Chapter 53

ON THE IMPORTANCE OF COOPERATION BETWEEN BUILDER AND CARVER

The Infinite Multiplicity of Styles--The "Gothic" Influence: Sculpture an Integral Element in its Designs--The Approach of the so-called "Renaissance" Period--Disturbed Convictions--The Revival of the Classical Style--The Two Styles in Conflict for a Time; their Respective Characteristics Reviewed--Carvers Become Dependent upon Architects and Painters--The "Revival" Separates "Designer" and "Executant."

The prevailing architectural fashion of a time or country, known as its style, has generally been determined by the influence of more advanced nations on those of a ruder constitution; each modifying the imported style to suit its own climatic and social conditions, and imbuing it with its own individual temperament. The foreign idea was thus developed into a distinct and national style, which in its turn bore fruit, and was passed on as an initiative for other nations and new styles. The current of this influence, generally speaking, trended from east to west as though following the course of the sun, upon whose light it depended for the illumination of its beauties.

There are so many styles of architecture, and consequently of carving, both in wood and other materials, that a history of such a subject would be a life study in itself, and be quite barren of results except those of a professional kind. It would include the characteristics of carvings from every country under the sun, from the earliest times known. Engravings on boars' tusks found in prehistoric caves, carvings on South Sea Island canoe paddles, Peruvian monstrosities of terror, the refined barbarity of India and China, the enduring and monumental efforts of Egyptian art, and a hundred others, down to times and countries more within reach. In fact, it would only be another name for a history of mankind from the beginning of the world.

Nothing could be better for the student's purpose than to begin his studies of history at that point where the first indication of the Gothic or medieval period of architecture makes its appearance. For it was from this great and revolutionary change in the manner of building that all the subsequent variety of style in carving as well as building in medieval Europe took its origin. The first rudiments of the great school of art, which has been broadly classified as having a "Gothic" origin, began to make their appearance in Byzantium some three or four centuries after the birth of Christ. This city, said to have been founded by a colony of Greek emigrants, became the seat of Roman government in their eastern empire, and is now known as Constantinople: it contains a noted example of ancient art in the great church of St. Sophia. From the date of the building of this church in the sixth century A. D. to the beginning of the fifteenth century in Italy, and about a hundred years later, more or less, according to distance from that center, we have roughly the period during which the "medieval" spirit ruled the arts of Europe.

The work of this long period is distinguished beyond all others by the varied beauty and interest of its carvings, a preeminence it owes in part to the strong bias in this direction which was given by its early founders, but still more to the unbroken alliance maintained between builders and carvers throughout the entire period. An inherited talent for sculpture, handed down, no doubt, from their classical forefathers, distinctly marks the commencement of the era; but from that time until the appearance of the "Renaissance" influence, builder and carver are no longer conceivable as being independent of each other. Sculpture of one kind or another not only played an important part in the decoration of its buildings, but became a necessary and integral element in every architectural conception, be its importance little or great. The masons designed their structural features with a view to the embellishments to follow from the hand of the carver; they were in full sympathy with the artistic intention of the decoration, therefore their own ideas were in complete conformity with those of the sculptor, while even in some cases they did this part of the work themselves. The sculptors, restrained by the severe laws of structural design, never transgressed the due limits of their craft, or became insistent upon the individuality of their own work. Hence, throughout all the successive changes of style brought about by time and difference of country, climate, or material, the art of carving steadily progressed hand in hand with the art of building. The changes were so very gradual, and grew so naturally from the conditions and requirements of social life, that ample time was allowed for the education of public feeling, which became in this way identified with the inventive progress of the craftsmen. As a happy result, one aim and desire governed alike builders, carvers, and people, and one style at a time, enjoyed and understood by all, was the wholesome regimen by which the architectural appetite of the period was sustained. Cathedral and cottage differed only in their relative grades of importance; each shared in due proportion the advantages of an architectural style common to all forms of building, and adaptable in the highest degree to every varying purpose of design, from the simplest piece of walling, with the barest indication of style, to the most elaborate arrangement of masonry and carving which could be devised to distinguish a stately and important structure.

