THE CARVER.
1. Carving, in its widest sense, is the art of forming figures in various hard substances by means of some cutting instruments, such as a chisel or graver; but, in the restricted sense in which the term is generally applied, it has reference to the production of figures in wood.
2. Carving in wood, in all countries where it has been practised, has ever preceded sculpture, or carving in stone. It is, therefore, an art of the highest antiquity; and, although the same with sculpture in some of its applications, yet it differs from it somewhat in the mode of execution, according with the nature of the material.
3. The art of carving is very extensive in its application, being used in the decorative parts of architecture, both civil and naval, and likewise in ornamenting cabinet-ware, as well as in forming patterns for casting in metals, particularly in iron and brass. The Gothic style of architecture is peculiarly rich in carved work; and the productions of some ages are more so than those of others.
4. The style of Louis the Fourteenth, of France, so called because practised in his reign, was more overloaded with ornament than any other. A lighter and more beautiful style succeeded, which is still employed for some purposes; but generally the chaste and simple line of Grecian ornament now prevails.
5. In executing any proposed work, a drawing is first made on paper, commonly with a lead-pencil. The part of the paper not embraced in the outline is then cut away, and the remaining portion is laid upon the surface of the wood. The outlines are next drawn on the wood, by moving the pencil around those on the paper. The design having been thus transferred, the superfluous portions of the wood are cut away with carving tools, of which there is a considerable variety of both size and form. The tools are driven with a mallet or with the palm of the hand, but in most cases with the latter.
6. A capacity for designing, and a knowledge of drawing and modelling, are particularly necessary to make a finished carver. Without these qualifications, at least in some degree, one may be a mechanic, but not an artist. The subject most difficult of execution, is the human figure, and in producing it with accuracy, the same qualifications in the artist are required, and the same general process is pursued, as in producing it in marble.