In the third place, we would have this series put artistic craftsmanship before people as furnishing reasonable occupations for those who would gain a livelihood. Although within the bounds of academic art, the competition, of its kind, is so acute that only a very few per cent can fairly hope to succeed as painters and sculptors; yet, as artistic craftsmen, there is every probability that nearly every one who would pass through a sufficient period of apprenticeship to workmanship and design would reach a measure of success.
In the blending of handwork and thought in such arts as we propose to deal with, happy careers may be found as far removed from the dreary routine of hack labor as from the terrible uncertainty of academic art. It is desirable in every way that men of good education should be brought back into the productive crafts: there are more than enough of us "in the city," and it is probable that more consideration will be given in this century than in the last to Design and Workmanship.
This third volume of our series treats of one branch of the great art of sculpture, one which in the past has been in close association with architecture. It is, well, therefore, that besides dealing thoroughly, as it does, with the craftsmanship of wood-carving, it should also be concerned with the theory of design, and with the subject-matter which the artist should select to carve.
Such considerations should be helpful to all who are interested in the ornamental arts. Indeed, the present book contains some of the best suggestions as to architectural ornamentation under modern circumstances known to me. Architects can not forever go on plastering buildings over with trade copies of ancient artistic thinking, and they and the public must some day realize that it is not mere shapes, but only _thoughts_, which will make reasonable the enormous labor spent on the decoration of buildings. Mere structure will always justify itself, and architects who can not obtain living ornamentation will do well to fall back on structure well fitted for its purpose, and as finely finished as may be without carvings and other adornments. It would be better still if architects would make the demand for a more intellectual code of ornament than we have been accustomed to for so long.