are, after all, but different forms of
the same art, differing only in technique and application. It would take
no note of the stately sculptures of Greece--the fountain-head of all
that is technically and artistically perfect in expression of form--or
of the splendor of imagination displayed in the ivories of Italy. Many
another source of inspiring impetus would be neglected, including the
greatest of all, the influence of architecture, and through it, the
dignified association or the carver's art with all that is noble in the
life of mankind.

The dry and uninviting aspect which a serious study of architecture
presents to some minds is such that it is too often avoided as both
useless and wearisome. Much of this diffidence is due to a misconception
of the aims which should govern the student of decorative design in
making an acquaint