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 Wood carvini 
 
 Cornell University Library 
 
 3 1924 031 276 151 
 
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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 the Design Committee of the Home A rts and Industries 
 
 Association^ 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 
 
 LONDON: CHAPMAN AND HALL, Ld. 
 
 1896 
 s 
 
INTRODUCTION 
 
 \ 1 yOOD-CARVING as an educational 
 ' ' influence appears to be entirely 
 ignored, perhaps in consequence of its 
 apparent limitations, both as to material 
 used and manual exercises involved. 
 
 That it has such a value is undoubted, 
 but as generally taught it simply amounts 
 to keeping students employed, and as a 
 consequence its educational value is seldom 
 realised, because the student too frequently 
 has no practical object in view. He may 
 become skilful in the manipulation of tools 
 and material if sufficiently persevering, but 
 the realisation of an end and aim in his 
 work may not dawn upon him whilst ac- 
 quiring that technical skill. 
 
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 to approach the subject. 
 
 What is wood -carving as distinguished 
 from the art of wood-cutting? It is, or 
 should be, one of the many means of ex- 
 pression. In this sense it is the expression 
 in 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 
 surrender our own individualism. 
 
 It naturally follows that whatever in- 
 fluence affects the worker's mind must 
 necessarily affect its expression ; and thus 
 
INTRODUCTION. 
 
 we have in the carvings of past ages re- 
 flections in the concrete of people working 
 in various cHmes and in different states of 
 civilization, so that if it were necessary for 
 the purpose of this book, there would be 
 little, if any, difficulty in tracing minutely, 
 character during the various periods of 
 history. 
 
 Briefly stated, the material and its manipu- 
 lation by different workers in the past ages 
 may be regarded as a compound expression 
 of character : in the cold, grey, would-be 
 imperishable granite they used, and in its 
 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 
 requires a delicacy of touch, with a full 
 appreciation of its nature, to bring out all 
 its natural beauty, may be seen a clear 
 
WOOD CARVING. 
 
 reflection of the refinement of the Greek 
 as expressed in all they thought and did. 
 
 Brick and its limitation sufficed for earl 
 victorious Rome until an artificial refim 
 ment demanded marble. Money could an 
 did supply this in abundance, but it wa 
 never stamped with anything but th 
 characteristics of the people, as historicall 
 known. 
 
 Passing over the intervening space c 
 time, we find in this country that wooc 
 free-cutting stone, and its freer rendering 
 is still more clearly stamped with chc 
 racter, and may be classified as follows : 
 
 Norman Period — as Copper. 
 
 Transitional. — Intermingling of a re 
 fining influence — Silver. 
 
 Early English. — Pure Silver. 
 
 Transitional.' — Fusion of gold into th 
 
 silver. 
 
INTRODUCTION. 
 
 Decorated. — Gold, the golden period, 
 culminating in excess. 
 
 Perpendicular. — M 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 a further examination of the subject, 
 it will be found that carving is an applied 
 art — a building or article made more decora- 
 tive, more interesting, by its application, and 
 as such becomes part of a general scheme 
 termed " Architecture " : possibly a small 
 part, but still an important one ; and as 
 the individual is to the nation, so is carving 
 to architecture — the smallest things often 
 speaking loudest of power, etc. 
 
 Understood, then, as a means of expres- 
 sion, it is therefore conducive to mental 
 development, and carving may claim to be 
 
lO WOOD CARVING. 
 
 educational only when taught as such ; 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 con- 
 centrating thought is thereby cultivated. 
 
 The sculptor may see in every block of 
 stone a single figure, or group of figures, 
 but it is the concentration of thought upon 
 the group in his mind's eye that enables 
 him to remove the superfluous stone, un- 
 folding to 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 
 a branch of hand and eye training. In 
 the former, accuracy and precision ; through 
 the latter, artistic power, refinement, appre- 
 
INTRODUCTION. I I 
 
 ciation of the beautiful in nature, may be 
 cultivated and developed. 
 
 To qualify this generalising term, " go to 
 nature." It would be well to ask what there 
 is to admire in nature for our purpose. 
 Firstly, beauty of form ; this being im- 
 proved by the addition of colour. Secondly, 
 beauty of outline, whether seen in mass or 
 detail. For instance, take an ivy leaf, and 
 ask wherein is its beauty. Surely not 
 altogether in that which may be seen at 
 a first glance. 
 
 Few indeed are the instances where 
 nature offers no reward for closer study 
 than the passing glance. The first feature 
 generally noticed is the oudine, the stem, 
 veins, etc. ; but press the leaf in a book, 
 and those features will still remain as a 
 better example of technical skill than it is 
 possible to produce in any other material. 
 
12 WOOD CARVING. 
 
 Would this pressed leaf satisfactorily appeal 
 to our intuitive ideals of its general appear- 
 ance ? No ; because a void has been 
 created, a something is absent ; the pressure 
 has robbed it 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 ; " it is unin- 
 teresting." 
 
 Seen, then, from this point of view, we 
 cannot fail to appreciate the actual value of 
 details; the technique, becoming monotonous 
 as it approaches perfection, is by no means 
 all, seeing that a leaf may be beautiful with- 
 out the clear outline, stem, etc., whilst the 
 same cannot be claimed for the pressed leaf. 
 
