the sides of the leaves where necessary with flat gouges on the
inside curves, and with chisels and corner-chisels on the outside ones.
These should be used in a sliding or knife-like fashion, and not merely
pushed forward. Finish the surface in the same manner all over between
the gouge grooves and the edges of the leaves, producing a very slight
bevel as in section _a_, Fig. 13, and this panel may be called finished.

Fig. 14 is another suggestion for a design, upon which I hope you will
base one of your own as an exercise at this stage of your progress.

Before we begin another, though, I shall take this opportunity of
reading you a short lecture on a most important matter which has a great
deal to do with the preparation of your mind in making a suitable choice
of subject for your future work.

CHAPTER VIII

IMITATION OF NATURAL FORMS

Difficulties of Selection and Arrangement--Limits of an Imitative
Treatment--Light and Distance Factors in the Arrangement of a
Design--Economy of Detail Necessary--The Word "Conventional."

Broadly stated, the three most formidable difficulties which confront
the beginner when he sets out to make what he is pleased to call his
design for carving in relief, are: Firstly, the choice of a subject;
secondly, how far he may go in the imitation of its details; thirdly,
its arrangement as a whole when he has decided the first two points.

Just now we shall deal only with the second difficulty, that is, how far
may likeness to nature be carried. We shall do this, because until we
come to some understanding on that point, a right choice of subject
becomes practically impossible, consequently the consideration of its
arrangement would be premature.

There is, strictly speaking, only one aim worthy of the artist's
attention, be he carver or painter; and that is the representation of
some form of life, or its associations. Luckily, there is a mighty
consensus of opinion in support of this dictum, both by example and
precept, so there is no need to discuss it, or question its authority.
We shall proceed, therefore, to act upon it, and choose for our work
only such material as in some way indicates life, either directly, as in
trees, animals, or figures, or by association, and as explanation
thereof, as in drapery and other accessories--never choosing a subject
like those known to painters as "still life," such as bowls, fiddles,
weapons, etc., unless, as I have sa