ing, or
even, at times, brought down with the weight and force of an ax-blow.

A good quality of finish may exist in the most divergent kinds of work,
each having its own characteristic texture. Thus a broad treatment on a
large scale will make much of the natural texture of the wood, enforcing
it by crisp edges and subtle little ridges which catch the light and
recall the momentary passage of the sharp tool, while elaborate work in
low relief may have a delicate texture which partly imitates that of the
details of its subject, and partly displays the nature of the wood. In
either case, the texture must be consciously aimed at by the carver as
the last but by no means least quality which is to give vitality to the
work of his hands. A sense of the capabilities of his wood in this
respect is one of the best aids to the carver, as it reacts on his sense
of form and compels him to precision.

Manual dexterity alone may succeed in making its work clearly
intelligible, but that is all, and it generally leaves a surface in
which there is little indication of any feeling for the material in
which the work is carved, nothing, in fact, that marks it specially as
carving in wood, or distinguishes it from a casting in metal.

The technical operation which is most immediately answerable for the
making or marring of texture is the disposition and nature of the final
tool marks. These should be so managed that they help the eye to
understand the forms. They should explain rather than confuse the
contours of the surface. Just as in a good chalk drawing the strokes and
cross-hatchings are put in with method, and if well done produce the
effect of something solid, so in carving, the tool marks should
emphasize the drawing without in any way calling attention to
themselves.

It is quite impossible to explain in words that will not be open to
misconstruction the subtle commingling of qualities which make all the
difference between good and bad texture. We may succeed better by
describing those conditions which are unfavorable to it. Thus work which
is very much cut up into minute detail, and which lacks a proper
contrast of surface, or, for the same reason, work which is too
generally bald and smooth, rarely exhibit a good surface texture. Again,
work which is overlabored, or where delicate details have been attempted
on a coarse-grained wood, or finally, work which, although done with
success in the matter of mechanical dexterity, is