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Cornell University Library

arV18080

Wood

carvini

3 1924 031 276 151

olin.anx

WW

\4

^nM

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is in

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http://www.archive.org/details/cu31924031276151

WOOD CARVING

WOOD CARVING
A CAREFULLY GRADUATED EDUCATIONAL COURSE FOR SCHOOLS AND ADULT CLASSES

JOSEPH PHILLIPS

(Medallist)

INSTRUCTOR OF WOOD CARVING, MODELLING, AND OTHER ART SUBJECTS IN CONNECTION WITH VARIOUS CLASSES IN THE COUNTIES OF LANCASHIRE, CHESHIRE, CUMBERLAND, AND NOTTS

Approved by

Committee of the Home A rts and Industries Royal Albert Hall, London; Accepted as their Scheme of Wood Carving by the Educational Handwork Union, and by the Union of Lancashire and Cheshire Institutes
the Design

Association^

LONDON: CHAPMAN AND HALL,

1896
s

Ld.

INTRODUCTION
\ 1 yOOD-CARVING
' '

as an educational
to

influence

appears
in

be

entirely

ignored,

perhaps

consequence
both
as
to

of

its

apparent

limitations,

material

used and manual exercises involved.

That

it

has such a value

it

is

undoubted,

but as generally taught

to

simply amounts
a

keeping students employed, and as

its

consequence
realised,

educational value

is

seldom

because the student too frequently

has no practical object in view.

He may

become

skilful in the
if

manipulation of tools

and material
the

sufficiently persevering, but

realisation

of an end and

aim

in

his

work may not dawn upon him

quiring that technical
skill.

whilst ac-

WOOD CARVING.

The

art

of

carving

does

not

consist

entirely in

producing evidence of mastery

over

tools

and

material

this

dexterity

merely constitutes the

means

to

an end

therefore to elucidate the principles under-

lying

all

good work would appear the most

rational

way
is

to

approach the subject.

as

What

wood -carving

distinguished
It
is,

from the art of wood-cutting?

should be, one of the
pression.
in

or

many means
it

of ex-

In this sense

is

the expression

material form of ideas, the outcome of

personal observation

of nature and works

done

in ancient

and modern times, or what

we may

see through the eyes of our favourite

sculptor, etc., in

which case we unfortunately

individualism.

surrender our
It

own

naturally
affects

follows

that

whatever

in-

fluence

the
its

worker's
expression

mind
;

must

necessarily affect

and thus

INTRODUCTION.

we have

in

the carvings of past ages re-

flections in the concrete of people

in various
civilization,

working

cHmes and
so that

in different states of

if it

were necessary

for

the purpose of this book, there would be

little,

if

any, difficulty in tracing minutely,

character
history.

during

the

various

periods

of

Briefly stated, the material

lation

and

its

manipuages

by

different

workers

in the past

may be
of

regarded as a compound expression

:

character

in

the cold, grey, would-be

in
its

imperishable granite they used, and

equally
firm,

severe,

and

unsympathetic

treatment,

may be found

a basis for

much

conjecture as to the nature of the Egyptians

in the

pure marble and

its

treatment, which
full
all

requires

a delicacy of touch, with a

its

appreciation of
its

nature, to bring out

natural

beauty,

may be

seen

clear

WOOD CARVING.
reflection of

the refinement of the Greek

as expressed in all they thought

and

did.

Brick and
victorious

its

limitation sufficed for earl

until

Rome

an

artificial

refim

ment demanded marble.

did

Money
anything

could an
it

supply this in abundance, but

wa
th

never

stamped

with

but

characteristics of the people, as historicall

known.
Passing
time,

over
find
in

the
this

intervening

space

we

country that wooc

its

free-cutting stone,
is
still

and

freer rendering

more

clearly

stamped

with

chc
:

racter,

and may be
Period

classified as follows

Norman

as

Copper.
of a
re

Transitional.

Intermingling
Silver.
Silver.

fining influence

Early English.

Pure

Transitional.'
silver.

Fusion

of gold into th

INTRODUCTION.

Decorated.

Gold,

the

golden

period,

culminating in excess.
Perpendicular.

ixture,

deteriorating

into dross, demonstrating the lament-

able fact that the people had ceased

to think for themselves,

and so the

work

lost its

charm.

On
it

a further examination of the subject,

will

be found that carving

article

is

an applied
decora-

art

a building or
more

made more
its

tive,

interesting,

by

application,

and

as such becomes part of a general scheme

termed
part,

" Architecture "

still

possibly
;

small

but

an important one
is

and as
carving
often

the individual
to

to the nation, so

is

architecture

the

smallest
etc.

things

speaking loudest of power,

Understood, then, as a means of expression,

it

is

therefore

conducive

to

mental

development, and carving

may

claim to be

lO

WOOD CARVING.
when taught
as such
;

educational only

i.e.

the creation of visible evidence in material

form of thought, however influenced. This demand upon the creative faculty

common

to

all,

becomes a

direct appeal for

mental development, and the power of concentrating thought

is

thereby cultivated.
see in every block of

The
but

sculptor

may

stone a single figure, or group of figures,

it

is

the concentration of thought upon

the group in his

mind's eye that enables

stone, un-

him

to

remove the superfluous

to

folding

view

the

hidden

evidence

or

concrete reflection of his imagination.

Michael Angelo said that the object of

sculpture

was "to

let

out the angel."

Carving

may

take a prominent place as In

a branch of hand and eye training.

the former, accuracy and precision
;

through

the latter, artistic power, refinement, appre-

INTRODUCTION.

I I

ciation of the beautiful

in

nature,

may be
go

cultivated

and developed.
to

To
to

qualify this generalising term, "

It

nature."
is

would be well to ask what there

in

admire

nature
of

for
;

our

purpose.

Firstly,

beauty

form

this

being imSecondly,
in

proved by the addition of

colour.

beauty of outline, whether seen

detail.

mass or
leaf,

For

instance, take
is

an ivy

and
not

ask

wherein
in

its

beauty.

Surely

altogether

that which

may be

seen at

first

glance.

Few
nature

indeed
offers

are

the

instances
for

where
study
feature

no reward

closer
first

than the passing glance.

generally noticed
veins,
etc.
;

The

is

the

oudine, the stem,

but press the leaf in a book,

features
will
still

and those
better

remain as a
skill

example of technical

than

it

is

possible to produce in

any other

material.

12

WOOD
this

CARVING.

