,
from about its middle to one end, and reversing the process do the same
with the other side. Then it will appear something like B (Fig. 19).
The remainder must be shaped with any tool which will do it best. There
is no royal road to the production of these rounded forms, but probably
gouge No. 1 will do the most of it.

[Illustration: Fig. 18.]

[Illustration: Fig. 19.]

Here it may be observed that the fewer tools used the better, as if many
are used there is always a risk of unpleasant facets at the places where
the various marks join each other. Before you try the plums, or apples,
or other rounded fruit which you may have in your design, it would be as
well to experiment with one on a piece of spare wood in order to decide
upon the most suitable tools. The stems or branches may be done with
flat gouge No. 1, or the flat or corner chisel. A very delicate twist or
spiral tendency in their upward growth will greatly improve their
appearance, a mere faceting produced by a flat gouge or chisel will do
this; anything is better than a mere round and bare surface, which has a
tendency to look doughy. The little circular mark on the end of the plum
(call it a plum, although that fruit has no such thing) is done by
pressing gouge No. 7 into the wood first, with the handle rather near
the surface of the wood, and afterward at a higher inclination, this
taking out a tiny chip of a circular shape and leaving a V-shaped
groove.

Now I am going to continue the subject of my last lecture, in order to
impress upon you the importance of suiting your subject to the
conditions demanded by the laws of technique and light. Practise with
the tools must go hand in hand with the education of the head if good
results are to be expected; nor must it be left wholly to hand and eye
if you are to avoid the pitfalls which lie in wait for the unwary
mechanic.

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.

[Illustration: FIG. 20.]

By a comparison of the piece of Byzantine sculpture, Fig. 20, with the
more elaborate treatment of foliage shown in Fig. 21, from late Gothic
capitals, in Southwell Minster, it will be seen how an increasing desire
for imitative resemblance has taken the place of a patterned foundation,
and how, in conseque