 Thus the creation of beautiful forms 
 emphasised by details, must be the basis of 
 all good work, the latter being relegated to 
 a secondary position. 
 
INTRODUCTION. 
 
 THE OBJECT OF THE BOOK. 
 
 To teach carving is the least, even if it be 
 one, of the objects attempted. It is issued 
 to fill a long-felt want for a graduated course 
 of exercises, these being suggested by a 
 long and varied professional and teaching 
 experience — a 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 ; these principles being the basis 
 of every, and not the monopoly of any, 
 particular style of carving, as Gothic, etc., 
 which are but phases in the abstract life 
 of ornament. The necessary expense of 
 tools being an important matter, the most 
 useful curves have been selected, and the 
 first four plates may be worked with tools 
 I, 2, 3, 5 ; with one of No. 7 between three 
 
14 WOOD CARVING. 
 
 students, the complete course with 8, as 
 given under the heading of tools, etc. 
 
 As a working motive such an outline is 
 used, and, as careful observation will show, is 
 -the abstract form underlying natural leaves, 
 either when complete as in the laurel, 
 compound in the ivy, grouped in the rose, 
 conventionalized in the acanthus. 
 
 The series of exercises also form the 
 logical sequence of an attempt to develop 
 by easy stages principles of design, as 
 follows : — 
 
 Fig. I. treats upon the technical side of 
 the subject, the importance of which is apt 
 to be overrated ; for if the imaginative 
 faculty is not being developed, there is 
 little, if any, good purpose served by 
 becoming proficient in the means of its 
 expression. 
 
 The actual idea expressed by the ground- 
 
INTRODUCTION. 1 5 
 
 ing-out process is, that at given points the 
 material not being required, is cut away. 
 
 Fig. II. must be an attempt to create a 
 form more pleasing than the flat 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. IV. is the complete development. 
 
 Figs. VI., VII. is the application of this 
 form of creative power, at any given place, 
 to produce a desired result. 
 
 The leaf form Fig. i. is cut off at the 
 point, and the square end turned under and 
 over like a roll of paper. 
 
 Figs. IX., XI., similar forms to Fig. ii., 
 but treatments with different tools. 
 
 Figs. X., XII., similar forms to Fig. ii., but 
 
1 6 WOOD CARVING. 
 
 treatments with different tools, both upon the 
 surface and outline. An exercise in relative 
 value of tool-cuts : Figs. ix. and xi. are exe- 
 cuted with tools I and 2, and Figs, x., xii., 
 the same cuts emphasised with tool 2. 
 
 Figs, xiii.-xv., group of details Fig. i. 
 An exercise in concentration of thought 
 upon a given part in any arrangement of 
 design. In this instance first the centre leaf. 
 
 Figs. XVI., XVII., a scroll. 
 
 Figs. XVIII., XIX., a scroll, with additions 
 for space -filling purposes. 
 
 Figs, xx.-xxii., the same as Figs, xiii.- 
 XV., but detail Figs. vi. and viii. used instead 
 of Fig. I. 
 
 Figs, xxiii., XXIV., useful details. 
 
 Figs. XXV., XXVI., the interlacing of stems 
 in design. Fig. xxv. is a soulless render- 
 ing of Fig. XXVI. ; the latter is the appli- 
 cation of principle inculcated in Fig. 11. 
 
INTRODUCTION. 1 7 
 
 Figs. XXVII. -XXX., the clothing of stems at 
 their juncture with each other, etc. 
 
 Fig. XXXI., a design whose main stem is 
 Fig. XVIII. enlarged, and clothed with details 
 Figs. XXVII., XXIX., XXX. ; also an exercise in 
 confining the work within a border, thus 
 preparing it for application to furniture, etc. 
 
 Fig. XXXII., a design containing useful 
 details for future use. 
 
 Fig. XXXIII., a design with main stem Fig. 
 XXVI., and details xxiii., xxiv., xxvii., xxix. 
 
 Fig. XXXIV., a more decorative treatment 
 of Figs. IX., XII. The edges are broken 
 up. 
 
 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 two are placed together an oblong panel 
 is formed. 
 
 Fig. xxxix., design similar to Fig. xxxviii., 
 but built up of details Fig. i., elaborated as 
 Figs, xxxiv.-vii. 
 
 Fig. XL., the development of Fig. 
 
 XXXVIII. 
 
 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 . secret of which is 
 the combination of head and hand, the 
 cultivation or recognition of a purpose at 
 every stage of the work. 
 
 Each cut should be one towards the 
 production of a fixed idea, although he 
 
INTRODUCTION. 1 9 
 
 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 it is of cutting 
 the wood properly down, when the large tool 
 will jump the troublesome bit out. Too often 
 the student will not do this, but, proceeding 
 to drag it out, wonders why the corners re- 
 main so untidy. The apparent sameness of 
 design is the outcome of compounding the 
 first step throughout, and restriction in the 
 number of tools. 
 
 A strictly limited edition of a similar 
 scheme will be issued, in which natural 
 details have been employed to express the 
 same ideas ; but as working to nature is 
 attempting an unattainable standard, any- 
 
20 WOOD CARVING. 
 
 thing short of this standard may be counted 
 "failure." 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 con- 
 ventional treatments. If the latter, why 
 not admit it, and derive the pleasure — "the 
 fun " of twisting and fighting the m.aterial — 
 with one object in view, that of producing 
 beautiful forms and lines ? That it is 
 fascinating, who will deny ? 
 
