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EDITOR'S PREFACE - AUTHOR'S PREFACE
CHAPTER I
PREAMBLE
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
CHAPTER II
TOOLS
Average Number of Tools required by Carvers—Selection for Beginners— Description of Tools—Position when in use—Acquisition by Degrees
CHAPTER III
SHARPENING-STONES—MALLET AND BENCH
Different Stones in Use—Case for Stones—Slips—Round Mallet Best—A Home- Made Bench—A Makeshift Bench—Cramps and Clips
CHAPTER IV
WOODS USED FOR CARVING
Hard Wood and Soft Wood—Closeness of Grain Desirable—Advantages of Pine and English Oak
CHAPTER V
SHARPENING THE TOOLS
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
CHAPTER VI
"CHIP" CARVING
Its Savage Origin—A Clue to its only Claim to Artistic Importance—Monotony better than Variety—An Exercise in Patience and Precision—Technical Methods
CHAPTER VII
THE GRAIN OF THE WOOD
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
CHAPTER VIII
IMITATION OF NATURAL FORMS
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"
CHAPTER IX
ROUNDED FORMS
Necessity for every Carver Making his own Designs—Method of Carving Rounded Forms on a Sunk Ground
CHAPTER X
THE PATTERNED BACKGROUND
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
CHAPTER XI
CONTOURS OF SURFACE
Adaptation of Old Designs to Modern Purposes—"Throwing About"—Critical Inspection of Work from a Distance as it Proceeds
CHAPTER XII
ORIGINALITY
Dangers of Imposing Words—Novelty more Common than Originality—An Unwholesome Kind of "Originality"
CHAPTER XIII
PIERCED PATTERNS
Exercise in Background Pattern—Care as to Stability—Drilling and Sawing out the Spaces—Some Uses for Pierced Patterns
CHAPTER XIV
HARDWOOD CARVING
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
CHAPTER XV
THE SKETCH-BOOK
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
CHAPTER XVI
MUSEUMS
False Impressions Fostered by Fragmentary exhibits—Environment as Important as Handicraft—Works Viewed as Records of Character—Carvers the Historians of their Time
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CHAPTER XVII
STUDIES FROM NATURE—FOLIAGE
Medieval and Modern Choice of Form Compared—A Compromise Adopted—A List of Plant Forms of Adaptable Character
CHAPTER XVIII
CARVING ON FURNITURE
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
CHAPTER XIX
THE GROTESQUE IN CARVING
Misproportion Not Essential to the Expression of Humor—The Sham Grotesque Contemptible—A True Sense of Humor Helpful to the Carver
CHAPTER XX
STUDIES FROM NATURE—BIRDS AND BEASTS
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
CHAPTER XXI
FORESHORTENING AS APPLIED TO WORK IN RELIEF
Intelligible Background Outline Better than Confused Foreshortening— Superposition of Masses
CHAPTER XXII
UNDERCUTTING AND "BUILT-UP" WORK
Undercutting as a Means and as an End; its Use and Abuse—"Built-up" Work —"Planted" Work—"Pierced" Work
CHAPTER XXIII
PICTURE SUBJECTS AND PERSPECTIVE
The Limitations of an Art not Safely Transgressed—Aerial Perspective Impossible in Relief—Linear Perspective only Possible in a Limited Way
CHAPTER XXIV
ARCHITECTURAL CARVING
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
CHAPTER XXV
SURFACE FINISH—TEXTURE
Tool Marks, the Importance of their Direction—The Woody Texture Dependent upon Clearness of Cutting and Sympathetic Handling
CHAPTER XXVI
CRAFT SCHOOLS, PAST AND PRESENT
The Country Craftsman of Old Times—A Colony of Craftsmen in Busy Intercourse—The Modern Craftsman's Difficulties: Embarrassing Variety of Choice
CHAPTER XXVII
ON THE IMPORTANCE OF COOPERATION BETWEEN BUILDER AND CARVER
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"
NOTES ON THE COLLOTYPE PLATES
THE COLLOTYPE PLATES
INDEX |
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