The truth is that the beginner should indeed learn to cut clean and well, and to do all his work with an edge, without files or glass-paper, but there is no law why he should go no further. A great deal of the beauty of many old objects comes from a certain worn look, by which they have lost some crude defects. We will now consider how such polish may be given.
Draw on a panel half an inch thick, more or less, Fig. [49]. Having bosted it out, very slightly undercut the figure, not completely, but by rounding the edge a little. Do this firstly with the chisel, as neatly as possible; then take files. For many places in your work, especially for smoothing grounds where the work is difficult and the curved tool not available, a bent file is most useful, and these may be had of every shape and curve. For rough finishing you may use rasps and large rifflers, for finer work small files. Having brought your work into shape, you may scrape the ground flat with pieces of broken glass or a tool made for the purpose, or a chisel. Then take glass or glass-paper, the former being greatly preferable, and with care finish still more. It may now be advisable to oil all the carving, if oil is to be applied. Lay the oil on with a broad flat brush, but if there are any places which it will not reach, use a smaller paint or camel’s hair pencil. Let the oil soak in for a few days in a warm room. Then with a piece of very soft pine wood, rub with great care. The harder you rub the better the polish will be, but also the greater the risk of bending or indenting the surface of the carving; therefore great care is necessary. The longer this polishing is continued the better the effect will be. Workmen often spend as much time in polishing a piece of work intended to be handled as it took to carve it.
It may be observed that in using the glass-paper it is often very difficult to get into certain holes or cavities. These are reached either by making a bit of the paper into a roll, or by folding or rolling it around the end of a stick cut for the purpose. But the most effective way of all is to take a stick, say of the size of a lead pencil, or according to the cavity, round the end with a gouge and glass-paper, dip the end into glue, and, while it is moist, into powdered glass. When dry these make admirable finishers, and they can be again dipped when the glass begins to wear off. Glass may in this manner be put on the ends of old bent files.
When there are figures of animals, or leaves, or bands intended to be thus finished and polished all’antico, or to resemble worn work, it is not advisable to put in them too much inside work or in-lines. Inside work is, for instance, the feathers on a bird, the hair on an animal, the scales on a fish, the middle lines and veins of leaves. A very few lines to serve as indications must suffice. But the student of old and time-worn carving cannot fail to draw all these conclusions for himself.
The last finish to be given to such work may be executed by rubbing with the hand. This communicates to certain kinds of wood and other substances a peculiar polish, which nothing else can really give.
In a very large proportion of simple flat or ribbon-work the effect is very much increased or improved by polishing the pattern, and leaving the ground rough or indenting it. This is not only perfectly legitimate, but commonly done in marble or metal repoussé of every kind, as well as leather-work, and yet every writer on wood-carving repeats as a duty the injunction that there must be “no polishing,” and nothing but cutting. This is, indeed, equivalent to prohibiting the application of wood-carving to furniture, objects to be handled, house and many other kinds of decoration. But, in fact, there are instances in decoration in which paint or dyes, French polish, nails or other metal work, may be most artistically and beautifully combined with wood-carving, as many thousands of relics of the Middle Ages and Renaissance prove.
Polishing a pattern makes it shine, while roughing or dotting a surface darkens it. Therefore, when we want in decoration bold effects of light and shade, we may legitimately polish the parts which are in relief. Elaborately cut work which is to be studied by itself in detail, and not simply as a part of a whole, need not be polished or rough; its finish will depend on the conditions of its design.