 The student working with fear and 
 trembling, ever asking, Is this right ? What 
 must I do next ? therefore ever dependent 
 upon his teacher, etc., is more to be pitied 
 than blamed. 
 
 Individual effort, however crude, is prefer- 
 
INTRODUCTION. 2 1 
 
 able to slavish attention to the material and 
 its treatment, instead of the thoughts it is 
 but the medium for expressing. 
 
 The author is prepared to- introduce his 
 scheme by bench lectures, with practical 
 demonstration, to report upon work sub- 
 mitted, and pay periodical visits where 
 desired. 
 
 In submitting his scheme he is not un- 
 mindful of its shortcomings, and any sugges- 
 tions calculated to render the course still 
 more useful will be appreciated. 
 
TOOLS 
 
 'T^HE full course has been worked out 
 -^ with the first eight tools on list, and 
 called the "Ambleside set." The Sloyd Tool 
 Co., Carver Street, Sheffield, supply this 
 set as one of their many reliable specialities ; 
 few in number being the most desirable, as 
 less to become acquainted with, so their 
 possibilities for use the sooner discovered. 
 Usually called gouges and' chisels, of 
 different curvatures and widths. No. 5 
 is a gouge, yet its curvature is sufficiently 
 slight as to permit of its use as a chisel, 
 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 for use is grind- 
 ing, whetting, and stropping. The former is 
 done on a grindstone, which quickly removes 
 the thick material usually on 
 
 1 ^ a new tool, in preparation 
 
 . for more careful treatment in 
 
 2 V y 
 
 the sharpening upon an ordi- 
 
 3 ■ 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 
 
 \/ • both sides, not as joiners' 
 
 8 tools. The treatment upon 
 
 9 _ both sides gives a slight lever 
 . ^^_^ movement in cutting, thus 
 
 enabling the tool to follow 
 more easily the varying planes ; the outside 
 done oh the oilstone by holding the tool 
 nearly flat upon the face of the stone and 
 
24 WOOD CARVING. 
 
 at right angles, working it sideways from 
 end to end of the stone ; thus the curve 
 of the tool will come in contact with the 
 stone if the former is turned from corner 
 to corner in the distance. 
 
 To make the figure 8 on the oilstone 
 has been suggested, but the curves at the 
 end of the figure allow the corners of 
 the tool more than their share of friction, 
 resulting in their being rounded too much. 
 The inner sides of the gouges are rubbed 
 by means of finger -slips, or small pieces 
 of stone with curved edges. Olive or 
 neat's-foot oil may be used. The principal 
 thing to avoid is making the edges of the 
 tools dumpy, which is brought about by 
 rubbing too much on the edge, i.e. hold- 
 ing the handle of the tool too high. 
 
 If occasionally held up to the light, it 
 may be seen whether it has been rubbed suf- 
 ficiently, as the parts untouched will appear 
 
TOOLS. 25 
 
 bright in contrast to the dull parts already 
 worked upon. Again, if an arras, or rough 
 edge, may be felt after rubbing, the tool 
 will only require stropping to remove that 
 and complete the process of whetting. 
 
 Stropping is the final touch. The tool 
 is worked, as a barber does his razors, upon 
 a piece of leather, buff for choice. Soldiers' 
 old belts make excellent strops, which, for 
 carving purposes, must be flexible, to fit the 
 inside of the gouges. The leather must first 
 be prepared upon one side by a mixture of 
 crocus powder and tallow being well rubbed 
 into its surface. 
 
 One practical demonstration, where pos- 
 sible, 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 
 come in contact with each other. 
 
 The proper and safest position for tools 
 upon the bench is when they scarcely 
 touch each other, and placed with their 
 edges towards the worker. 
 
 Of those used in this course, the V tool 
 is 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 appre- 
 ciate good sweeping curves, either in abstract 
 or actual form, and the importance of its 
 general use cannot be overrated. In the 
 holding of this tool, and in fact any other, it 
 should not be gripped too firmly, for if it 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 as near the sharp edge as convenient 
 to work with, and sufficiently firm to prevent 
 
TOOLS. 27 
 
 slipping ; it may be pushed, or, by means 
 of a mallet, it may be forced along the line 
 of design, a difficulty in using presenting 
 itself only when the worker allows it to 
 become embedded in the wood. The top 
 
 A B 
 
 corners, V, should always be in view. The 
 thickness of line producible by this tool de- 
 pends entirely upon the angle at which it is 
 held : if well up at the handle, the line may 
 be as deep as the section of the tool. 
 
 It is very necessary to acquire early a 
 thorough knowledge and control of this 
 particular tool, as, until one is in that happy 
 position, it 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 its maker. Use it whenever 
 possible, even to removing as much ground 
 as convenient to get at. Main lines and 
 
28 WOOD CARVING. 
 
 Stems so produced are far more beautiful 
 than those obtained by careful setting- in 
 with gouge and chisel ; by no other means 
 can the subtle curves of stems, etc., so cha- 
 racteristic in nature, be produced so well. 
 
