November 26, 1886;] 



SGiujsrc^. 



475 



* Is the design to be carved in relief, or outlined 

 on the wood?' etc. When the thing has been so 

 variously and closely considered, the pupil has 

 quite distinctly a mind-picture of his sideboard, 

 and he sees his design, or the one he means to 

 make, in its place, reproduced in material. He 

 inows exactly what he wants to do, the leading 

 thought being the adaptation of his design to the 



The designs are drawn in narrow ribbons or 

 spaces about half an inch wide. When the pat- 

 tern is finished, to make it more vigorous, it is 

 thrown into relief by blackening the background. 

 This is done with India ink and a brush. This is 

 a lesson in accuracy. To follow the curves neatly, 

 preserving a strong, clean outline, is no easy mat- 

 ter. A free, steady, and true hand is needed. 



THE BOY'S SECOND DESIGN (one-third size). 



place and material in which it is to be given per- 

 manent shape. The first result is crude, and un- 

 worthy of his own thought, but day after day the 

 improvement is marked. With deftness of hand 

 comes strength and vigor of conception. The 

 same motives will weave themselves into a hun- 

 dred different combinations ; and yet, through all 

 the deviations and intricacies of a geometrical 

 figure or Arabesque scroll-work, may be seen the 

 original elements. 



The best work is marked for inspection, and 

 placed against the wall. In three months' time 

 there is usually a display of much artistic value. 



As yet, the work has been only on the flat sur- 

 face. The pupil must go further. When a good 

 desig-n has been made, the important requisite is 

 to give it form, to * put it into the round ' by re- 

 peating it in clay. Here the work is tested in the 

 cheapest possible material, and here the pupil 

 learns to use his hands in earnest. Artist and 



