| |
Page |
| LIST OF ILLUSTRATIONS |
|
| CHAPTER I |
25 |
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 |
31 |
TOOLS |
Average Number of Tools required by Carvers—Selection for
Beginners—Description of Tools—Position when in Use—Acquisition by
Degrees |
| CHAPTER
III |
42 |
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 |
|
[18] |
| CHAPTER
IV |
48 |
WOODS USED FOR CARVING |
Hard Wood and Soft Wood—Closeness of Grain Desirable—Advantages of
Pine and English Oak |
| CHAPTER
V |
52 |
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 |
63 |
"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 |
69 |
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 |
|
[19] |
| CHAPTER VIII |
82 |
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 |
88 |
ROUNDED FORMS |
Necessity for every Carver Making his own Designs - Method of Carving Rounded Forms on a Sunk Ground
|
| CHAPTER X |
96 |
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 |
103 |
CONTOURS OF SURFACE |
Adaptation of Old Designs to Modern Purposes - "Throwing
About" - Critical Inspection of Work from a Distance as it
Proceeds
|
|
[20] |
| CHAPTER XII |
108 |
ORIGINALITY |
Dangers of Imposing Words - Novelty more Common than Originality - An
Unwholesome Kind of "Originality" |
| CHAPTER XIII |
110 |
PIERCED PATTERNS |
Exercise in Background Pattern—Care as to Stability—Drilling and Sawing out the Spaces—Some Uses for Pierced Patterns
|
| CHAPTER XIV |
115 |
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 |
137 |
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 |
|
[21] |
| CHAPTER XVI |
149 |
MUSEUMS |
False Impressions Fostered by Fragmentary Exhibits—Environment as
Important as Handicraft—Works Viewed as Records of Character—Carvers
the Historians of their Time |
| CHAPTER XVII |
153 |
STUDIES FROM NATURE—FOLIAGE |
Medieval and Modern Choice of Form Compared - A Compromise Adopted - A List of Plant Forms of Adaptable Character |
| CHAPTER XVIII |
161 |
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 |
180 |
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 |
|
[22] |
| 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 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 |
205 |
FORESHORTENING AS APPLIED TO WORK IN RELIEF |
Intelligible Background Outline Better than Confused
Foreshortening—Superposition of Masses |
| CHAPTER XXII |
214 |
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 |
219 |
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 |
|
[23] |
| CHAPTER XXIV |
223 |
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 |
234 |
SURFACE FINISH—TEXTURE |
Tool Marks, the Importance of their Direction—The Woody Texture
Dependent 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 Busy
Intercourse—The Modern Craftsman's Difficulties: Embarrassing Variety
of Choice |
|
[24] |
| CHAPTER XXVII |
249 |
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 |
265 |
| The Collotype Plates |
271 |
| Index |
305 |
