[306]
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
[307]
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
[308]
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
[309]
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
[310]
"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
[311]
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, 168THE END
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