is treatment applied to
letters.

[Illustration: FIG. 54.]

Now I expect you to make a fresh design. The illustrations in all such
cases are purposely drawn in a somewhat indefinite way, in order that
they may suggest, without making it possible to copy.

[Illustration: FIG. 55.]

Now we come to the mirror frame, Fig. 55. I should suggest that this be
done in some light-colored wood like pear-tree, which has an agreeably
warm tone, or if a hard piece of cedar can be found, it would look well,
but in no case should polish be added except that which comes from the
tool. The construction need not be complicated. Take two 3/4-in. boards,
glue them together to form the width, shape out the frame in the rough.
Put behind this another frame of 3/4-in. thick stuff, and make the
cornice out of wood about 1-1/2 in. thick. The parts to be kept separate
until the carving is finished, and afterward glued or screwed together.
The carving on the body of the frame, that is, in the gable above and
the front of bracket below, should be in very low relief, the lower
part being like the last, a kind of engraving. The fret above may be
sunk about 1/16 in. and the ground slightly cushioned. The carving on
sides and cornice is of a stronger character, and may be cut as deeply
as the wood will allow, while the cornice is actually pierced through in
places, showing the flat board behind. The design for this cornice
should have some repeating object, such as the kind of pineapple-looking
thing in the illustration, and its foliage should be formed with plenty
of well-rounded surfaces, that may suggest some rather fat and juicy
plant.

[Illustration: FIG. 56.]

In Fig. 56 you have a suggestion for carving a bench or settle, the
proportions of which have been taken from one found at a Yorkshire
village inn. The actual measurements are given in order that these
proportions may be followed. It is a well-known fact, that chairs, or
seats of any kind, can not be successfully designed on paper with any
hope of meeting the essential requirements of comfort, lightness, and
stability. Making seats is a practical art, and the development of the
design is a matter of many years of successive improvements. A good
model should therefore be selected and copied, with such slight
changes as are necessary where carving is to be introduced. The main
lines should not be interfered with on any account, nor should the
thickness of the wood be altered if possib