209
FIG. 73. 209
FIG. 74. 213
FIG. 75. 229
FIG. 76. 229
FIG. 77. 229

THE COLLOTYPE PLATES 271
I. Old Carved Chest in York Cathedral.

II.--Figure from the Tomb of Henry IV. in Canterbury Cathedral.

III.--Aisle Roof--Mildenhall Church, Suffolk.

IV.--Nave Roof--Sall Church, Norfolk.

V.--Portion of a Carved Oak Panel--The Sheepfold.

VI--Portion of a Carved Oak Panel--The Sheepfold.

VII.--Preliminary Drawing of a Lion for Carving. By Phillip Webb.

VIII.--Book Cover Carved in English Oak--"Tale of Troy."
(only carved portion shown.)

IX.--Book Cover Carved in English Oak--"Tale of Troy."
(only carved portion shown.)

X.--Book Cover Carved in English Oak--"Reynard the Fox."
(only carved portions shown.)

XI.--Carving from Choir Stalls in Winchester Cathedral.

XII.--Carving from Choir Screen--Winchester Cathedral.

XIII.--Font Canopy--Trunch Church, Norfolk.

XIV.--Two designs for Carving, by Philip Webb.
One executed, one in drawing.

XV.--Leg of a Settle, carved in English Oak.

XVI.--Pew Ends in Carved Oak--Brent Church, Somersetshire.

PREAMBLE

Student and Apprentice, their Aims and Conditions of
Work--Necessity for some Equality between
Theory and Practise--The Student's Opportunity
lies on the Side of Design.

The study of some form of handicraft has of late years become an
important element in the training of an art student. It is with the
object of assisting such with practical directions, as well as
suggesting to more practised carvers considerations of design and
treatment, that the present volume has been written. The art of
wood-carving, however, lends itself to literary demonstration only in a
very limited way, more especially in the condensed form of a text-book,
which must be looked upon merely as a temporary guide, of use only until
such time as practise and study shall have strengthened the judgment of
the student, and enabled him to assimilate the many and involved
principles which underlie the development of his craft.

If the beginner has mastered to some extent the ini