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.