e to
the curved ones with a V tool or Veiner. Then form the moldings with
your chisels or gouges. Keep them very flat in section as in Fig. 29.
The fret patterns on Figs. 32, 35, and 36, where not pierced, should
also be done in low relief, not more than 1/8 in. deep, and the sides of
the bands beveled as in section _a_, Fig 30. The widths of these bands
ought not to be less than 1/2 in., and look better if they are wider.
Very narrow bands have a better appearance, if, instead of being cut
straight down, they are hollowed at sides like _b_ in Fig. 30.

[Illustration: FIG. 29.]

[Illustration: FIG. 30.]

[Illustration: FIG. 31.]

Fig. 31 is a detail of a kind of gouge work which you must all know very
well. One perpendicular cut of a gouge driven in with the mallet, and
one side cut, should form one of these crescent or thimble-shaped holes.
They should not be too deep in proportion to their size. Their
combinations may be varied to a great extent. Two or three common ones
are shown in the illustration. This form of ornament was in all
likelihood invented by some ingenious carpenter with a turn for art and
a limited stock of carving tools. His humble contribution to the
resources of the carver's art has received its due share of the flattery
which is implied by imitation. In all these patterns it is well to
remember that the flat surface of the board left between the cuts is
really the important thing to consider, as all variety is obtained by
disposing the holes in such a way as to produce the pattern required by
means of their outlines on the plain surface. Thus waved lines are
produced as in Fig. 31, and little niches like mimic architecture as in
Fig. 34, by the addition of the triangular-shaped holes at the top, and
the splayed sills at the bottom. (It is obvious that an arrangement like
the latter should never be turned upside down.) If this attention to the
surface pattern is neglected the holes are apt to become mere confused
and meaningless spots.

In small pieces of furniture like these, which are made of comparatively
thin wood, the carving need not have much depth, say the ground is sunk
1/4 in. at the deepest. As oak is more tenacious than pine, you will
find greater freedom in working it, although it is so much harder to
cut. You may find it necessary to use the mallet for the greater part of
the blocking out, but it need not be much used in finishing. A series of
short strokes driven by gentle taps