Of Carving.
decorative spirit, his mind is constantly on the general scheme surrounding his work, and he is always ready to subordinate himself and his work in order that it may enhance and not disturb this general scheme.
We will suppose, for example, that he has to decorate a column with raised ornament. He feels at once that the outlines of that column are of infinitely more importance than anything which he can put on it, however ingenious or beautiful his design may be. He therefore keeps his necessary projecting parts as small and low as possible, leaving as much of the column as he can showing between the lines of his pattern. By this means the idea of strength and support is not interfered with, and the tout ensemble is not destroyed.
This may seem somewhat elementary to many who will read it. My excuse