 The other tools, being gouges of different 
 curvatures, call for no further comment. It 
 matters little which side or size is used, so 
 long as it 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 horses, seem to know their 
 drivers, and require forcing to do their 
 work ; let them be as servants, means to 
 an end. Lastly, treat them as friends, so 
 that, understanding them better, you will 
 not ignore the many new cuts or ideas they 
 so often suggest. Dexterity being the 
 outcome of practice, and there being no 
 royal road, are facts especially applicable 
 to the learning of wood-carving. 
 
WOOD 
 
 T) EST pine-wood is suggested for all 
 ■*-^ exercises, except Figs, xxxi.-xxxvii., 
 not entirely by reason of its easy-cutting 
 qualities, and the quick results obtainable, 
 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 a certain amount of study or 
 consideration. This particular wood, by 
 virtue of its freeness in the grain, liability 
 to split, is obviously best suited for the 
 purpose. The expert, knowing his material, 
 and therefore its limitations, can produce 
 exactly his desired effect ; the average 
 student, on the other hand, begins by worry- 
 ing it away, with a rough and rugged result. 
 
WOOD CARVING. 
 
 At every point a little observation and 
 thought will suggest the way wood should be 
 treated ; it resents tearing or dragging away, 
 and seems to appreciate proper — i.e. firm — 
 cutting. Whenever presenting a rough 
 appearance, it is suggesting a reverse or side- 
 ways treatment of cutting. 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 from side to side, when possible, in 
 its progress forward. Perfect smoothness 
 of finish is not required in the initial stages, 
 as it is the outcome of time and practice 
 only. To expect a beginner to master his 
 material and tools on the first two or three 
 models is surely too much, unless he already 
 possesses some knowledge of material. 
 When the finish is produced by. means of 
 
WOOD. 3 1 
 
 a plane, this may be possible, for if the 
 material will not be cut clean one way, 
 it is but a matter of turning it about. In 
 carving, every tool -cut produces its own 
 plane, more or less ; and as sand -paper is 
 absolutely forbidden, some allowance must 
 be made ; in fact, tool-marks improve the 
 general effect. 
 
 It 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 of the means whereby we seek to 
 express ourselves, yet high finish should not 
 be 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 effect than 
 several lessons devoted to grounding out, 
 with no tangible purpose in view. Chip- 
 cutting is a form of carving which may be 
 said to cultivate precision and care ; but 
 this means of cultivating precision and care 
 has two disadvantages : ist. The majority 
 of cuts are upon the slant, which, by the 
 way, are those cuts least demanding for their 
 production any special consideration of the 
 material, therefore of little practical use in 
 relief work, especially as a preparatory step. 
 Granting, for the labour expended, very effec- 
 tive work, apparently, may be produced, yet 
 the habit acquired for niggling far outweighs 
 any such advantages of being attractive, 
 effective, etc. 2nd. The excessive, use of 
 compass and rule creates an evil by training 
 hand and eye "to a dexterity in conforming 
 
WOOD. 33 
 
 to, and reliance upon, artificially- produced 
 curves, which become less interesting as 
 they approach perfection in their execution. 
 
 The difference between South Sea Island- 
 ers' work and the best modern chip work 
 is easily seen — in the former examples much 
 more freedom is displayed. The same thing 
 is noticeable in the early Gothic tracery — 
 the subtle curves of which are not those pro- 
 duced by the compass and stamped with its 
 accurate characteristics. The drawing and 
 writing of the nineteenth-century children 
 very clearly shows the rigid grip they have 
 of the unsympathetic means — " pen and 
 pencil " — whereby they express themselves. 
 The suggestiveness of the hard pen or pencil 
 line is too slight to appeal to them ; but 
 substitute those means for another — "the 
 supple brush" — and they have within their 
 fingers a power — a means for expressing 
 
34 WOOD CARVING. 
 
 feeling, thought, life — a 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 
 undue share of attention. The eye, and 
 also the hand, being very sensitive, promptly 
 repay any want of confidence by acting in 
 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 cuts 
 most easy to obtain in the material, and, if fol- 
 lowed carefully, a high standard of techniqtie 
 may be obtained, but at the expense of 
 creating copyists. If the student is to 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 xxxi.-xxxvii., and remaining 
 illustrations, may be worked in oak, alder, 
 lime, kauri-pine, walnut, or mahogany; oak 
 for preference. 
 
HOLDING THE WORK 
 
 OTU DENTS must not underrate the 
 ^^-^ importance of making their work secure 
 before beginning operations. The majority 
 of accidents may be traceable to this want 
 of care. The simplest methods, and all- 
 sufficient for this course, are shown in the 
 illustration of 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 A the clip is 
 driven into the edge of the block to be 
 carved, at B and C it rests upon the top 
 surface. G 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. If paper is put between, the 
 separation, by means of inserting a chisel, 
 becomes an easy matter. First 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 ; then hold the 
 block until the glue has set. 
 
WORKING DIRECTIONS 
 
 PLATE I. 
 
 MATERIALS required: Block of pine- 
 wood j^" y- 6" y- 1" ; sheet of carbon 
 or transfer paper, and drawing-pins. 
 
 Having prepared the drawing — which 
 should be sketched, not traced, from the 
 working drawing, Fig. i. — to occupy the 
 block, fix it 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. 
 
