erally carved) his timbers into graceful moldings. Then, again, in
the roof of Sall Church, Norfolk, shown in Plate IV, you have a noble
piece of carpentry which is as much the work of an artist as the carved
figures and tracery which adorn it--indeed it is all just as truly
carved work as those figures, being chopped out of the solid oak with
larger tools, ax and adze, so that one knows not which to admire most,
carved angels or carved carpentry.

Plates XI and XII are details of the carvings which fill the spandrels
of arch and gable in the choir stalls and screen at Winchester
Cathedral. There are a great many of these panels similar in character
but differing in design, some having figures, birds, or dragons worked
among the foliage. They are comparatively shallow in relief, and this
appears less than it really is owing to the fact that many parts of the
carving dip down almost to the background, giving definite but not deep
shadows. The main intention seems to have been to allow only enough
shadow to secure the pattern, and then to emphasize this by means of a
multitude of little _illuminated_ masses. The leading lines run through
the pattern as continuously as possible, but the surface of the leafage
is divided up into numbers of little hills and hollows. The sides of
these prominences catch and reflect light more readily than they produce
shadow, so that it is possible to trace the pattern at a considerable
distance by means of the lights alone. Unfortunately for all believers
in the historical evidence of ancient handicrafts, this work was
overhauled some half century ago, and in parts "_restored_." The old
work has been imitated in the new with surprising cleverness, but for
that, no one who has a clear sense of the true function of the carver's
art, or of the historical value of its witness to past modes of life,
will thank those who carried out the "restoration," so confusing is it
to be unable to distinguish at a glance the old from the new, so
depressing to find such laborious efforts wasted in pleasing a childish
desire for uniformity of treatment when it could only be achieved at the
cost of deception, and, I may add, so irritating to find oneself for a
moment deceived into accepting one of the "restored" parts as genuine
old work. To add to the deception, the whole of the old woodwork, as
well as the new, was smeared over with a black stain in order the better
to hide the difference of color in old and ne