Contents

Page
[EDITOR'S PREFACE]
[AUTHOR'S PREFACE]15
[LIST OF ILLUSTRATIONS]
[CHAPTER I]25
PREAMBLE

Student and Apprentice, their Aims and Conditions ofWork—Necessity for Some Equality between Theory andPractise—The Student's Opportunity lies on the Side of Design

[CHAPTER II]31
TOOLS

Average Number of Tools required byCarvers—Selection for Beginners—Description of Tools—Positionwhen in Use—Acquisition by Degrees

[CHAPTER III]42
SHARPENING-STONES—MALLET AND BENCH

Different Stones in Use—Case for Stones—Slips—RoundMallet Best—A Home-Made Bench—A MakeshiftBench—Cramps and Clips

[CHAPTER IV]48
WOODS USED FOR CARVING

Hard Wood and Soft Wood—Closeness of GrainDesirable—Advantages of Pine and English Oak

[CHAPTER V]52
SHARPENING THE TOOLS

The Proper Bevel—Position of Tools on Oilstone—Good and BadEdge—Stropping—Paste and Leather—CarelessSharpening—Rubbing Out the Inside—Stropping FineTools—Importance of Sharp Tools

[CHAPTER VI]63
"CHIP" CARVING

Its Savage Origin—A Clue to its only Claim to ArtisticImportance—Monotony better than Variety—An Exercise inPatience and Precision—Technical Methods

[CHAPTER VII]69
THE GRAIN OF THE WOOD

Obstinacy of the Woody Fiber—First Exercise inGrounding—Description of Method—Cutting theMiters—Handling of Tools, Danger of Carelessness—Importanceof Clean Cutting

[CHAPTER VIII]82
IMITATION OF NATURAL FORMS

Difficulties of Selection and Arrangement—Limits of an ImitativeTreatment—Light and Distance Factors in the Arrangement of aDesign—Economy of Detail Necessary—The Word "Conventional"

[CHAPTER IX]88
ROUNDED FORMS

Necessity for every Carver Making his own Designs—Method ofCarving Rounded Forms on a Sunk Ground

[CHAPTER X]96
THE PATTERNED BACKGROUND

Importance of Formal Pattern as an Aid to Visibility—Pattern andFree Rendering Compared—First Impressions Lasting—MedievalChoice of Natural Forms Governed by a Question of Pattern

[CHAPTER XI]103
CONTOURS OF SURFACE

Adaptation of Old Designs to Modern Purposes—"ThrowingAbout"—Critical Inspection of Work from a Distance as it Proceeds

[CHAPTER XII]108
ORIGINALITY

Dangers of Imposing Words—Novelty more Common thanOriginality—An Unwholesome Kind of "Originality"

[CHAPTER XIII]110
PIERCED PATTERNS

Exercise in Background Pattern—Care as to Stability—Drillingand Sawing out the Spaces—Some Uses for Pierced Patterns

[CHAPTER XIV]115
HARDWOOD CARVING

Carvings can not be Independent Ornaments—Carving Impossible onCommercial Productions—The Amateur Joiner—CornerCupboards—Introduction of Foliage Definite in Form, and Simple inCharacter—Methods of Carving Grapes

[CHAPTER XV]137
THE SKETCH-BOOK

Old Work Best Seen in its Original Place—Museums to be approachedwith Caution.—Methodical Memoranda—SomeExamples—Assimilation of Ideas Better than Making Exact Copies

[CHAPTER XVI]149
MUSEUMS

False Impressions Fostered by Fragmentary Exhibits—Environment asImportant as Handicraft—Works Viewed as Records ofCharacter—Carvers the Historians of their Time

[CHAPTER XVII]153
STUDIES FROM NATURE—FOLIAGE

Medieval and Modern Choice of Form Compared—A CompromiseAdopted—A List of Plant Forms of Adaptable Character

[CHAPTER XVIII]161
CARVING ON FURNITURE

Furniture Constructed with a View to Carving—Reciprocal Aims ofJoiner and Carver—Smoothness Desirable where Carving isHandled—The Introduction of Animals or Figures

[CHAPTER XIX]180
THE GROTESQUE IN CARVING

Misproportion Not Essential to the Expression of Humor—The ShamGrotesque Contemptible—A True Sense of Humor Helpful to the Carver

[CHAPTER XX]191
STUDIES FROM NATURE—BIRDS AND BEASTS

The Introduction of Animal Forms—Rude Vitality better than Dull"Natural History"—"Action"—Difficulties of the Study forTown-Bred Students—The Aid of Books and Photographs—OutlineDrawing and Suggestion of Main Masses—Sketch-Book Studies,Sections, and Notes—Swiss Animal Carving—The Clay Model: itsUse and Abuse

[CHAPTER XXI]205
FORESHORTENING AS APPLIED TO WORK IN RELIEF

Intelligible Background Outline Better than ConfusedForeshortening—Superposition of Masses

