New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1903-11-20
WOOD CARVING.
A Judicious Guide for the Amateur
Craftsman.

wooD-cARvING DESIGN AND WORKMAN
SHIP. BY George Jack With Drawings by the
u. Appleton Co.
In keeping with the practical attitude to the
subject which the Appleton's series of technical
textbooks artistic crafts has followed. George
Jacks book on wood carving gives early atten-
ton 20 the tools 20 be employed. The beginner
is advised TO get along at first with few tools
one OF the best ways to learn the special uses
81 the less common forms OF chisels and gouges
is 10 meet the need OK them in piece Of work
the performance OF which viii not readily adapt
itself TO the tools already known and possessed
The temper should be looked 20. 1t is becom-
ing unpleasantly frequent Of late that the edges
Of new tools are soft enough TO turn even in SOFT
wood In the choice Of woods open 20 the
carver. Eastwood. kauri pine and lime are
most useful among the softer woods but free
piece OF yellow pine VIII serve the beginners
uses Sycamore, beech and holly occupy an III
termediate place in the scale Of hardness. being
light colored an6 useful Tor broad shallow work
Oak. walnut and mahogany are the princlpal
kinds OF hard wood OF oaks. the English varie-
" is the best II is close in the grain and very
hard. American and Austrian oak is quicker
growing. and consequently more open in the
fibre, and uneven. In walnut the Italian Va
rtetv is superior TO the English, which has too
shallow carving the American walnut of cany
fibre. is better Spanish mahogany is now al
most impossible &c obtain. The Honduras va
riety cuts in a sharp cany fashion.
Design and execution are no more to be d.
vorced IN wood carving than in any other form
OF manual craft. 1t was Of the main condi-
lions OF production in the best periods Of the
art in the past, and it must undoubtedly return
to be the universal rule If any real progress is
TO be made. II is in the actual control of the
wood that the best inspiration and discipline
in design is to be found and no piece Of carving
can properly be said to be designed" until ii is
finished TO the last stroke The imitation of
nature. on which design ultimately rests, is
often carried TO extreme in the attempt to secure
new and interesting effects. From time to time.
throughout the book, as in former books of the
SERIES word is spoken in favor of the con-
ventionai treatment, and a loyalty to the ol<er
methods that have gained dignity and avoided
the Inevitable tendency TO confusion. In eco
ncmioal use Of detail and a happy choice Of
background the older carvers showed a fine
comprehension of the value of easily understood
PATTERNS which should in various lights and al
a distance, remain visible and coherent The
author pays his compliments to a new originate
ty, encouraged by an easygoing kind Of sub
urban refinement" which has filed shops and
exhibitions with "invertebrate" sort of or
nament. owing its inspiration evidently TO the
trailing and supine forms Of floating seaweed.
The medieval carver cared more for the general
effect than for adventurous expeditions in tech
nique. The modern carver is inclined TO lose
sight Of the ultimate purpose OF decoration in
his interest in dexterity. and his more scientific
approach to his subject, his botanical eye for
leaf forms. The medieval austerity Of rejection
win not do to-day. is not possible short Of af-
0ectation. but the general controlling motive OF
the older work is wholesome corrective.
The Information in the book is presented in
the form Of classroom talks to students en-
gagged at their benches. and the directions
constantly explained by drawings. sheaf Of
notable bits Of carving, reproduced in collotype
process, is appended, with notes