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Gustav Stickley (ed.) / The craftsman
Vol. XIV, Number 4 (July 1908)

Batchelder, Ernest A.
Design in theory and practice: a series of lessons: number X,   pp. 426-435 PDF (3.0 MB)

Page 430

the water, the consist-:
ent simplicity of all the
  Similar in character
and purpose are the
Japanese  carvings in
Plates 59 and 6o. These
things have real "soul
stuff" in them of a sort
that comes from a sym-
pathetic understanding
of nature. The strong
personality of an artist
is carved into every
line and form. It may
be said that Plate 6o is
too plastic in treatment
for a wood carving.
One must see the origi-
nal (Boston Museum
of Fine Arts) to fully
appreciate the technical
qualities of the work.
Every line and plane is
turned  to  make the
most of the grain and
texture of the wood.
Moreover, as this carv-
ing was to be exposed
to  the  weather, the
craftsman foresaw the
part that Father Time
would play in his work,
and  so adjusted   his
planes that storm and
sunshine   should  en-
hance its beauty.
the charm    of the Mother Carey's
Chickens flitting   back   and   forth
through the wave crests. To him the
birds and the water became symbols, a
mere means to an end, for the expres-
sion of rhythmic movement. He sought
an arrangement of lines and forms that
would give true character and style to
his idea. Note the beautiful line rela-
tions throughout, between the birds and
LATE FIFTY-FIVE.  Problerm:-This is
                another problem of the
 same character as many that have pre-
 ceded it. Its purpose is the same,--
 namely, an adjustment of elementary
 forms into which nature enters to im-
 part additional animation and interest
 to a definition of simple principles. By
 the use of symbols such as are here
 indicated, one should in time acquire
 the ability to think in terms of design
 whether or not nature enters into the

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