Time was, however, preparing a revolution which was destined to sweep away many old beliefs and established institutions, and with them those familiar motives and habits of thought, which had long formed the bountiful source of medieval inspiration and invention. The period between the beginning of the fifteenth century and the Reformation was like a fiery furnace, in which the materials for a new world were being prepared; it was no time for the leisurely enjoyment of the pleasures of art, which presupposes settled convictions and imperceptible developments.

About this time many new forms of intellectual activity began to engage the minds of the more gifted. Speculative philosophy, the opening fields of science, the imaginative literature of the ancients; these were among the subjects which, while they enlarged the sphere of individual thought, destroyed that social ideal which had its roots in a common belief, and with it, the secret source of all past development in architecture. With the deep-lying causes and far-reaching effects of the unrest which disturbed this period, we are not here concerned, beyond the point where it touches our interest in architecture and sculpture. That drastic changes were in progress affecting the popular regard for these arts is undeniable. Educated and illiterate minds became alike indifferent to the authority of established religion--either they succumbed to the tyranny of its powerful but corrupt ministers, or stood out in open rebellion against its disputed dogmas. In either case, that architecture which had formerly been regarded as the chief symbol of united faith, shared the neglect of one section or the abhorrence of the other. That strong sense of beauty, once the common possession of builders, sculptors, and people, was now between the upper and nether millstones of fate, being ground into the fine dust which has served for centuries as the principal ingredient in the manufacture of an endless succession of moral puddings and pies, known in modern times as "art criticism."

To earnest minds in all classes at that time, any enthusiasm for architectural styles, old or new, must have appeared as futile as an anxiety about appearances while one's house was burning.

To the art of this period the title "Renaissance" has been foolishly applied. When used in association with the arts of architecture and sculpture, it is essentially a misnomer. For these arts it was merely a time of revival, not in any sense one of rebirth, as the word implies. In no way can this period claim to have conferred vitality along with the resuscitation of outward form. The revival of a classical style in architectural design, which began in the early years of the fifteenth century, was the sequel to a similar "revival" in the study of Greek and Roman literature, then occupying the interests of cultivated scholars. It was but a step further to desire also the realization of those architectural splendors which were associated with these studies. Such dilettante dreams can not be supposed to have deeply interested the general public, with whose concerns they had but a remote connection; so under these circumstances, probably the classical style was as suitable as any other, chosen on such narrow and exclusive grounds. There was even a certain fitness in it, a capability of much expansion on theatrical and grandiose lines. Its unbending demeanor toward craft talent of the humbler kind at once flattered the vanity of the cultured, and cowed uneducated minds.

The Duomo at Florence was finished early in that century, and was one of the first buildings in which the new style was adopted. In this case it was used mainly in the completion of a building already well advanced on lines based upon the older traditions. The character of its design, although not of a strictly imitative kind, was distinctly based on a classical ideal. Imitations followed, mingling, as in the case of the Duomo, Gothic and classic elements, often with fine effect. It is quite possible to believe that, had this intermarriage of the two schools continued to bear fruit, some vertebrate style might have resulted from the union, partaking of the nature of both parents; but the hope was of short duration. Its architects, becoming enamored by the quality of scientific precision, which is the fundamental principle of classical design, soon abandoned all pretense of attempting to amalgamate the native and imported styles. They gave themselves up wholly to the congenial task of elaborating a scholarly system of imitation; so that, by the middle of the sixteenth century, no trace whatever remained of native feeling in the architecture of its important buildings.

During the progress of this revolution in style, the old medieval habits of cooperation between master mason and sculptor were slowly being exchanged for a complete dependence upon a special architect, who was not necessarily a craftsman himself; but whose designs must be carried out line for line with the most rigid adherence to measurements.

For a moment in history, the rival spirits of the two great schools of architecture stand face to face like opposing ideals. The classical one, recalled from the region of things past and forgotten, again to play a part on earth with at least the semblance of life; the Gothic spirit, under notice to quit and betake itself to that oblivion from which its rival is reemerging.