 On reference to Fig. i., it will be seen 
 that the wood about the leaf form has 
 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. 43 
 
 say f " down from the face ; this depth 
 will be understood as applying to Figs, 
 i.-xxx., and xxxiv.-xxxvii. inclusive; with 
 V tool cut round the outline of design, 
 but not quite up to it. Then take gouge 
 No. I, and with it remove as much of 
 the spare wood about the design as pos- 
 sible. This done, proceed to trim or pare 
 the edges perpendicular to the ground, but 
 this time quite up to the lines. 
 
 The technical terms for these processes 
 are "grounding out and setting in," the 
 lower level being called background. It 
 is very important that this should be done 
 fairly accurately in the early stages of the 
 work, as success is partly measured by 
 the 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. A 
 moment's reflection will suggest the remedy 
 when the student finds his work rough and 
 untidy at this point. 
 
 The ground must show that it has 
 been cut with tools, not as though it had 
 been first planed up perfectly smooth, and 
 then the carving glued down upon it. Tool 
 marks are not bits of wood in and about 
 the design, as at A, Fig. xxxii., and B, 
 Fig. XXXIII. Stamping, as generally prac- 
 tised, is often but a means to disguise 
 careless work. The claim in its favour of 
 clearly defining the design is 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. 45 
 
 creation of beautiful forms, and this may 
 be illustrated upon the block of wood now 
 prepared and standing up above the back- 
 ground. (Fig. I.) For the purpose of this 
 book a beautiful form denotes a true, 
 pleasing curved surface. With gouge No. i 
 carefully round the edge at any part of the 
 leaf, form Fig. i., say point A. See that 
 the curve is gradual and quite down to the 
 ground, so that as much flat surface as 
 possible may be avoided. 
 
 The characteristic features of good wood- 
 carving are contrast and variety. Contrast 
 may be obtained by keeping the parts as 
 high as possible directly opposite those 
 taken down, as at C high, at A low ; at B 
 low, and D high, thus producing light and 
 shade with the material. Variety may be 
 introduced by treating the opposite side 
 B as at A. Fig. ii. illustrates the carrying 
 
46 WOOD CARVING. 
 
 out of this form-creation. Variety and 
 contrasts of form will make the work look 
 generally lumpy unless connected ; so that 
 to these two important principles must be 
 added continuity, the merging of one form 
 into another, as at Fig. iii. In this manner 
 a good, pleasing general effect is secured 
 by connecting the created forms at A and B 
 by means of tool i, one decided sweep or 
 throw from end to end. 
 
 The successful connection of these forms 
 or 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 
 piano, "the sound emitted being termed for 
 the purpose, ideas," all may be well ; touch 
 a group, and a discord or harmony may 
 be there. In the first instance, to give 
 individual attention is possible ; in the 
 
WORKING DIRECTIONS. 47 
 
 second, lack of sympathy of tone causes 
 each note to claim attention at one and 
 the same time ; in the third instance, they 
 seem to run one into the other, the exact 
 joint being imperceptible. This continuity 
 applies to colour, book-writing, etc. ; thus 
 carving may be a book, a scheme of colour, 
 a piece of music. As harmony is to the 
 ear, colour to the eye, books to the mind, 
 so is carving to the sense of love for the 
 beautiful. If the carver has failed to endow 
 his work with a continuity of thought, he 
 has yet much to learn. 
 
 The student will do well to remember 
 that 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. 
 
 Returning to Fig. iii., the form may be 
 made more interesting by the addition of 
 
48 WOOD CARVING. 
 
 a conventional stem, the V tool only being 
 used for the purpose. This done, slightly 
 hollow the same ; for if rounded it would 
 look heavy, and if cut narrow, weak. At E 
 and F an improvement may be made by the 
 use of a quicker gouge, say No. 2 or No. 3. 
 
 These additions are suggested to draw 
 attention to the relative uses of tools re- 
 ferred to, and more clearly to define already 
 existing cuts. 
 
 Experience, the outcome of observation, 
 will develop the tastes for adding success- 
 fully these final touches, which, although 
 not necessary, yet impart to the work a 
 crispness, lightness, not otherwise obtain- 
 able. From underneath, at the points 
 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. 4$ 
 
 or how thin and feathery the edges may be 
 cut. ■ In fact, the latter should invariably 
 be bevelled- about f? of an inch thick. 
 
 The technical term for this operation is 
 "under- cutting," and it is important that no 
 " under-cutting '■ be done until the com- 
 pletion of the top surface ; as before stated, 
 it is but a means to improve existing work. 
 The completed exercise, Fig. iv., should, 
 throughout its development, be influenced 
 by the idea that the flat, smooth surface 
 of Fig. I., produced by a soulless machine, 
 demands a treatment that shall please the 
 artistic senses. To do this, the most must 
 be made of the wood projecting above 
 the ground, so that if one part is kept 
 full up, there can be no reason why corres- 
 ponding parts may not. be as low as 
 possible — in fact, merging into the ground. 
 
 In the majority of instances,- this half- 
 
50 WOOD CARVING. 
 
 expression of 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 may be accidental 
 cuts or pieces broken off, is found one of the 
 secrets of success, i.e. twisting the unsatis- 
 factory part into something else. Dictate a 
 cut, and a check is placed upon the much- 
 wished-for freedom ; encourage the develop- 
 ment of these slips, and confidence, self- 
 reliance, is fostered. Often the developed 
 slip, the apparently ruined corner, becomes 
 the most honoured cut in the piece of work. 
 Wood being cheap enough, begin your work 
 boldly, not in a niggling manner, always 
 applying the following tests : — 
 
WORKING DIRECTIONS. 5 I 
 
 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 II. 
 