[CHAPTER XXII]214
UNDERCUTTING AND "BUILT-UP" WORK

Undercutting as a Means and as an End; its Use andAbuse—"Built-up" Work—"Planted" Work—"Pierced" Work

[CHAPTER XXIII]219
PICTURE SUBJECTS AND PERSPECTIVE

The Limitations of an Art not Safely Transgressed—AerialPerspective Impossible in Relief—Linear Perspective only Possiblein a Limited Way

[CHAPTER XXIV]223
ARCHITECTURAL CARVING

The Necessity for Variety in Study—A Carver's View of the Study ofArchitecture; Inseparable from a Study of his own Craft—Importanceof the Carpenter's Stimulating Influence upon theCarver—Carpenters' Imitation of Stone Construction Carried too Far

[CHAPTER XXV]234
SURFACE FINISH—TEXTURE

Tool Marks, the Importance of their Direction—The Woody TextureDependent upon Clearness of Cutting and Sympathetic Handling

[CHAPTER XXVI]240
CRAFT SCHOOLS, PAST AND PRESENT

The Country Craftsman of Old Times—A Colony of Craftsmen in BusyIntercourse—The Modern Craftsman's Difficulties: EmbarrassingVariety of Choice

[CHAPTER XXVII]249
ON THE IMPORTANCE OF COOPERATION BETWEENBUILDER AND CARVER

The Infinite Multiplicity of Styles—The "Gothic" Influence:Sculpture an Integral Element in its Designs—The Approach of theso-called "Renaissance" Period—Disturbed Convictions—TheRevival of the Classical Style—The Two Styles in Conflict for aTime; their Respective Characteristics Reviewed—Carvers BecomeDependent upon Architects and Painters—The "Revival" Separates"Designer" and "Executant"

[Notes onthe Collotype Plates]265
[The Collotype Plates]271
[Index]305

Student and Apprentice, their Aims and Conditions of Work—Necessity for Some Equality between Theory and Practise—The Student's Opportunity lies on the Side of Design

Average Number of Tools required by Carvers—Selection for Beginners—Description of Tools—Position when in Use—Acquisition by Degrees

Different Stones in Use—Case for Stones—Slips—Round Mallet Best—A Home-Made Bench—A Makeshift Bench—Cramps and Clips

Hard Wood and Soft Wood—Closeness of Grain Desirable—Advantages of Pine and English Oak

The Proper Bevel—Position of Tools on Oilstone—Good and Bad Edge—Stropping—Paste and Leather—Careless Sharpening—Rubbing Out the Inside—Stropping Fine Tools—Importance of Sharp Tools

Its Savage Origin—A Clue to its only Claim to Artistic Importance—Monotony better than Variety—An Exercise in Patience and Precision—Technical Methods

Obstinacy of the Woody Fiber—First Exercise in Grounding—Description of Method—Cutting the Miters—Handling of Tools, Danger of Carelessness—Importance of Clean Cutting

Difficulties of Selection and Arrangement—Limits of an Imitative Treatment—Light and Distance Factors in the Arrangement of a Design—Economy of Detail Necessary—The Word "Conventional"

Necessity for every Carver Making his own Designs—Method of Carving Rounded Forms on a Sunk Ground

Importance of Formal Pattern as an Aid to Visibility—Pattern and Free Rendering Compared—First Impressions Lasting—Medieval Choice of Natural Forms Governed by a Question of Pattern

Adaptation of Old Designs to Modern Purposes—"Throwing About"—Critical Inspection of Work from a Distance as it Proceeds

Dangers of Imposing Words—Novelty more Common than Originality—An Unwholesome Kind of "Originality"

Exercise in Background Pattern—Care as to Stability—Drilling and Sawing out the Spaces—Some Uses for Pierced Patterns

Carvings can not be Independent Ornaments—Carving Impossible on Commercial Productions—The Amateur Joiner—Corner Cupboards—Introduction of Foliage Definite in Form, and Simple in Character—Methods of Carving Grapes

Old Work Best Seen in its Original Place—Museums to be approached with Caution.—Methodical Memoranda—Some Examples—Assimilation of Ideas Better than Making Exact Copies

False Impressions Fostered by Fragmentary Exhibits—Environment as Important as Handicraft—Works Viewed as Records of Character—Carvers the Historians of their Time

Medieval and Modern Choice of Form Compared—A Compromise Adopted—A List of Plant Forms of Adaptable Character

Furniture Constructed with a View to Carving—Reciprocal Aims of Joiner and Carver—Smoothness Desirable where Carving is Handled—The Introduction of Animals or Figures

Misproportion Not Essential to the Expression of Humor—The Sham Grotesque Contemptible—A True Sense of Humor Helpful to the Carver

The Introduction of Animal Forms—Rude Vitality better than Dull "Natural History"—"Action"—Difficulties of the Study for Town-Bred Students—The Aid of Books and Photographs—Outline Drawing and Suggestion of Main Masses—Sketch-Book Studies, Sections, and Notes—Swiss Animal Carving—The Clay Model: its Use and Abuse