Would

pressed leaf satisfactorily appeal

to our intuitive ideals of its general appear-

ance

No

because
is

void
;

has

been

created, a

something
it

absent

the pressure

has robbed

of

its

beauty,

its spirit, its life

the graceful form has departed, and

all

the

wonderfully minute details

fail

to clothe the
"
;

remaining skeleton of flatness

teresting."

it

is

unin-

Seen, then, from this point of view,

we

cannot

fail

to appreciate the actual value of

details; the technique,

becoming monotonous
is

as
all,

it

approaches perfection,

by no means
beautiful with-

seeing that a leaf

may be

out the clear outline, stem,

etc.,

whilst the

same cannot be claimed

for the pressed leaf.

Thus

the

creation
details,

of

beautiful

forms

emphasised by
all

must be the basis of

being relegated to

good work, the

latter

a secondary position.

INTRODUCTION.

THE OBJECT OF THE BOOK.

To
to

teach carving

is

the

least,

even
It is

if it

be

one, of the objects attempted.

fill

issued

a long-felt want
these

for a

graduated course

of exercises,

being suggested by a

long and varied professional and teaching

experience

course

that

shall

be

at

once

practical,

and calculated

to inculcate,

though to a limited extent, the principles

evolved from a careful study of nature and

good works
of
every,

these principles being the basis

and not the monopoly of any,

particular style of carving, as Gothic, etc.,

which are but phases

of

in

the abstract

life

ornament.

The

necessary expense

of

tools being

an important matter, the most

useful curves
first
I,

have been

selected,

and the

four plates
3,

may be worked

with tools

2,

with one of No. 7 between three

14

WOOD CARVING.
the

students,

complete course

with

8,

as

given under the heading of

tools, etc.
is
is

As

a working motive such an outline

used, and, as careful observation will show,

-the abstract

form underlying natural leaves,

as
in

either

when complete
in the ivy,

the

laurel,

compound

grouped

in the rose,

conventionalized in the acanthus.

The
logical

series

of

exercises

also

form

the

sequence of an attempt to develop

stages
principles

by

easy
:

of

design,

as

follows
Fig.

I.

treats

upon the

technical side of
is

the subject, the importance of which

to

apt

be

overrated
is if

for

if

the

imaginative
is

faculty
little,

not
any,

being

developed, there

good

purpose
in

served

by
its

becoming
expression.

proficient

the

means of

The

actual idea expressed

by the ground-

INTRODUCTION.
ing-out process

is,

that at given points the

is

material not being required,

Fig.
II.

cut away.
to create a

must be an attempt
flat

form more pleasing than the

Fig.

i.

and

according to the appreciation of the beautiful

in form,

so the degree of success must be

gauged.
Fig.
III. is

the application of the important

principle of continuity of thought in line

and

mass.
Fig.
Figs.
IV. is
VI.,

the complete development.

VII.
is

the application of this

form of creative power, at any given place,

to produce a desired result.

The
point,

leaf

form Fig.

i.

is

cut off at the

and the square end turned under and

roll

over like a
Figs.

of paper.
similar forms
to

IX.,

XI.,

Fig.

ii.,

but treatments with different

Figs.
X., XII.,

tools.
ii.,

similar forms to Fig.

but

WOOD

CARVING.

treatments with different

surface

tools,

both upon the

and

outline.
:

An
and
2,

exercise in relative

value of tool-cuts

Figs. ix.

and

xi.

are exex., xii.,

2.

cuted with tools

and Figs,

the same cuts emphasised with tool

Figs,
xiii.-xv.,
in

group of

details

Fig.

i.

An

exercise

concentration
in

of

thought

upon a given part

design.

any arrangement of
first

In this instance

the centre

leaf.

Figs. XVI., XVII., a scroll. Figs. XVIII., XIX., a scroll, with additions
for space -filling purposes.

Figs, xx.-xxii., the

XV.,

same
and

as Figs, xiii.-

but detail Figs.

I.

vi.

viii.

used instead

of Fig.

Figs, xxiii., XXIV., useful details.

Figs. XXV., XXVI., the interlacing of stems
in

design.

Fig. xxv.
;

is

a soulless renderis

ing of Fig. XXVI.

the latter

the appli11.

cation of principle inculcated in Fig.

INTRODUCTION.

Figs. XXVII. -XXX., the clothing of stems at

their juncture with each other, etc.

Fig. XXXI., a design Fig. XVIII. enlarged,

whose main stem

is

and clothed with

;

details

Figs. XXVII., XXIX., XXX.

also an exercise in

confining the

work within a

border, thus

preparing
Fig.

it

for application to furniture, etc.

XXXII.,

design

containing

useful

details for future use.

Fig. XXXIII., a design with

XXVI.,

main stem Fig.

and

details xxiii., xxiv., xxvii., xxix.

Fig. XXXIV., a

more decorative treatment

of Figs.
up.

IX.,

XII.

The edges

are

broken

Fig. XXXV., a

more decorative treatment

of Figs.

IX., XII.

Fig. XXXVI., the grouping of details Figs.

VI.,

VIII.,

XXVI.

Fig. XXXVII., the grouping of details Figs.

XXXIV. and xxxv.

B

WOOD

CARVING.

Fig. XXXVIII., based upon,

and freer render-

ing of design Fig. xxxi.

If
is

two are placed together an oblong panel

formed.
Fig. xxxix., design similar to Fig. xxxviii.,

but built up of details Fig.

Figs, xxxiv.-vii.
Fig. XXXVIII.
XL.,

i.,

elaborated as

the

development

of

Fig.

Each

exercise has a distinct purpose,

and

the student cannot be too strongly advised

to

master each step, asking the reason of

every peculiarity he

may have

noticed

and

so being quite clear, he

may go
.

on, feeling

assured of success
the

the

secret of

which

is

combination

of

head

and

hand,

the

cultivation or recognition of a

purpose at

every stage of the work.

Each

cut

should
of

be

one
idea,

towards

the

production

fixed

although he

INTRODUCTION.

should always be ready to modify any such

purpose

if

occasion presents

itself.