 Figs, v.-vii. 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 V tool round, 
 but not quite up to the lines as a first step. 
 This done, cut the edges clean, and quite up 
 to the lines. 
 
 With gouge No. i round the end A. 
 Fig. V. 
 
52 WOOD CARVING. 
 
 ' Round down to -ground at E, as A or B, 
 Fig. II. r: J 
 
 Connect E to "A,, as.. A to B, Fig. Jii. ; 
 this will produce Fig. vi. '[ I- ., 
 
 Cut ends B, Fig. v., a-nd complete as. j9, 
 
 Fig- VI. , _. , /J i i 
 
 Bevel the edges. .... , 
 
 Undercut. 
 
 Figs. VII., VIII. Round at i. 
 
 Remove a little of material at G, to 
 facilitate completion df turnover i. ., 
 
 Cut ends //, as B, Fig. v. 
 
 Round to ground at C. 
 
 Connect C to G, as A to jB, Fig. ni. 
 
 Complete ends H, as Fig. viir. 
 
 Bevel edges. ' ' . . .. 
 
 Undercut. ' ' ' ' ■'^■" - '■' 
 
 Remarks. — The exercises' Plate i. show 
 how pleasing forms may be createdv^ In 
 these two exercises (Plate- ii.) we apply that 
 power in producing at given points a 
 
Plate 
 
"WORKING DIRECTIONS. 55 
 
 definite idea. Such ideas may be taken from 
 nature, casts, or photos. If a student is 
 capable of creating the elementary forms 
 as in Figs, i.-iv., it may be safely presumed 
 that he is able to combine these forms at 
 given points, producing a given idea : in 
 this instance a scroll or roll of paper. 
 Knowing that a scroll must be round, a 
 standard is fixed for his guidance. Nothing 
 less than a truly rounded coil will be satis- 
 factory, otherwise the purpose or thought 
 is only half expressed. 
 
 This done, a quantity of material, D, F, 
 remains for further treatment. Apply Fig. ii. 
 and its lesson. Seeing that any other form 
 than a flat surface will look more interest- 
 ing, it matters little which part is thrown 
 down ; C and E are suggested. Thus 
 we obtain three forms or ideas, E A B, 
 Fig. VI., CGI, Fig. VIII., and these separate 
 
56 WOOD CARVING. 
 
 forms require continuity to complete their 
 success, this being brought about as sug- 
 gested at Fig. III. 
 
 PLATE III. 
 
 Material : Two or four blocks of pine- 
 wood 7-^"x6"x i". 
 
 Sketch design upon the wood, in each 
 instance with one clear outline, as Figs. ix. 
 and XI. 
 
 Ground out. 
 
 Create first form at A, then B, afterwards 
 C, Fig. IX. 
 
 Create first form at D, then E, afterwards 
 F, Fig. 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 then treated, as 
 per illustration, with tools i and 4. 
 
Plate III. 
 
WORKING DIRECTIONS. 59 
 
 Figs. X. and xii. have had their edges 
 broken and surface treated with gouges 2 
 and 4 ; Fig. xi. the surface treated with 
 gouges I, 2, 4 ; Fig. xii. edges and surface 
 treated with gouge No. 2. It 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. — As every leaf upon the tree 
 varies in form, so may those in carving ; 
 yet nothing less than a beautiful form 
 "completed" must be the basis of opera- 
 tion, and it cannot be too often repeated 
 — form first, details afterwards. 
 
 Make more interesting by addition of 
 lines, stems, &c., but not at the cost of 
 destroying the original form in the least 
 degree. The additional lines, stems, cuts, 
 etc., must tend to radiate from or to the 
 
6o 'WOOD CARVING. 
 
 centre, and, 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 tools.. The result of experi- 
 rnenting will be more pleasing than the 
 working of Fig. iv. :^ < ' ; 
 
 PLATE IV. ..... 
 
 ': Materials: Block of pine-wood 7^"x6"x i". 
 
 Mark design upon the wood. 
 
 Take V tool round the lines as before, 
 then ground out. 
 
 Free the . leaf-form A by cutting some 
 of the wood away, as at B B. 
 
 Treat the centre in its various stages like 
 Fig. IV. has been, done. \ . . ' 
 
 Give to the side leaves a" little more 
 throw or form, as at CC. ' . ; _ ,; : 
 
 Complete by merging the forms thus 
 
Plate IV. 
 
WORKING DIRECTIONS. 63 
 
 produced, C D B, as shown at E £", 
 Fig. xiy. 
 
 Playfully treat the surface, as shown in 
 Figs, ix.-xii. 
 
 Bevel the edges, and undercut. 
 
 Remarks. — The value of this exercise is" 
 the combination of previous work, but of 
 much more in Importance is it one for 
 developing concentration of thought upon 
 a given feature in a design. Generally 
 speaking, the best plan to adopt in working 
 any design is to single out its main line or 
 feature, making that successful first, from 
 a form point of view, afterwards paying 
 heed to the smaller features. The average 
 student is wanting in method, and very 
 often he finds himself going over his work 
 many times with no appreciable result. 
 He is too fond of touching it up, putting 
 in a cut here and there, and all over the 
 
64 wool) cArving. 
 
 panel, thus expressing want of continuity 
 in method of working, finishing, etc. 
 
