The metaphysical and historical aspects of the problem are represented in this edition by the articles on FINE ARTS and on AESTHETICS. A study of the various articles written by artists in every field of the graphic and plastic arts of both fine and applied classifications stresses a contrasting view : that the artist is an analytical and reasoning being like the scientist, and that the main concern in his work is what we describe by the general term "technique." He is inspired at times just as in truth is the scientist, but, like the scientist, he must also apply himself to analytical thinking and hard labour. It is with these aspects that the present article is concerned.
Material.—One of the most important interests to the artist is that of the materials or substances with which he works and the methods whereby they can be most effectively treated. Their relative strengths are spoken of in the preceding sections on Sculp ture Technique: Modelling, their colour against foliage or sky is treated in Garden Sculpture, and so from many different view points it is the sculptor's concern that he be well-equipped with an experimental knowledge of textures and qualities, physical as well as aesthetic, qualities which cannot often be described in words, they are so delicate and intangible, but can only be shown in actual work; characteristics which are as true and yet as difficult to describe as the shading of a curve. If he is working in stone he
must know whether it is granular, stratified, or crystalline; he must know the properties in, the same manner of wood, ivory and other substances, and there is no possible way for him to find these out other than by trying them, experimenting with them, discovering their properties, just as might a scientist in his labora tory, but properties of course quite different from those which interest the scientist. In the example of Mestrovie's work shown on Plate X. is well demonstrated this sculptor's masterful handling of wood, but the figure "Rhythm" by Arthur Lee (Plate IX.) shows an even greater knowledge of the quality of the material, which in this case is marble.
Not only must the texture and grain be kept in mind: in the modelling of a head the sculptor finds that the outstanding fea tures such as the nose and ears cannot be left so thin, if the figure is to be cut in marble, as they would be, if it were to be cast in bronze, or they will appear too translucent, for marble is not so opaque as bronze.
It will be interesting for the reader to look at the other plates in the sculpture section as well as those on CHINESE SCULPTURE,