To

prevent the natural inclinations for

"niggling" and hesitancy on the part of

the student, large tools, and bold, vigorous
strokes have been employed
;

in

the cleaning

of

wood

out of the corners,

it is

not so

much

a matter of using small tools as

the
will

it is

of cutting

wood properly down, when jump

the large tool

the troublesome bit out.

this, but,

Too

often

the student will not do

to drag
it

proceeding
re-

out,

wonders why the corners

main so untidy.
design
first
is

The apparent sameness

and

of

the outcome of compounding the

restriction in the

step throughout,
tools.

number of

A
details

strictly will

limited

edition
in

of

a similar
natural

scheme

be

issued,

which

have been employed to express the

ideas
;

same

but as working to nature

is

attempting an unattainable standard, any-

20

WOOD

CARVING.

thing short of this standard

"failure."

may be

counted

How many

workers have given

up

in despair

because they discovered their

inability to attain to the standard so foolishly

fixed in their minds' eye, trying to carve like

nature

Most of the examples of such attempts

are

what may be termed

;

caricatures of the

original

and

if

not caricatures, then conIf

ventional

treatments.
it,

the

latter,

not admit

and derive the pleasure "the

why

fun " of twisting and fighting the m.aterial

with one object in view, that of producing

beautiful

forms

and
will

lines

That

it

is

fascinating,

who

deny

The
must

student

working

with

fear
?

and

trembling, ever asking, Is this right

I

What

do next

therefore ever dependent

upon

his teacher, etc., is

more

to

be pitied

than blamed.
Individual
effort,

however crude,

is

prefer-

INTRODUCTION.

able to slavish attention to the material and

its

treatment, instead of the thoughts

it

is

but the

medium
author
is

for expressing.

The

prepared

to-

introduce his

scheme by bench
demonstration,
mitted,
desired.
to

lectures,

with

practical

report

upon work subvisits

and

pay

periodical

where

In submitting his scheme he

is

not un-

mindful of
tions

its

shortcomings, and any suggesto render

calculated

the

course

still

more

useful will be appreciated.

TOOLS
'T^HE
-^ called the Co.,
set as
full

course has been worked out

first

with the

eight tools on
set."

list,

and

"Ambleside

The Sloyd Tool

this
;

Carver Street, Sheffield, supply

one of

their

many

reliable specialities

few in number being the most desirable, as

less

to

become acquainted
for use

with,

so

their

possibilities

the sooner discovered.

Usually
different
is

called

gouges

and'

chisels,

of
5

curvatures
its

and widths.
curvature
its
is

No.

a gouge, yet

sufficiently
chisel,

slight as to permit of

use as a

thus serving the double purpose of gouge

and

chisel.

The sharpening

of tools

is

a very import-

ant part of the work, and the process they

TOOLS.

23

undergo before being ready

ing, whetting,

for use

is

grindis

and stropping.

The

former

done on a grindstone, which quickly removes

the thick material usually on
1 ^

a
for

new
more

tool,

in

preparation

careful treatment in

y
the sharpening upon an ordi-

nary joiner's
-

oilstone,

which

4 <

removes any roughness that

__^

may be produced by

the severe

treatment on the p-rindstone.

Carvers' tools are rubbed on

\/
8

both
tools.

sides,

not

as

joiners'

The

treatment

upon

9
.

_
^^_^

both sides gives a slight lever

movement
enabling

in

cutting,

thus
follow

the

tool
;

to

more

easily the varying planes

the outside
tool

done oh the
nearly
flat

oilstone

by holding the

upon the

face of the stone

and

24

WOOD

CARVING.

at right

angles, working

it

sideways from
thus the curve

end

to

end of the stone

of the tool will

come
is

in

contact with the

stone

if

the former

turned from corner

to corner in the distance.

To make
end
of
the

the

figure

on the oilstone

has been suggested, but the curves at the

figure

allow

the

corners

of

the tool

more than

their share of friction,

resulting in their being

rounded too much.

The
of

inner sides of the gouges are rubbed

by means of finger -slips, or small pieces

stone

with

curved

edges.

Olive

or

neat's-foot oil

may be
is

used.

The

principal

thing to avoid
tools

making the edges of the

is

dumpy, which

brought about by
i.e.

rubbing too much on the edge,

hold-

ing the handle of the tool too high.

If

occasionally

held
it

up

to

the light,

it

may be

seen whether

has been rubbed suf-

ficiently,

as the parts untouched will appear

TOOLS.

25

bright in contrast to the dull parts already

worked upon.
edge,
will

Again,
felt

if

an

arras, or

rough
tool

may be

after rubbing,

the

only require stropping to remove that

and complete the process of whetting.

Stropping
is

is

the

final

touch.

The

tool

worked, as a barber does his

razors,

upon

a piece of
old belts

leather, buff for choice.

Soldiers'

make

excellent strops, which, for

flexible, to
fit

carving purposes, must be

inside of the gouges.

the
first

The

leather

must

be prepared upon one side by a mixture of

crocus powder and tallow being well rubbed
into
its

surface.

One
sible,

practical

demonstration, where pos-

in

sharpening tools would serve the

student better than

many pages

of confusing

instructions, clear only to the writer.

Tools become dull soon enough without

any assistance from the worker, who by

26

WOOD

CARVING.

careless

arrangement allows the edges to

with each other.

come
upon
touch

in contact

The

proper and safest position for tools

the

bench
other,

is

when

they

scarcely
their

each

and placed with

edges towards the worker.

Of
is

those used in this course, the

tool

at once the

most awkward, "though but

momentarily," and the most useful of the

carver's set.
Its

use tends to develop the

much-desired power to produce and appreciate

good sweeping

curves, either in abstract

its

or actual form, and the importance of

general use cannot be overrated.

In the
other,
if it
it

holding of this

tool,

and

in fact

any

should not be gripped too firmly, for

does

not retard the flow of one's ideas through

the tool to the material,
it

certainly

cramps

the flow of lines which those ideas suggest.

Hold
to

as near the sharp edge as convenient

with,

work

and

sufficiently firm to

prevent

TOOLS.

27

slipping

it

may be
it

pushed,

or,

by means

of a mallet,

may be
difficulty

forced along the line

in

of design, a
itself

using presenting
it

only
A

when

the worker allows

in

to

become embedded
B

the wood.

The

top

corners, V, should always be in view.

The

thickness of line producible by this tool de-

pends entirely upon the angle

held
:

at

which

it

is

if

well

up

at the handle, the line

tool.

may

be as deep as the section of the

It
is

very necessary to acquire early a

thorough

knowledge and
one

control
is

of

this

particular tool, as, until

position,
it

in that

happy

seems

to

have a most undesir-

able knack of going in any but the right

direction,

and

its

possibilities for

use

when

under

control,

are

more than the

original

intention of
possible,

its

maker.

Use

it

whenever

even to removing as much ground

at.

as convenient to get

Main

lines

and

28

WOOD

CARVING.

