XVI.—Pew Ends in Carved Oak—Brent Church, Somersetshire.
INDEX
Acanthus, the, [156]
Aims and conditions of work, [25]
American woods, [48]
Animal carving, [161], [191]
Animal carving, Swiss, [191]
Animals, or figures, in carving, [161], [191]
Apprentice and student, their aims and conditions of work, [25]
Architectural carving, [223], [156]
"Arkansas" slips, [44], [58]
Arms, coats of, [177]
Aumonier, W., [204], [238]
Background, patterned, [96]
Basswood, [48]
Beads and moldings to be carved, [119]
Beam, carved, in South Kensington Museum, [140], [142]
Bear, drawing of (frontispiece), [197], [200]
Beast and bird studies, [191]
Bed, design and carving for a, [163]
Beech wood, [49]
Bench or settle, design and carving for, [168], [174], [269], [302]
Benches, [44]
Bench screw, [48]
Berne Cathedral, carved figure from, [191]
Bevels, tool, [52]
Bewick, studies from, [195]
Bird and beast studies, [191]
Book-covers in oak, [267], [289], [291]
Books, aid of, [191]
Boxwood, [51]
Brackets, [172]
Bread plates, [116]
Brent Church, pew ends in, [269], [304]
Brier-wood, [51]
Builder and carver, notes on the importance of cooperation between, [249]
"Built-up" work, [214]
Byzantine design, [96]
"Candle," [56]
Canopy, Font, [233], [268], [298]
Canterbury Cathedral, carved figure from, [188], [275]
Carpenter's imitation of stone construction, [223]
Carpenter's influence on carver, [223]
Cartoons, charcoal, [204]
Carver and builder, notes on the importance of cooperation between, [249]
Carver and joiner, reciprocal aims of, [161]
Carving and sculpture, [249]
Carving, architectural, [223]
Carving, "chip," [63]
Carving, heraldic, [176]
Carving, Icelandic, [143]
Carving, New Zealand, [63]
Carving, Norse, [143]
Carving, South Sea, [63]
Carving, stone, [96], [223]
Carving, Swiss, [191]
Cedar wood, [166]
Chair, sketch of, etc., [145]
Character, works viewed as records of, [149]
Charcoal cartoons, [204]
Cherry wood, [51]
Chest, carved, from York Cathedral, [147], [265], [273]
Chestnut wood, [50]
"Chip" carving, [63]
Chisels, [31], [34], [35]
Choir-screens, [227], [229], [267], [295]
Choir-stalls at Winchester Cathedral, [227], [267], [293]
Classical style, revival of, [249]
Clay models, [191]
Clips, [47]
Clock, suggestion of design and carving for, [174]
Clock case, suggestion of design and carving for, [170]
Coats of arms, [176]
Cock, suggestion for carving a, [174]
Collotype plates, [273-304]
Collotype plates, notes on the, [265]
Colors noted on diagrams, [197], [199]
Colors of woods, [48]
Contours of surface, [103]
Corner cupboards, [119]
Cornice, design for, by Philip Webb, [268], [300]
Craft schools, past and present, [240]
Craftsmen, old-time and modern, [240]
Cramps, [42], [47]
Cross, design for, [177]
Cupboards, corner, [119]
Cutting, clearness of, [52], [69], [235]
Design, [71], [88]
Design, application of, [72]
Design, Byzantine, [96]
Design, factors in the arrangement of, [82]
Design, outline, and suggestion of main masses, [191]
"Designer" and "Executant," [88], [249]
Designs, adaptation of old, to modern purposes, [103]
Designs, humor in, [180]
Designs, list of fruit, flower, and vegetable subjects, [159]
Designs, necessity for every carver making his own, [88]
Designs, transferring, [72]
Detail, economy in, [84]
Diagrams, colors noted on, [197], [199]
Distance and light in design, [82]
Drilling and sawing, [110]
Duomo, the, at Florence, [257]
Ebony wood, [51]
Economy in detail, [84]
Edges of tools, [52]
