fts: there are more than enough of
us "in the city," and it is probable that more consideration will be
given in this century than in the last to Design and Workmanship.

* * * * *

This third volume of our series treats of one branch of the great art of
sculpture, one which in the past has been in close association with
architecture. It is, well, therefore, that besides dealing thoroughly,
as it does, with the craftsmanship of wood-carving, it should also be
concerned with the theory of design, and with the subject-matter which
the artist should select to carve.

Such considerations should be helpful to all who are interested in the
ornamental arts. Indeed, the present book contains some of the best
suggestions as to architectural ornamentation under modern circumstances
known to me. Architects can not forever go on plastering buildings over
with trade copies of ancient artistic thinking, and they and the public
must some day realize that it is not mere shapes, but only _thoughts_,
which will make reasonable the enormous labor spent on the decoration of
buildings. Mere structure will always justify itself, and architects who
can not obtain living ornamentation will do well to fall back on
structure well fitted for its purpose, and as finely finished as may be
without carvings and other adornments. It would be better still if
architects would make the demand for a more intellectual code of
ornament than we have been accustomed to for so long.

On the side of the carver, either in wood or in stone, we want men who
will give us their own thought in their own work--as artists, that
is--and will not be content to be mere hacks supplying imitations of all
styles to order.

On the teaching of wood-carving I should like to say a word, as I have
watched the course of instruction in many schools. It is desirable that
classes should be provided with casts and photographs of good examples,
such as Mr. Jack speaks of, varying from rough choppings up to minute
and exquisite work, but all having the breath of life about them. There
should also be a good supply of illustrations and photographs of birds
and beasts and flowers, and above all, some branches and buds of real
leafage. Then I would set the student of design in wood-carving to make
_variations_ of such examples according to his own skill and liking. If
he and the teacher could be got to clear their minds of ideas of
"style," and to take so