Stems so produced are

than
those

far

more

beautiful

obtained

by
;

careful

setting- in

with gouge and chisel

by no other means
etc.,

can the subtle curves of stems,

racteristic in nature,

so chawell.

be produced so

The
matters

other tools, being gouges of different

It

curvatures, call for no further comment.

little
it

which side or

size is used, so

long as

effects the object in

view; 9 and 10

are additional useful tools, the latter being

called a bent gouge, or grounding-out tool.

Tools, like
drivers,

horses,

seem

to

know
to

their
their

and
let

require

forcing

do

work

them be

as servants,

means

to

an end.
that,

Lastly, treat

them

as friends,

so
will

understanding them better,

you

not ignore the

so
often

many new

cuts or ideas they

suggest.
practice,

Dexterity

being

the

outcome of
royal
road,

and there being no

especially

are

facts

applicable

to the learning of wood-carving.

WOOD
T) EST
*-^
pine-wood
is

suggested

for

all

exercises,

except Figs, xxxi.-xxxvii.,

its

not entirely by reason of

qualities,

easy-cutting
obtainable,

and the quick

results

so dear to the beginner, but partly because

students will only learn by experience that

the material they are to use has a nature

requiring

certain

amount

of

study

or

consideration.
virtue of
to
split,
its is

This

particular

wood,

by

freeness in the grain, liability

obviously best
expert,
its

suited

for

the

purpose.

The

knowing

his material,

and therefore
exactly
his

limitations,
effect
;

can produce
the

desired

average

student, on the other hand, begins

by worryresult.

ing

it

away, with a rough and rugged

WOOD CARVING.
At every
thought
treated
;

point a

little

observation and

will
it

suggest the

way wood should be

resents tearing or dragging away,

to appreciate proper
i.e.

and seems
cutting.

firm

Whenever
it is

presenting

rough

appearance,

suggesting a reverse or sidecutting.

ways treatment of

When

cutting

accurately, the student at once feels every

assurance of the

fact.

In cutting, he should try to

produce a

low whistling sound, by slightly curving the

tool
its

from side to
progress
is

side,

when

possible,

in

forward.

Perfect smoothness
initial stages,

of finish
as
it

not required in the

is

the outcome of time and practice

only.

To
is

expect a beginner to master his

first

material and tools on the

two or three

models

surely too much, unless he already

possesses

some

knowledge
is

of
by.

material.

When

the finish

produced

means of

WOOD.

a plane, this
material
it

may be
not

possible,

for

if

the

will

be cut clean
it

one way,
about.
its

is

but a matter of turning

In

carving,
plane,

every

tool -cut
less
;

produces

own
is

more or

and as sand -paper

absolutely forbidden,

some allowance must

be made
general
It

in

fact,

tool-marks improve the

effect.

does not necessarily follow that the

experienced

wood -worker has every

ad-

vantage over the beginner.

I

Whilst admitting that dexterity comes of

careful practice, which, in
its

turn, indicates

command
be

of the

means whereby we seek

to

express ourselves, yet high finish should not

obtained

at

the

expense of

frittering

away a

student's enthusiasm.

Given an advanced copy, a student may

worry
the

wood away
;

in

obtaining

his

desired forms

yet an intelligent appeal to

WOOD CARVING.
complete his success, by carefully finishing
the edges,
etc.,

will

have more
to

effect

than
out,

several lessons devoted

grounding
in view.

with no tangible purpose

cutting
said
this
is

Chip-

a form of carving which

precision

may be
;

to

cultivate

and care

but

means

of cultivating precision
:

and care
majority

has two disadvantages

of cuts are

ist.

The

upon the

slant,

which, by the

way, are those cuts least demanding for their

production any special consideration of the
material, therefore of
relief
little

practical use in

work, especially as a preparatory step.

Granting, for the labour expended, very effective work, apparently,

may be

produced, yet

the habit acquired for niggling far outweighs

any such advantages of being

effective,
etc.

attractive,

2nd.

The

excessive, use of
evil
in

compass and

rule creates
"to

an

by training
conforming

hand and eye

a dexterity

WOOD.

33

to,

and reliance upon,

which

artificially- produced

curves,

become

less

interesting

as

they approach perfection in their execution.

The
ers'
is

difference

between South Sea Island-

work and the best modern chip work

easily seen

in the

former examples

much
thing

more freedom
is

is

displayed.

The same

noticeable in the early Gothic tracery

the subtle curves of which are not those pro-

duced by the compass and stamped with

accurate characteristics.
writing of the

its

The drawing and

nineteenth-century children

very clearly shows the rigid grip they have

of the

unsympathetic

means

"

pen

and

pencil "

whereby
those

they express themselves.

The
line

suggestiveness of the hard pen or pencil

is

too slight to appeal to

them

but

substitute

means

for

another

"the

supple brush"
fingers

and

they have within their

a power

means

for

expressing

34
feeling,

WOOD
thought,
life

CARVING.

freedom unlimited

in possibilities.

Too many

are the ways and

means

for

dwarfing the imaginative plant, by giving

its

co-partner in design, " construction," an

attention.

undue share of

The

eye,

and

also the hand, being very sensitive,

promptly
in

repay any want of confidence by acting

accordance with estimated worth.

Precision

and care are very desirable

features,

but

their early cultivation in carving should not

be too much insisted upon.

Each model has been produced by

most easy
lowed
to obtain in the material, and,

cuts
if fol-

carefully,

a high standard of techniqtie

but at the expense of
If the student is to

may be

obtained,

creating copyists.

give

his ideas full play, his efforts

must not be

restricted too

much.

It is quite possible to

produce such beautiful forms as

may

require

WOOD.

35

the experience of a professional to complete

technically.
If this

should be the outcome

of the freedom advocated, then the student

should be encouraged, not compelled, to see

beauty

in subtle forms, as in the laurel leaf,

in contradistinction to

the developed hart's

tongue

fern.

Exercises
illustrations,

xxxi.-xxxvii.,

and

remaining
alder,

may be worked

in oak,

lime, kauri-pine, walnut, or

for preference.

mahogany; oak

HOLDING THE WORK

OTU DENTS
^^-^

must not underrate

the

importance of making their work secure

before beginning operations.

of accidents

The

majority

may be

traceable to this

want
all-

of care.

The

simplest

methods,

and

sufficient for this course, are

illustration of

shown

in the

a block held firm by means

of

clips,

which may be made of iron or

wood.

Two

such clips are required, and

:

may be

fixed as follows

At

the clip

is

driven into the edge of the block to be

carved, at
surface.

and

it

rests

upon the top

cramps are useful where screw-

holes

may

not be put in the bench-tops.