In the heyday of their power, the first had shown a distinctly autocratic bearing toward its workmen; offering to its sculptors of genius opportunities for the exercise of highly trained powers, and to the subordinate workmen only the more or less mechanical task of repeating a limited number of prescribed forms. The other, a more genial spirit, had possessed the largest toleration for rude or untrained workmanship, provided that in its expression the carver had a meaning which would be generally understood and appreciated. If skill could be commanded, either of design or technique, it was welcomed; but it gave no encouragement to work which was either so distinctive as to be independent of its surroundings, or of a kind which could have no other than a mechanical interest in its execution. The abrupt contrasts, the variety and mystery, characteristic of Gothic architecture, had been a direct and irresistible invitation to the carver, and the freest playground for his fancy. The formality of the classical design, on the other hand, necessarily confined such carving as it permitted to particular lines and spaces, following a recognized rule; and except in the case of bas-relief figure subjects and detached statues, demanded no separate interest in the carvings themselves, further than the esthetic one of relieving such lines and spaces as were otherwise uncomfortably bare.

Some modification of this extreme arrogance toward the decorative carver was only to be expected in the revived style, but the freedom allowed to the individual carver turned out to be more apparent than real. A new race of carvers sprang up, imbued with the principles of classical design; but being no longer in touch with natural and popular interests, nor stimulated by mutual cooperation with their brother craftsmen, the mason builders, they adopted the fashionable mode of expression invented by the new architects and the painters of the time. Elaborate "arabesque" and other formal designs gave employment to the carvers, in making an infinite repetition of fiddles, festoons, and ribbons, in the execution of which they became so proficient, that their work is more often admired for its exquisite finish than for any intrinsic interest in the subject or design.

Judged by its effects upon the art of carving, without the aid of which a national style of architecture is impossible, the revival of classical architecture never had a real and enduring life in it. Strictly speaking, no organic style ever grew out of its ambitious promises; the nearest approach to such a thing is to be found in those uncouth minglings of Gothic tradition with fragments of classical detail which distinguish much of the domestic architecture during the sixteenth and seventeenth centuries. Amusing in their quaint and often rich and effective combinations, humanly interesting in proportion to the predominance of the Gothic element, association has grown up around these homely records of a mixed influence, until they have come to be regarded with affection, if not with the highest admiration.

The "revival" brought nothing but harm to the carver himself--that is, to the carver who found it impossible to reach the elevation of a sculptor of genius. He sacrificed his own small but precious talent as a creator of pleasant images for the attainment of a finesse in the execution of other people's ideas. To the "Renaissance" must be attributed that fatal separation of the craftsman's function into the hands of designer and executant which has so completely paralyzed the living spirit of individual invention. It has taken close upon four centuries to open the eyes of our craftsmen to this inconsistency, and "revive" the medieval truth that invention and execution are strictly but one and the same thing. Let us hope that the present awakening to the importance of this fact may yet lead to what will be truly worthy of being called a "Renaissance"; not merely of outward forms, but of that creative energy which alone justifies the true meaning of the word.

NOTES ON THE COLLOTYPE PLATES

PLATE I.--_Old Carved Chest in York Cathedral._ The front of a chest of almost similar design, only reversed, is to be seen in South Kensington Museum, which looks from its resemblance both in design and technique to be the work of the same carver, or at least to have been done about the same time. Note the absence of any attempt at elaborate perspective, and the "decorative" aspect of houses, rocks, trees, etc., also the distinctive treatment of the Knight and Princess who appear in the picture several times, representing various incidents of the story.

PLATE II.--_Figure from the Tomb of Henry IV in Canterbury Cathedral._ This figure is one of the corner ornaments on the canopy. The whole of the upper structure is of wood, painted in colors with parts picked out in gold.

PLATE III.--_Aisle Roof, Mildenhall Church, Suffolk._ This is one of the many beautiful carved roofs which abound in Norfolk and Suffolk. The nave roof is enriched with carvings of angels with wings outspread.