 The royal road to finishing carved, work 
 is none other than taking up one tool; 
 after the main features have been roughed 
 in or "boasted," and with it finish every 
 cut it may be capable of doing, putting 
 it down, only to take up another, the next 
 in usefulness, and so on. This method, 
 perhaps, requires more self-control than the 
 amateur is capable of, because the tempta- 
 tion is very great to pick up a tool just 
 to take out one little bit. 
 
 The next best method is to begin at 
 the root of the design, and thrash out its 
 main features ; afterwards complete the^ 
 smaller features, etc. 
 
WORKING DIRECTIONS. 65 
 
 PLATE V. 
 Figs. XVI., XVII. Material : Pine-wood, 
 6"x6"xi". 
 
 Sketch design upon the wood, and as 
 large as it will allow. 
 
 Ground out. 
 
 With gouge No, 2 produce cut ABA, 
 taking notice that it begins close to the 
 ground at A, rising gradually to B, and 
 then falling to A'. 
 
 The flat surfaces, CD, require connect- 
 ing to this hollow thus created, which is 
 done by softening off the ridge between 
 them and the cut ABA. 
 
 Bevel the edges and undercut. 
 
 Figs. XVIII., XIX. Material, 7i"^7i"xi". 
 
 The same cuts as in last exercise. 
 Fig. XVI. 
 
 By the addition at each corner, H H, to 
 above design (Fig. xvi.) a different effect 
 is produced. 
 
66 WOOD CARVING. 
 
 The gouge-cut E F G, a. repeat of cut 
 ABA, has been continued or run through 
 H H H, as at ///. 
 
 Remarks. — This scroll is very useful as a 
 detail for building up designs ; and as its 
 success in drawing depends upon its truth in 
 curvature, so is a true decided sweep-cut none 
 the less important in its carving. If the 
 main line, or cut, of a design suggests weak- 
 ness, no amount of finish will compensate 
 for the defect. The well-developed skeleton 
 of the human form — however ill -clothed 
 with beautiful details of muscles, etc. — is 
 preferable to the well-clothed but deformed 
 skeleton, from a designer's standpoint. 
 
 These two exercises (Figs, xvi.-xviii.) 
 give further 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 reference to the illustrations, Figs. 
 XVII. and xix., it 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 
 upon the student's taste, so toning them 
 down as to appear part of the form. When 
 not too obtrusive, these lines improve the 
 appearance of the work ; but beware of 
 too many. It is not by covering the work 
 with lines and cuts that poor forms are dis- 
 guised; in fact, such treatment emphasises its 
 weakness in that respect. A good form creates 
 its 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 Kill give you various treat- 
 ments as finishes, each varying in strength 
 of tool marks. 
 
yo WOOD CARVING. 
 
 PLATE VI. 
 
 Figs. XX. -XXII. Material : Pine -wood, 
 7i"x6"xi". 
 
 Sketch design upon wood, and as large 
 as it will allow. 
 
 Take V tool round the lines, then ground 
 out. 
 
 Free the centre A by cutting the material 
 away at 5" 5". 
 
 Treat each one exactly as Figs. vi. and viii. 
 
 Remarks. — As Plate iv. is to Plate i., 
 so is this Plate vi. to Plate ii. 
 
 The same purpose is served and the same 
 instructions as for Plate iv. 
 
 Figs, xxiii., XXIV. These are details for 
 future use. 
 
 Material: Pine- wood, 6"x6"xi". 
 
 With gouge No. 2, one cut from /, to G, 
 to H. 
 
Plate VI. 
 
WORKING DIRECTIONS. 73 
 
 With gouge No. 2, one cut from J, to K, 
 to M. 
 
 With gouge No. 2, one cut from J, to Z, 
 to M. 
 
 Notice the contrast : down at I G H, 
 JLMK, and high at RPQNO. Also 
 notice that the touches upon the prominent 
 parts are only sufficient for the purpose ; 
 their 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 VII. 
 
 Material : 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. 
 
 A A is lowered to pass underneath C; 
 B and D under A. 
 
 Remarks. — In Figs. xxv. and xxvi. may 
 
74 WOOD CARVING. 
 
 be seen the line dividing the good and 
 indifferent worker. In the former, the in- 
 different mechanical worker is seen. In the 
 latter may be seen the sympathetic worker 
 and his treatment of the same design. The 
 interlacing of ornament goes far to make it 
 interesting, and what holds good in flat also 
 holds good in modelled ornament. This 
 principle is involved in this exercise, i.e. 
 the creation of beautiful forms subject to 
 others in contact. 
 
 To the mechanical interlacing of Fig. 
 XXV. has been added the principle evolved 
 in Fig. II. Each form is taken as Fig. i., 
 and treated as Figs, ii., in. ; down at G H, 
 up, as a contrast, gradually from G to /, 
 the same at MM, K L. The surfaces of 
 these twisting forms are treated more or 
 less as suggested on Plate in., central lines 
 being most in evidence. 
 
Plate VII. 
 
 A 
 
WORKING DIRECTIONS. ']'] 
 
 Notice the combination of hollow and 
 round cuts on the surface of the forms ; not 
 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 inter- 
 lace of the same, the throw or spirit of the 
 work. Undercut. 
 