Another method, the simplicity of which

may recommend

itself,

is

that

of

gluing

HOLDING THE WORK.

39

the block to be carved on to a larger piece

of wood.
separation,
If

paper

is

put

between,

the

by means of inserting a
First

chisel,

becomes an easy matter.

glue the

paper down upon the larger piece of wood

this done, glue

about one inch round the

edges of paper, sufficient to hold the edges

of the block, not
all

over
set.

then hold the

block until the glue has

WORKING DIRECTIONS
PLATE
I.

MATERIALS required: Block of pinewood j^" 6"

yy-

1"

sheet of carbon

or transfer paper, and drawing-pins.

Having

prepared

the

drawing

which

should be sketched,

not traced, from the

i.

working drawing, Fig.

block, fix
it

to

occupy the

with pins upon the wood, with

carbon paper between, then trace carefully

over the lines with a hard pencil, and the

drawing

will

be reproduced upon the wood.

i.,

On
that

reference to Fig.

it

will

be seen
has

the

wood about

the

leaf

form

been removed to a certain depth.

As a

guide for the depth, mark along the edge

of the

wood

to

be operated upon a

line,

Plate

I.

WORKING DIRECTIONS.
say f"
will

43
this

down from

the

face

depth
Figs,

be understood as applying

to

i.-xxx.,

and xxxiv.-xxxvii. inclusive; with

cut

tool

round

the
it.

outline

of

design,

but not quite up to

Then

take gouge

No.

I,

and with

it

remove as much of
the design as pos-

the spare
sible.

wood about

This done, proceed to trim or pare

the edges perpendicular to the ground, but

this

time quite up to the

lines.

The
are

technical terms for these

setting

processes
in,"

"grounding out and

the
It

lower level being called background.

is

very important that this should be done

accurately in the early stages of the
as

fairly

work,
the

success

is

partly

measured by

uniformity

of ground depth,

and the

sharp, square-down treatment of the edges,

which should be neither ragged nor uneven,

a result brought about by half cutting the

44

WOOD

CARVING.

edges down, and then dragging or gnawing

the

remainder

of

the

wood

away.

moment's

reflection will suggest the

remedy

when

the student finds his

work rough and

untidy at this point.

The ground
been cut with been
first

must
tools,

show

that

it
it

has

not as though

had

planed up perfectly smooth, and

then the carving glued

down upon
wood
Fig.
in

it.

Tool

marks are not

the design, as
Fig. XXXIII.
tised,
is

bits

of

and about
and B,

at

A,

xxxii.,

Stamping, as generally pracbut a means

to
its

often

disguise

careless work.

The

claim in
is

favour of

clearly defining the design

weak.

The

ground and carving being one, why separate by suggesting that the carving had been
fret-cut in the first instance,

and fixed upon

?

a different texture to

its

own

The

art of

wood-carving,

briefly,

is

the

WORKING DIRECTIONS.
creation

45
this

of beautiful

forms, and

may

be

illustrated

upon the block of wood now

prepared and standing up above the background. (Fig.

I.)

For the purpose of

form
denotes

this
true,
i

book

beautiful

pleasing curved surface.

carefully
leaf,

With gouge No.

at

round the edge

i.,

any part of the See that

to the

form Fig.
is

say point A.

the curve

gradual and quite

that
as

down

ground,
possible

so

much

flat

surface

as

may be

avoided.

The

characteristic features of

good woodContrast

carving are contrast and variety.

may be
high
as

obtained by keeping the parts as

possible
directly

opposite

those
;

taken down, as at
low,

high, at

low

at

and

high, thus producing light

and

shade with the material.

introduced

Variety

may be

by treating the opposite side

Fig.
ii.

as at

A.

illustrates the carrying

46
out
of
this

WOOD

CARVING.

form-creation.

Variety
the

and

contrasts of form will

make

work look
;

generally
to

lumpy unless connected

so that

these two important principles must be

continuity, the

added

merging of one form

iii.

into another, as at Fig.

In this
effect
is

manner
secured

a good, pleasing general

by connecting the created forms by means of

tool
i,

at

and

one decided sweep or

throw from end

to end.

The
or

successful connection of these forms

ideas being so important, the

stepping

outside of the subject for further illustrations

to

emphasise

its

importance

is fully justified.

So long

as single keys are struck

upon the
for

piano, "the

sound emitted being termed

all

the purpose, ideas,"

may be

well

touch

a group,

and a discord or harmony may

In the
attention
first
is

be

there.

instance,

to
in

give
the

individual

possible

WORKING DIRECTIONS.
second,
lack

47

of

sympathy of tone causes

each note to claim attention at one and

the

same time
to run

in

the third instance, they

other, the exact

seem

one into the

joint being imperceptible.

This continuity
etc.
;

applies

to

colour,

book-writing,

thus

carving

may be

a book, a scheme of colour,

a piece of music.
ear,

As harmony

is

to

the

colour to the eye, books to the mind,

so

is

carving to the sense of love for the

If the carver has failed to

beautiful.

endow

his

work with a continuity of thought, he

has yet

much

to learn.
to

The
that

student will do well

remember

it is

not a matter of abundance of form,

but just sufficient and well connected, to render the

flat

surface

more

pleasing,

or

more

interesting to himself at least.

iii.,

Returning to Fig.

the form

may be

made more

interesting

by the addition of

48

WOOD

CARVING.

a conventional stem, the

tool only being

used for the purpose.

hollow the same
look heavy, and
;

This done, slightly

if

for

rounded

it

would

if

cut narrow, weak.

At

and

F an improvement may be made

2

by the
3.

use of a quicker gouge, say No.

or No.
to

These additions are suggested

attention to
ferred
to,

draw

the

relative uses

of tools re-

and more

clearly to define already

existing cuts.

Experience, the outcome of observation,

will

develop the tastes for adding successthese

final

fully

touches,

which,
to

although

not necessary, yet impart

crispness,
able.

the

work a
obtainpoints

lightness,

not

otherwise
at

From

underneath,

the

standing

highest

above

the

ground,

the

wood may be

cut away, the object of this

being to produce a further light effect in

the work, and not to

show how

far

under

Working directions.
or

4$

how

thin

and feathery the edges may be

the latter should
invariably
thick.
is

cut.

