The Indianapolis journal. [volume] (Indianapolis [Ind.]) 1867-1904, 1903-02-08
w GOD Il X VIM G.
BY
REV. F. C. LAMB RT, NJ. A.


factor of considerable Importance. OF
course in the case of Objects e.. furni-
ture-which may be moved from place to
place the worker can only guess as TO what
are the most likely conditions and regulate
his treatment accordingly. For work OF
importance the wood carver usually first
models his design in clay and studies IL IN
various lightings. making any needed al
terstions. Then his clay model becomes his
copy from which the wood is cut. II the
reader has noticed modern work In our
cathedrals and large churches where care
fully executed figures are carved he may
reasonably conclude that these have first
been carefully modelled in wax or clay be-
fore the wood (or stone) was carved.
Where a geometric pattern is repeated. as
along the fringe of a canopy. a dado or
frieze. il is customary with some workers
to cut out of thin metal a stencil plate for
greater accuracy of repetition. But our
forefatksrs evidently did not these me-
chanical aids. and hence we see greater
freedom of treatment. and their work in
consequence has more OF the man and less
of the machine, a variation in uniformity
which gives il a charm and value all its
own.
FINISHING TOUCHES.
But while we have been talking OF other
things our friend at the bench has got well
forward with his work, and now he again
sharpens few tools for finishing. In fact,
we may say that when wood carver Is
not actually carving he is or ought to be
sharpening his tools. For good work II Is
essential that the tools must be in fine
condition" Then with few light and
deft. delicately-given strokes he passes all
over the work for finishing cut-and here
the artists touch comes I'm. Ii is the last
thin shaving that tells and makes the diff
ference between cutting and carving.
sand paper comes next, I suppose" says
the reader. Avaunt, avaunt! Sand paper
to the wood carver is abomination. 1t
makes bad work worse. No. The carver
does not nibble his work like a mouse at
a cheese-but carves with a clean cut
| Modern work is frequently finished" by
rubbing with raw linseed oil. This gives an
| agreeable dark surface and helps TO Ill the
pores of the wood. and so keep out dirt
| If a brighter, more shiny surface Is re-
| quired then beeswax Is added TO the oil
| Modern trade-carved oak made in quantity
| for nondiscriminating market is converted
into antique by subjecting IL to the strong
| fumes of ammonia vapor, or is otherwise
aged by staining with bitumen dissolved in
benzole, turpentine, etc. Genuine worm
| holes (indsputable proofs of age) are easily
| added by firing fine shot from gun. Each
| tiny pellet penetrates the wood and leaves
the worm hole.'(O To hide the buried
| shot these holes are frequently filled up
with dust and sawdust. Nevertheless, the
| cautious buyer may be pardoned il he
probes a few of these worm holes with q
needle, when the leaden shot may readily
be recognized by touch IL not by sight.
At the present time there is considerable
trade in ''chip carving" notch cutting"
or carving from the fiat done in Norway,
Denmark and parts of Switzerland. while
not little genuine old English carved
oak" is being manufactured to the dealers
order in Holland and Belgium. Nor may
one feel safe even in unlikely places. For
| the knowing dealer has learned that the
| collector of curious wood carvings is woiA,
| to haunt TIE roadside country inns and
outlying farmhouses; and many an incau-
tious buyer has reason to regret having
invested goodly sum In what he thought
was a genuine find" only to find after
wards that it is modern antique"
1t may not be very generally known that
many woods can be nodded and bent IL
| they are first subjected to steam. This
renders them more or less plant. and If q
piece of wood. such. for instance. as the
handle of salad spoon or fork. is bent.
and kept in such position until the wood
cools and partly dries that it will then
retain its curved or bent form. This Is
mentioned so that the student of wood
carving may at the outset be led to notice
| bat hon arA
cutting.
SOME OF THE BEST WOODS,
AS to woods-almost any kind of wood
may be used-and the amateur is wise il
he confine his attention to the softer
kinds, first American whitewood. lime and
pear, are fairly easy to cut-after these
come holly, walnut and oak. The reader
may have noticed that we said above that
the carver only uses one tool. viz. a chisel.
Seldom indeed does he use a hammer or
nallet-except. perhaps. for very rough and
ready work-scarceiy to be called carving,
but rather hacking and chopping- The
artist only uses the hand for pushing the
| chisel and If the tools be in condition,
to temper and edge. he will do his work
In this way with surprising rapidly and
! accuracy.
| NOOQ carving do piedsuidoiS hoooy
| for the amateur-either student or
ractitioner-certainly has attractive fea-
lures. which become more interesting as
ones knowledge and experience grows.
And despite the ruthless restorer and fraud
ulent forger of sham antiquities. We for
tunately have in our cathedrals. churches
and old homes a wonderful store Of fine
examples for the study of this most charm-
! ing art.
Next Week:
| Games for Winter Evenings" by The
Lady Knishtley of Fawsley.
| [sCopyrighted i'm the United States Of Amer.
lea by d. T. Pierce. All rights reserved-l
sMITHsON's DUST.