 Fig. XXXVI. is a combination of Fig. 
 XXVI., to which is added open scrolls, as on 
 Plate II. The outer side of example being 
 unfinished, suggests method of working. 
 
 PLATE VIII. 
 
 Wood — 7-^"x6"x i" — pine, alder, or lime, 
 
 Fig. XXVII. Ground out. 
 
 With tool No 2 take one sweep cut, as 
 at B. 
 
 Lower the wood at A, with opposite side 
 L as high as the wood will 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 cut B into C, as in B D, Figs. 
 
 XVI.-XIX. 
 
 With same gouge, cuts F and G may be 
 produced. 
 
 Fig. XXVIII. Undercut. 
 
 Fig. XXIX. Wood, 7"x5"x i". 
 
 The main stem is down at J H I, with 
 opposite sides contrasting. 
 
 From J, gradually rising to K. 
 
 Fig. XXX. Double arrangement of Fig. 
 XXVIII. Wood, 8"x6"xi". 
 
 Remarks. — These examples are self- 
 explanatory, showing, as they do, how 
 leaves 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 their junc- 
 tion with the stem, which carries the 
 design onward, i.e. gradually springing 
 away from the stem, unless when specially 
 articulated. 
 
 Fig. XXVIII. The forms are completed, 
 and the play of tools, as seen on Plate in., 
 applied, the main stem being taken down 
 at E, as a contrast to L, which projects 
 to the full extent of material. 
 
 Fig. XXIX. shows stem bending and 
 twisting about, a leaf thrown over, and 
 partaking of that same twist as at J K. 
 
 Fig. XXX. 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. 
 
 Wood — -12" X 12" X s^g" — walnut, alder, 
 kauri-pine ; the latter for preference. 
 
 This is a combination of all previous 
 exercises. 
 
 The main stem is Fig. xviii. opened 
 out and clothed ; the corner pieces, by 
 the application of details (Plate viii.), 
 become leaf forms, which in themselves are 
 groups or compounds of smaller leaves 
 (Fig. iv). 
 
 The border, or working within a margin, 
 is first introduced here. There is no objec- 
 tion to it being cut straight down to the 
 ground at the margin line, other than its 
 suggestiveness of too much "frame." The 
 ground, if curved, and thereby brought up 
 to .the surface, certainly looks better than 
 the former treatment. 
 
Plate IX. 
 
WORKING DIRECTIONS. 85 
 
 Proceed as before with V tool, removing 
 as much ground f " deep as convenient with 
 same tool ; whilst admitting that tool 2 will 
 do this quicker, yet it affords an opportunity 
 for further practice. This done, trim up the 
 lines by carefully setting in, cutting firmly 
 down to the depth required. Begin with 
 tool I wherever it will go, then tool 6, and 
 so on, until the lines of the design are 
 clearly defined. Use the largest tools where 
 possible for cleaning up the ground. In 
 places where the design passes over other 
 portions, it is not necessary to set in other 
 than deep enough to retain the lines of 
 pattern. 
 
 Begin with the main feature first — the 
 stem — and, in the cutting, notice that the 
 forms have been produced by a cut with 
 tool No. 2, taken along the back or outside 
 edge of the scroll or main stem. This 
 
86 WOOD CARVING. 
 
 cut is varied by being down to the 
 ground at A C E G, gradually rising in 
 each instance to B D F H. The inner 
 edge of coil is fully up from beginning 
 to end. Remove the wood at points J, 
 suggesting its coming from underneath, 
 remembering the necessary contrast at K. 
 Reference to Plate viii. will supply the 
 other details for cutting. 
 
 PLATE X. 
 Wood — 1 2" X 7!" X 5//' — kauri, walnut, 
 oak. 
 
 Side A is merely roughed in or boasted, 
 
 tool No. I being much in evidence. 
 
 Notice that C and D is taken down, 
 and the remainder of centre softened into 
 it. Being self explanatory, calls for no 
 further comment, other than no motive as 
 a scroll is so useful to practise upon for 
 the production of good sweeping cuts. 
 
F?^ nxn ^ 
 
 
 • > 
 
 
 '''"1 "^^■' 'f ^ /L^ \ ^ ^ ■ \ 
 
 PUATE X 
 
^'^5^^'"'""^ T'-K^TWR 
 
 
 Plate XI, 
 
WORKING DIRECTIONS, QX 
 
 PLATE XI. 
 
 Wood— 1 2" X 1 2" X =//'— oak. 
 
 Portion at A is completed. 
 
 At B may be seen the earlier stage of 
 boasting out the design preparatory to 
 finishing. 
 
 Notice points at D are down, and points 
 at C up. 
 
 The design is built up of details in 
 combination ; the main stem, Fig. xxvi., 
 lengthened with foliated ends, as Figs, 
 xxiii.-xxiv. Fig. XXX. in evidence at the 
 root of pattern. 
 
92 WOOD CARVING. 
 
 PLATE XII. 
 
 Figs. XXXIV. -XXXV. — wood, 9"x6"x j". 
 
 Fig. XXXVII., 9"x9"x i". 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 
 the design under another is not all. The 
 designer fixes those conditions. The student 
 must accept them, and set about to create 
 his beautiful 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. 
 
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 BOOK.— Mr. J. Phillips' " Course of Wood 
 
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