In

fact,

be bevelled- about f? of an inch

The

technical term for this operation

it is

"under- cutting," and

" under-cutting
'

important that no
until

be

done
;

the

com-

pletion of the top surface

it

as before stated,

is

but a means to improve existing work.

exercise,

The completed
throughout
its

Fig.

iv.,

should,

development, be influenced
flat,

by the
of Fig.

idea that the

I.,

smooth surface

produced by a soulless machine,

that shall please the
this,

demands a treatment
artistic senses.

To
the

do

the most must

be made of
the
full

wood
that
if

projecting

above
is

ground,

so

one part

kept

up, there can be

no reason why corresnot.

ponding
possible

parts
in fact,

may

be

as

low

as

merging

into the ground.

In

the

majority of instances,- this half-

50
expression
of

WOOD CARVING.
thought,
or purpose,
is

the

actual cause of students feeling that

some;

thing

is

wrong

with' their

work

and

too often as a consequence they erect their

own

stumbling-block,

i.e.

"fear

to. spoil,"

fear to take off too

much wood.

In working to a copy this

may be

possible;

but in utilizing slips which

cuts or pieces broken
secrets of success,

may be

accidental

off, is

found one of the

i.e.

twisting the unsatis-

factory part into something else.

cut,

Dictate a

and a check

is

placed upon the much-

wished-for freedom

encourage the develop-

ment of these
reliance,
slip,

slips,

and confidence,

self-

is fostered.

Often the developed

the apparently ruined corner, becomes

the most honoured cut in the piece of work.

Wood
boldly,

being cheap enough, begin your work

not in a niggling manner,
:

always

applying the following tests

WORKING DIRECTIONS.
1.

Are the forms

or ideas properly carried

out?
2.

Are the forms

?

or ideas properly con-

nected
3.

Is the outline true

4.

Is the detail sufficient or too little, or,

as often, too much.

PLATE
Figs, v.-vii.

II.

Material required, two pine-

wood

blocks 7^"x6"xi".

Mark

design as already suggested, each

occupying a block.
Carefully ground out with gouge No.
i,

not forgetting to take the

tool

round,
step.

but not quite up to the lines as a

first

This done, cut the edges clean, and quite up

to the lines.

With gouge No.

Fig. V.

round the end A.

52

WOOD

CARVING.

'

Round down
II.

to -ground at

E, as

A or B,
r:

Fig.

Connect
this will

to "A,,

as..

to B, Fig.
'[

Jii.
.,

produce Fig.
Fig.
,

vi.

I-

Cut ends B,
FigVI.

v.,

a-nd

complete as. j9,

,

_.

/J

Bevel the edges.

Undercut.
Figs.
VII.,

....

VIII.

Round
of

at

i.

Remove
facilitate

little

material

at
i.
.,

G,

to

completion df turnover
//, as

Cut ends

B, Fig.
at C.

v.

Round

to

ground

Connect

to G, as

to

jB,

Fig. ni.

Complete ends H, as Fig.

Bevel edges.
Undercut.
'

viir.
.
.

'
'

..

'
'

'

'^"
i.

''

Remarks.

The

exercises' Plate

show

how

pleasing

forms

may be createdv^ In
ii.)

these two exercises (Plate-

we apply

that

power

in

producing

at

given

points

Plate

"WORKING DIRECTIONS.

55

definite idea.

Such

ideas

may be
If

taken from
is

nature, casts,

or photos.

a student

capable

of creating
i.-iv., it

the

elementary forms
safely

as in Figs,
that he
is

may be

presumed

able to combine these forms at

given points,
this

producing a given idea

a
scroll
scroll

in

instance
that
is

or

roll

of

paper.

Knowing
standard
less

must be round, a

fixed for his guidance.

coil will

Nothing
be
satis-

than a truly rounded

factory,
is

otherwise the purpose

or thought

only half expressed.

This done, a quantity of material, D, F,

remains for further treatment.

Apply

Fig.

ii.

and

its

lesson.
flat

Seeing that any other form

than a
ing,
it

surface will look

little

more
is

interest-

matters

which part

thrown

down

and
three

E
Fig.

are

suggested.
ideas,

Thus

we
Fig.

obtain
VI.,

forms or
VIII.,

EA

B,

CGI,

and these separate

56

WOOD

CARVING.

forms require continuity to complete their

success, this being

brought about as sug-

gested at Fig.

III.

PLATE
Material
:

III.

Two
i".

or four blocks of pine-

wood

7-^"x6"x

Sketch design upon the wood,

in

each
ix.

instance with one clear outline, as Figs.

and

XI.

Ground
Create

out.

first

form at A, then B, afterwards

C, Fig. IX.

Create
F, Fig.

first

form at D, then E, afterwards

XI.

Figs, ix.-x.

and

xi.-xii.

hd.ve

the

same

forms.

Connect

these

three

forms,

i.e.

merge
!.

one into/another.

The

surface of Fig. ix.

is
i

then treated, as

per illustration, with tools

and

4.

Plate

III.

WORKING DIRECTIONS.
Figs. X.

59
their

and

xii.

have had

edges
2

broken and surface treated with gouges

and 4
gouges
treated

Fig.
I,

xi.

the surface treated

with

2,

Fig. xii. edges

and surface
It

with

gouge

No.

2.

will

be

noticed that the small corners are rounded

off; also notice the effects

gained by vary-

ing the width of bevel on the edges.

Undercut.
'

Remarks.
in

As
less

every leaf upon the tree

so

varies

form,

may
than

those

in

carving

yet

nothing

beautiful

form

"completed" must be the basis of operation,

and

it

cannot be too often

details afterwards.

repeated

form
lines,

first,

Make more
stems,

interesting

by addition of

&c.,

but not at the cost of

in

destroying the original form

degree.
etc.,

the

least

The

additional

lines,

stems, cuts,

must tend

to radiate

from or to the

6o
centre, and,

'WOOD CARVING.
if -possible,
;

.express the contour

:
;

of the, form.
:'

;;

In this exercise the student

is

givep scope

for experimentirig- as to the relative value

of different
rnenting will

tools..

The

result

of experi-

be

more pleasing than the

'

working of Fig.

iv.

<
:^

PLATE
':

IV.

.....

Materials: Block of pine-wood 7^"x6"x

i".

Mark
Take

design upon the wood.

tool

round the

lines as

before,

then ground out.

Free the leaf-form

.

A
its \

by cutting some

of the

wood away,

as at

B B.
various stages like
'
.
.

Treat the centre in

Fig.
IV.

has been, done.

to

Give

the

side

leaves
'

a"
;

little

more
_
,;
:

throw or form, as at CC.

Complete

by

merging the

forms

thus

Plate

IV.

WORKING DIRECTIONS.
produced,
Fig. xiy.