Environment as important as handicraft, [149]
Execution and design, [88], [249]
Exning, chair at, [145]
Figures, or animals, in carving, [161], [191]
Finish, surface—texture, [234]
Florence, the Duomo at, [257]
Flowers as subjects, [158]
Foliage, [115], [153], [159]
Font canopy, [233], [268], [298]
Foreshortening as applied to work in relief, [205]
Forms, imitation of natural, [82]
Forms, plant, list of, [153]
Forms, rounded, [88]
Free rendering, [96]
Fruit subjects, [94], [157], [159]
Furniture, carving on, [161]
Gerrard's "Herbal," a source of design, [160]
Gibbons, Grinling, [62], [85], [153], [215]
Glass paper, [107], [164]
Gothic capital in Southwell Minster, [96]
Gothic carvings, [96], [180], [229], [249]
Gothic influence, [249]
Gouges, [31], [34], [35]
Gouges, sharpening, [56]
Grain of the wood, [48], [69]
Grapes, [115], [156], [159]
Grindelwald, carved bear from, [200]
Grotesque in carving, [180]
"Grounders," [34], [37]
Grounding, [69]
Handling tools, [27], [52], [78]
"Hard" wood, [48], [51]
Hardwood carving, [115]
Henry IV, figure from tomb of [188], [265], [275]
Heraldic carving, [176]
"Herbal," Gerrard's, a source of design, [160]
Heron, drawing of a, [197]
Holdfasts, [48]
Hollywood, [49]
Hop-vine, the, [156]
Humor in designs, [180]
Icelandic carving, [143]
Imitation of natural forms, [82]
"India" oilstone, [42]
Japanese work, a characteristic of, [125]
Joiner and carver, reciprocal aims of, [161]
Joiner, the amateur, [115]
Joiner's tools, [41]
Kauri pine wood, [48]
"Kelmscott Press," carved oak covers for, [267], [288], [289]
Lance-wood, [51]
Landscape in carving, [221]
Leather for stropping, [55]
Leaves, expedient for explaining convolutions, [209]
Leaves, list of, [159]
Letters, carved, [165]
Light and distance in design, [82]
Lime wood, [48]
Lion, preliminary drawing for carving a, [196], [267], [286]
"Maccaroni" tool, [35], [38], [59]
Mahogany wood, [48]
Mallets, [44]
Masses, right relationship of, [196]
Masses, suggestion of main, [191]
Masses, superposition of, [205]
Medieval and modern choice of form compared, [153]
Memoranda, methodical, [137]
Memoranda, sketch-book, [137]
Method, [137]
Mildenhall Church, aisle roof, [226], [266], [277]
Mirror frame, suggestion of design and carving for, [166]
Miserere seats, [139], [142], [185], [186], [187], [216], [293]
Miters, [77]
Models, clay, [202]
Morris, William, [240]
Moldings, to be carved, [119]
Museums, [137], [140], [145], [149]
Natural forms, imitation of, [82]
Nature, studies from, [153], [191]
New Zealand carving, [63]
Norse patterns, [143]
Notes on cooperation, [249]
Oak, [48], [157]
Oilstones, [42], [52]
Old work, [137]
Originality, [108]
Outline drawing, [191]
Panel, carved, "The Sheepfold," [197], [212], [266], [282], [285]
Paneling, design for, by Philip Webb, [268], [300]
Panels, [72], [125], [170], [197]
"Parting" tool, [34], [36]
Paste for stropping, [52]
Pattern and free rendering compared, [96]
Pattern, background, [110]
Pattern, importance of formal, [96]
Pattern, medieval choice of natural forms governed by a question of, [96]
Pattern, Portuguese, [145]
Patterned background, [96]
Patterns, [121]
Patterns, Icelandic, [143]
Patterns, New Zealand, [63]
Patterns, Norse, [143]
Patterns, pierced, [110], [145]
Patterns, South Sea, [63]
Pear-tree wood, [51]
Period "Renaissance," revival of the classical style, [249]
Perspective, [127], [205], [219]
Pew ends, [269], [304]
Photographs, aid of, [191]
