deficient in feeling
for its woody possibilities, are all likely to fail in the matter of
texture.

Punch-marked backgrounds have undoubtedly a legitimate place among the
expedients of the carver for obtaining contrast, but on the whole, as
such, they are of a somewhat meretricious order, and in almost every
case their use is fatal to the charm of fine texture, as this always
depends on an appreciation of the homogeneous connection of carving and
background. If they are used at all they should be made to form patterns
on the background, and not put down promiscuously. Little gouge marks
are still better, as they are not so mechanical.

I shall conclude this part of my subject with a quotation from the words
of Mr. W. Aumonier, in a lecture delivered at the Royal Institute of
British Architects.

"_All carving to be treated according to the position it is to occupy._
Not only the design, but the actual carving itself, should be considered
with a view to the position it is to take and the light it will receive.
Thus, even if quite close to the eye, where, of course, its position
warrants or demands a certain amount of finish, it must be remembered
that real finish rather means perfection of form than smoothness of
surface, so that even there it should still show its cuts and its tool
marks fearlessly, and be deepened in parts to make it tell its proper
tale in the combined scheme of decoration; while if it is going a great
height or distance from the eye it should be left as rough as ever you
can leave it. The only points that have to be regarded are the outlines,
varieties of planes, and depths, and if these be properly considered
everything else will take care of itself, and then the whole work can
not be left too rough. Its very roughness and choppy cuts will give it a
softness and quality when in its place that no amount of smoothing or
high finish can possibly attain to."

Beware of putting a wrong interpretation upon the word "rough"--refer to
what he says of the points to be regarded, i.e., the "varieties of
planes, and depths." If they are right the "roughness" is not likely to
be of the offensive kind.

Nothing so effectually destroys the quality of texture as polish applied
to carving. If furniture _must_ be polished it should not be carved. The
only polish that improves carving is that which comes of use. On hard
woods, such as oak or Italian walnut, the pressure of the tools leaves a
pleasant polish, wh