Intelligible Background Outline Better than Confused Foreshortening—Superposition of Masses

Undercutting as a Means and as an End; its Use and Abuse—"Built-up" Work—"Planted" Work—"Pierced" Work

The Limitations of an Art not Safely Transgressed—Aerial Perspective Impossible in Relief—Linear Perspective only Possible in a Limited Way

The Necessity for Variety in Study—A Carver's View of the Study of Architecture; Inseparable from a Study of his own Craft—Importance of the Carpenter's Stimulating Influence upon the Carver—Carpenters' Imitation of Stone Construction Carried too Far

Tool Marks, the Importance of their Direction—The Woody Texture Dependent upon Clearness of Cutting and Sympathetic Handling

The Country Craftsman of Old Times—A Colony of Craftsmen in Busy Intercourse—The Modern Craftsman's Difficulties: Embarrassing Variety of Choice

The Infinite Multiplicity of Styles—The "Gothic" Influence: Sculpture an Integral Element in its Designs—The Approach of the so-called "Renaissance" Period—Disturbed Convictions—The Revival of the Classical Style—The Two Styles in Conflict for a Time; their Respective Characteristics Reviewed—Carvers Become Dependent upon Architects and Painters—The "Revival" Separates "Designer" and "Executant"

LIST OF ILLUSTRATIONS

Page
A Suggestion from Nature and Photography[Frontispiece]
Fig. 1.[34]
Fig. 2.[35]
Fig. 3.[39]
Fig. 4.[43]
Fig. 5.[46]
Fig. 6.[46]
Fig. 7.[47]
Fig. 8.[52]
Fig. 9.[54]
Fig. 10.[58]
Fig. 11.[69]
Fig. 12.[73]
Fig. 13.[73]
Fig. 14.[74]
Fig. 15.[79]
Fig. 16.[88]
Fig. 17.[91]
Fig. 18.[94]
Fig. 19.[94]
Fig. 20.[96]
Fig. 21.[100]
Fig. 22.[103]
Fig. 23.[105]
Fig. 24.[111]
Fig. 25.[113]
Fig. 26.[113]
Fig. 27.[116]
Fig. 28.[119]
Fig. 29.[120]
Fig. 30.[120]
Fig. 31.[120]
Fig. 32.[123]
Fig. 33.[123]
Fig. 34. CARVING IN PANELS OF FIG 33[126]
Fig. 35.[127]
Fig. 36.[127]
Fig. 37.[131]
Fig. 38.[131]
Fig. 39.(a)[131]
Fig. 39.(b)[133]
Fig. 40.[133]
Fig. 41.[133]
Fig. 42.[135]
Fig. 43.[135]
Fig. 44.[137]
Fig. 45.[137]
Fig. 46.[139]
Fig. 47.[146]
Fig. 48.[146]
Fig. 49.[146]
Fig. 50.[146]
Fig. 51.[146]
Fig. 52.[145]
Fig. 53.[161]
Fig. 54.[166]
Fig. 55.[166]
Fig. 56.[168]
Fig. 57.[170]
Fig. 58.[174]
Fig. 59.[174]
Fig. 60.[176]
Fig. 61.[178]
Fig. 62.[180]
Fig. 63.[183]
Fig. 64.[187]
Fig. 65.[187]
Fig. 66.[190]
Fig. 67.[190]
Fig. 68.[198]
Fig. 69.[200]
Fig. 70.[202]
Fig. 71.[208]
Fig. 72.[209]
Fig. 73.[209]
Fig. 74.[223]
Fig. 75.[229]
Fig. 76.[229]
Fig. 77.[229]
Fig. 64.[187]
The Collotype Plates[271]
I.—Old Carved Chest in York Cathedral.[I]
II.—Figure from the Tomb of Henry IV. in Canterbury Cathedral.[II]
III.—Aisle Roof—Mildenhall Church, Suffolk.[III]
IV.—Nave Roof—Sall Church, Norfolk.[IV]
V.—Portion of a Carved Oak Panel—The Sheepfold.[V]
VI—Portion of a Carved Oak Panel—The Sheepfold.[VI]
VII.—Preliminary Drawing of a Lion for Carving. By Phillip Webb.[VII]
VIII.—Book Cover Carved in English Oak—"Tale of Troy."[VIII]
IX.—Book Cover Carved in English Oak—"Tale of Troy."[IX]
X.—Book Cover Carved in English Oak—"Reynard the Fox".
(only carved portions shown.)		 [X]
XI.—Carving from Choir Stalls in Winchester Cathedral.[XI]
XII.—Carving from Choir Screen—Winchester Cathedral.[XII]
XIII.—Font Canopy—Trunch Church, Norfolk.[XIII]
XIV.—Two designs for Carving, by Philip Webb.
One executed, one in drawing.		 [XIV]
XV.—Leg of a Settle, carved in English Oak.[XV]
XVI.—Pew Ends in Carved Oak—Brent Church, Somersetshire. [XVI]

CHAPTER I