Picture subjects and perspective, [219]
Pierced patterns, [110], [145]
"Pierced" work, [214]
Pine wood, [48], [71]
Pine wood, yellow, [48], [71]
Plant forms, list of, [153]
"Planted" work, [214]
Plums, [91]
Polish, [138], [164]
Portuguese pattern, [145]
Position of tools, [27], [52]
Practise and theory, [25]
Preamble, [25]
Relief, work in, [205]
"Renaissance," the, [249]
"Reynard, the Fox," carved oak book-cover, [267], [291]
"Rifler," [41]
Rounded forms, [88]
"Router," [41]
Ruskin, John, [240]
"S," pattern, [121]
St. Sophia, church of, [251]
Sall Church, nave roof, [226], [266], [279]
Sandalwood, [51]
Sawing and drilling, [110]
Schools, craft, past and present, [240]
Screens, choir, [227], [229], [268], [295]
Sculpture and carving, [249]
Settle or bench, design and carving for, [168], [174]
Settle, carved leg of, [269], [302]
Sharpening stones, [42]
Sharpening tools, [52]
Sheep, drawing of, [197], [212], [266], [282], [285]
Sheepfold, the, collotype plate, [266], [282], [285]
Sketch-book, use of the, [137], [191]
Slips, [43], [58], [61]
"Soft" wood, [51]
South Kensington Museum, carvings from, [140], [141], [142]
South Sea carving, [63]
Southwell Minster, Gothic capital in, [96]
Spoon tools, [59]
Stalls, choir, [227], [267], [293]
Stone carving, [96], [223]
Stones, sharpening, [42]
Stones (sharpening), case for, [42]
Stropping, [54]
Student and apprentice, their aims and conditions of work, [25]
Students, the, opportunity lies on the side of design, [25]
Studies, beast and bird, [191]
Studies from nature, [153], [191]
Study, necessity for variety in, [249]
Style, [249]
Subjects, animal, [161], [191]
Subjects, choice of, [82]
Subjects, flower, [158]
Subjects, foliage, [159]
Subjects, fruit, [159]
Subjects, in perspective, [219]
Subjects, picture, [219]
Subjects, still life, [83]
Subjects, vegetable, [159]
Surface contours, [103]
Surface finish, [234]
Swiss carving, [191]
Sycamore wood, [49]
"Tale of Troy," carved oak book-cover for, [267], [288], [289]
Tempering tools, [39]
Texture and surface finish, [234]
Theory and practise, [25]
Thimble pattern, [121]
"Throwing about," [106]
Time, carvers the historians of their, [149]
Tool marks, the importance of their direction, [234]
Tools, [31]
Tools, average number, [31]
Tools, blunted or broken, [40]
Tools, description of, [27]
Tools, handling, [27], [52], [78]
Tools, joiner's, [41]
Tools, position on oilstone, [52]
Tools, position when in use, [27]
Tools, sharpening, [52]
Tools, spoon, [59]
Tools, stropping, [54]
Tools, tempering, [39]
Tracing, [72]
Trunch Church, font canopy at, [233], [268], [298]
"Turkey," oilstone, [42]
Turner, Laurence, [269]
Undercutting and "built-up" work, [214]
"V" tool, [31], [34], [36], [59]
Vegetable designs, [159]
"Veiner," [31], [34], [36], [58]
Vines, the, [115], [156], [159]
Walnut wood, [48], [50]
"Washita" oilstone, [42]
Wave pattern, [121]
Webb, Philip, drawings and designs by, [177], [196], [268], [286], [300]
Winchester Cathedral, carvings from, [190], [216], [227], [267], [293], [295]
Wood, hard, [48], [51]
Wood, soft, [48], [51]
Woods, [48]
Woods, American, [48]
Woods, colors of, [48]
Woods, grain of, [48], [69]
Woods, list of, [48]
Woods, "soft" and "hard," [48], [51]
Work, critical inspection of, from a distance, as it proceeds, [103]
Yellow pine wood, [48], [71]
York Cathedral, old chest in, [265], [272]
Yorkshire settle, [168]
THE END
Transcriber's Note: Minor corrections were made to normalize spelling and punctuation.