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Author's Preface 15
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 25
CHAPTER II
TOOLS
Average Number of Tools required by Carvers--Selection for
Beginners--Description of Tools--Position when in Use--Acquisition
by Degrees 31
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 42
CHAPTER IV
WOODS USED FOR CARVING
Hard Wood and Soft Wood--Closeness of Grain Desirable--Advantages
of Pine and English Oak 48
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 52
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 63
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 69
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" 82
CHAPTER IX
ROUNDED FORMS
Necessity for every Carver Making his own Designs--Method
of Carving Rounded Forms on a Sunk Ground 88
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 96
CHAPTER XI
CONTOURS OF SURFACE
Adaptation of Old Designs to Modern Purposes--"Throwing
About"--Critical Inspection of Work from a Distance as it Proceed
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