63
at

CD

B,

as

shown

",

Playfully treat the surface,

Figs,
ix.-xii.

as

shown

in

Bevel the edges, and undercut.

Remarks.

The
in

value of this exercise

is"

the combination of previous work, but of

much more

Importance

is

it

one

for

developing concentration of thought upon

a given feature
in

design.

Generally

speaking, the best plan to adopt in working

any design
feature,

is

to single out

its

main

line or

making

that

successful

first,

from

a form point of view, afterwards

paying

heed

to the smaller features.

is

The average
very

student

wanting

in

method, and

often he finds himself going over his

work
result.

many

times

with

no

appreciable
it

He
in

is

too fond of touching

up, putting
all

a cut here and there, and

over the

64
panel, thus
in

wool) cArving.

expressing want of continuity

finishing, etc.

method of working,

The
is

royal road to finishing carved,

work
tool;

none

other than

taking

up

one

after the
in or

main features have been roughed

it

"boasted," and with

finish

every
putting

cut
it

it

may be

capable

of doing,

down, only to take up another, the next

usefulness,

in

and so

on.

This

method,

perhaps, requires

more
of,

self-control than the

amateur
tion
is

is

capable

because the tempta-

very great to pick up a tool just

to take out

one

little

bit.
is

The
main

next best method

to

begin
out

at
its

the root of the design, and thrash

features
;

afterwards

complete

the^

smaller features, etc.

WORKING DIRECTIONS.

65

PLATE
Figs.
XVI.,

V.
:

XVII.

Material

Pine-wood,

6"x6"xi". Sketch design upon

large as
it

the wood,

and as

will allow.

Ground

out.
2
it

With gouge No,

taking
notice
at

produce cut
begins close

ABA,
to

that

the

ground

A,

rising
A'.

gradually to B, and

then falling to

The

flat

surfaces,

CD,
off

require connectis

ing to this

hollow thus created, which

done by softening

the ridge between

them and the

cut

ABA.
Material, 7i"^7i"xi". as
in
last

Bevel the edges and undercut.

Figs. XVIII., XIX.

The
Fig.

same

cuts

exercise.

XVI.

By

the addition at each corner,

xvi.)

H H,

to

above design (Fig.

is

a different effect

produced.

66

WOOD CARVING.

The

gouge-cut

E F G,

a.

repeat of cut

ABA,

has been continued or run through

as at

H H H,
detail
for
in

///.
scroll is

Remarks.

This
is

very useful as a
;

building up designs

and as
its

its

success

drawing depends upon

truth in

curvature, so

a true decided sweep-cut none

in
its

the

less
line,

important

carving.

If

the

main
ness,

or cut, of a design suggests weakfinish

will

no amount of

compensate

for the defect.

The

well-developed skeleton

of

the

human form

however
of

ill

-clothed
etc.

with

beautiful

details

muscles,

is

preferable to the well-clothed but deformed

skeleton, from a designer's standpoint.

These two
give
further

exercises

(Figs,

xvi.-xviii.)

scope for

the

exercise

of a

student's taste, in that he

may add

touches

of

improvement wherever

his fancy suggests

an opportunity.

Plate

V.

WORKING DIRECTIONS.

69

Upon
XVII.

reference to the illustrations, Figs.

xix.,
it

and

will

be noticed that some of

the hard lines in Figs. xvi. and xviii. have

been retained, but so modified as to give

a pleasing
effect.

Their retention depends

taste,

upon the student's

so

toning them

down

as to appear part of the form.

When

not too obtrusive, these lines improve the

appearance
too many.

of the
It is

work

but

beware of

not by covering the

work
disits

with lines and cuts that poor forms are

guised; in
fact,

such treatment emphasises

weakness
its

in that respect.

A good form creates

own

safeguard,

if

the student will but

listen to its

appeal for just sufficient detail to

make

it

look interesting, and no more.

Notice that the lines are not continuous,

and points
ments as

Kill

give you various treat-

finishes,

each varying in strength

of tool marks.

yo

WOOD

CARVING.

PLATE
Figs.

VI.

XX. -XXII.

Material

Pine -wood,

7i"x6"xi".
Sketch design upon wood, and as large
as
it

will allow.

Take
out.

tool

round the

lines,

then ground

Free the centre

by cutting the material

away

at 5"

5".

Treat each one exactly as Figs.

vi.

and

viii.
i.,

Remarks.
so
is

As
vi.

Plate

iv.

is
ii.

to

Plate

this

Plate

to Plate
is

The same purpose

served and the same

iv.

instructions as for Plate

Figs, xxiii., XXIV.

These are

details for

future use.

Material: Pine- wood, 6"x6"xi".

With gouge No.

to

2,

one cut from

/, to

G,

H.

Plate

VI.

WORKING DIRECTIONS.

73

With gouge No.

to

2,

one cut from J, to K,

one cut from J, to Z,

M.
With gouge No.
2,

to

M.
Notice the contrast
:

down

at

H,

JLMK,
parts
their

and high

at

RPQNO.

Also

notice that the touches

upon the prominent

are

only sufficient for the purpose

continuation, from a

technique point

of view, would be troublesome at least, with

no corresponding advantage to the general

effect, if

any

at

all.

PLATE
Material
:

VII.

Pine- wood, 6" x 6" x 1"

Sketch and ground out design as large as

wood

allows.

Fig.

XXV.

The

idea suggested

is

that

of interlacing.

AA

is

lowered to pass underneath C;

B and D

under A.

Remarks.

In

Figs. xxv.

and xxvi. may

74

WOOD
the
line

CARVING.

be seen

dividing

the

good and

indifferent worker.
different mechanical
latter

In the former, the in-

worker

is

seen.

In the

may be

seen the sympathetic worker

and

his treatment of the

same

design.
far to

The
it

interlacing of
interesting,

ornament goes

make

and what holds good

in

in flat also

holds good
principle
is

modelled ornament.

This
i.e.

involved in this exercise,

of
beautiful forms

the creation

subject to

others in contact.

To
in

the

mechanical

interlacing

of

Fig.

XXV. has been added the principle evolved

Fig.
II.

Each form
ii.,

is

taken as Fig.
;

i.,

and treated as Figs,

up, as a contrast,

in.

down

at

G H,
to /,

gradually from

the

same

at

MM, K L.

The

surfaces of

these twisting forms are

less as

treated

more

or

suggested on Plate
in evidence.

in., central lines

being most

Plate

VII.