PLATE IV.--_Nave Roof, Sall Church, Norfolk._ This is another very beautiful timber roof showing the union of practical carpentry with carving to perfection.

PLATE V.--_Portion of a Carved Oak Panel. The Sheepfold._ The other part is shown in Plate VI, as, owing to the proportion of this panel and the necessity for keeping the scale of the plates as large as possible, it has been divided and shown in two portions. It was begun without any premeditated intention as to use, the sloping end being the shape of the board as it came into the author's hands, the other end being sloped off to match it.

PLATE VI.--_Portion of a Carved Oak Panel. The Sheepfold._ See description of Plate V.

PLATE VII.--_Preliminary Drawing of a Lion for Carving._ This plate is, as explained in the text, from a drawing by Philip Webb, the well-known architect. It was done by him to explain certain facts about the pose of a lion when the author was engaged in carving the book covers which are shown in Plates VIII and IX.

PLATES VIII and IX.--_Book-Covers carved in English Oak._ These were done by the author for one of the "Kelmscott Press" books, Tale of Troy, at the instance of Mr. Cobden-Sanderson. The relief is very slight, and is rather exaggerated by the light and shade of the photograph. The carved portion only of these covers is shown, the size of which is 11-1/2 x 5-3/4 ins.

PLATE X.--_Book-Covers carved in English Oak._ These were done by the author for Mr. F. S. Ellis's translation of Reynard the Fox. The size of the carved part is 8-3/4 x 5-1/4 ins.

PLATE XI.--_Carvings from Winchester Cathedral._ This plate is from sketches made by the author at Winchester Cathedral. The upper one is a spandrel piece from the traceried arcading of the stalls. The lower one is a part of one of the carved Miserere seats. The spandrel carving is pierced; that is, has the ground cut right through. The other piece is elaborately undercut.

PLATE XII.--_Carving from Choir-Screen, Winchester Cathedral._ This plate is from a sketch done for the purpose of noting the general effect of a large mass of carved foliage with particular reference to the distribution of lighted surfaces in the design.

PLATE XIII.--_Font Canopy, Trunch Church, Norfolk._ The plate gives the upper portion only of this beautiful canopy; it is supported upon six posts richly carved on all sides, of which there are five to each post. The height of the whole canopy is about fifteen or sixteen feet--it presumably dates somewhere toward the end of the fourteenth century or beginning of the fifteenth.

PLATE XIV.--_Designs for Carving, by_

_Philip Webb._ This plate gives two examples of designs for carving by Philip Webb. The upper one is part of a richly carved cornice which was done for a chimney-piece; the carving was executed by Mr. Laurence Turner, from whom the author got his first lesson in wood-carving. The other example is a design on paper for carving to be done in oak. This was carried out in the paneling of the dining-room at Clouds House, Salisbury, and looked exceedingly effective. Much of the articulation on the surface of the leaves, it will be noticed, is got by sharp facets produced by the intersection of gouge cuts.

PLATE XV.--_Leg of a Settle carved in English Oak._ This was begun by the author as forming part of a large oak seat or "settle," but has never been completed. The wood out of which it is carved came out of an old house at Tewkesbury and was full of cracks which were filled up with slips of oak glued in and carved over.

PLATE XVI.--_Pew Ends in Carved Oak, Brent Church, Somersetshire._ The three bench ends shown in this plate are from Brent Church, Somersetshire. Although rude in execution, they are extremely effective in design. The bounding form of the molded edges and gracefully shaped top are worth noticing; the whole evidently the outcome of a nice and inherited sense of design, without any particular technical knowledge or experience. The termination of the finials was unfortunately omitted in the photograph, hence the abrupt line at the top.

THE COLLOTYPE PLATES

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

"Arkansas" slips, 44, 58

Arms, coats of, 177

Aumonier, W., 204, 238

Background, patterned, 96

Bas wood, 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, 288, 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, 284

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, 284

Sheepfold, the, collotype plate, 266, 282, 284

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, 273

Yorkshire settle, 168

THE END

Transcriber's Note: Minor corrections were made to normalize spelling and punctuation. Small caps were replaced with all-caps.