WORKING DIRECTIONS.
Notice the combination
of

']']

hollow
;

and
not

round cuts on the surface of the forms

too

much

of each

feature,

as

it

is

quite

possible to completely disguise those forms

beyond

recognition,
;

and

this

is

not

the

purpose of details

notice also the bevelled

edges, the continuity of forms in the interlace of the same, the throw or spirit of the

work.
Fig.

Undercut.
XXXVI.
is
is

combination

of

Fig.

XXVI., to

which

added open

scrolls,

as on

Plate

II.

The

outer side of example being

unfinished, suggests

method of working.
VIII.

PLATE

Wood 7-^"x6"x
Fig. XXVII.

i"

pine, alder, or lime,

out.
cut,

Ground

With
at

tool

No

take one sweep

as

B.

Lower

the

wood

at

A, with opposite
will

side

as high as the

wood

allow

contrast.

78

WOOD

CARVING.

Free the corner at D, keeping the outer

edge well up, as a contrast to part going

under
at y^.

Merge
XVI.-XIX.

cut

into

C,

as in

B D,

Figs.

With same gouge,

produced.
Fig. XXVIII.

cuts

and

G may

be

Undercut.

Fig. XXIX.

Wood, 7"x5"x
is

i".

The main stem

down

at

J H I,

with

opposite sides contrasting.

From

J, gradually rising to K.

Fig. XXX.
XXVIII.

Double arrangement of

Fig.

Wood, 8"x6"xi".

Remarks.
explanatory,
leaves

These
showing,

examples
as

are
do,

self-

they

how

and stems may break away from

each other.
Fig. XXVII.
is

a broad stem A, half clothed

with a

leaf.

Leaves, being

details,

must

Plate

VIII.

WORKING DIRECTIONS.
partake of the same form at
tion
their
carries

junc-

with

the

stem,
i.e.

which

the

design

onward,

gradually

springing
specially

away from
articulated.

the stem, unless

when

Fig.

XXVIII.

The forms
tools, as

are

completed,
in.,

and the play of

applied,
at

seen on Plate

the main stem being taken

to

down

E, as a contrast

L, which projects

to the full extent of material.

Fig.

XXIX.
about,

shows

stem

bending
over,

and and

twisting

a leaf thrown

partaking of that same twist as at

Fig. XXX.

J K.

shows a double arrangement of

Fig. XXVII., also the junction of two stems.

Notice the throw of same,

down

at

M and

N, up

at O.

82

WOOD

CARVING.

PLATE

IX.
s^g"

Wood
kauri-pine
;

-12" X 12" X

walnut,
of
all

alder,

the latter for preference.

This

is

a combination

previous

exercises.

The main stem

out
the

is

Fig.

xviii.

opened

and

clothed

the

corner

pieces,

by

application

of

details
in

(Plate

viii.),

become
groups
(Fig.

leaf forms,

which

themselves are
smaller
leaves

or

compounds

of

iv).

The
is

border, or working within a margin,

first

introduced here.
it

There

is

no objecto the
its

tion

to

being cut straight

down

ground

at the

margin

line,

other than

suggestiveness of too

much "frame."

The

ground,

if

curved, and thereby brought up

certainly looks better than

to .the surface,

the former treatment.

Plate

IX.

WORKING DIRECTIONS.
Proceed as before with
as

85

tool,

removing

much ground f" deep

tool
;

as convenient with

same
do

whilst admitting that tool 2 will

it

this quicker, yet

affords an opportunity

for further practice.

lines

This done, trim up the

in,

by

carefully setting

cutting firmly

down
tool
I

to the depth required.

Begin with
6,

wherever
until

it

will go,

then tool
the

and

so

on,

the lines

of

design are

clearly defined.

Use

the largest tools where

In

possible

for

cleaning up the ground.

places

where the design passes over other

it

portions,

is

not necessary to set in other

to

than

deep

enough

retain

the lines of

pattern.

Begin with the main feature

first

the

stem

and,
No.
2,

in

the cutting, notice

that the

forms have been produced by a cut with

tool

taken along the back or outside

scroll

edge

of the

or

main stem.

This

86

WOOD
is

CARVING.

cut

varied
at

by

being
G,

down

to

the
in

ground
each

A CE
to
is

gradually

rising

instance
coil

B D F H.
fully

The

inner

edge of
to

up from beginning

end.

Remove
its

the

wood

at

points J,

suggesting

coming from underneath,

at

remembering the necessary contrast

Reference
to

K.
the

Plate

viii.

will

supply

other details for cutting.

PLATE

X.

Wood
oak.

2" X 7!" X

5//'

kauri,

walnut,

Side
tool

is

merely roughed

in or boasted,

No.

being

much
and

in evidence.

Notice that

is

taken

down,
into

and the remainder of centre softened

it.

Being

self

explanatory,

calls

for

no

further

comment, other than no motive as

is

scroll

so useful to practise

upon

for

the production of good sweeping cuts.

F?^ nxn

>

'''"1

"^^'

'f

/L^

PUATE

^'^5^^'"'""^ T'-K^TWR

Plate

XI,

WORKING DIRECTIONS,

QX

PLATE

XI.

Wood
At

2" X

2" X =//' oak.

is

Portion at

completed.

may be
out
the

seen the earlier stage of

design
preparatory
to

boasting
finishing.

Notice points at
at

are down, and points

up.

The

design
;

is

built

up

of

details

in

combination
lengthened
xxiii.-xxiv.

the

main
foliated

stem,
ends,

Fig.

xxvi.,

with

as

Figs,

Fig. XXX. in evidence at the

root of pattern.

92

WOOD CARVING.

PLATE
Figs. XXXIV. -XXXV.

XII.
j".

wood, 9"x6"x
i".

Fig. XXXVII.,

9"x9"x

Oak wood.

More

elaborate details, singly and in com-

pound, form Fig. xxxvii.

The

additional designs found in the set

of working drawings

may be worked
:

as the

student feels inclined to do

remembering,

as he must, that merely laying

one piece of
all.

the design under another

is

not

The

designer fixes those conditions.

The

student

must accept them, and

his beautiful

set

about to create

forms under the given circum-

stances of line arrangement.

Fig. xxxvi.

See Plate

vii.

The

conventional square leaf-forms cloth-

ing the stems are but suggestions.

Within

those outlines

may be

sketched and cut such

elaborate details as the acanthus foliage, etc.

FtdXKAA^
^_J

Plate

XII.

PLYMOUTH
WILLIAM BRENDON AND SON,
PRINTERS.

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J. Phillips'
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" Course of

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