diff options
Diffstat (limited to '42949-h')
| -rw-r--r-- | 42949-h/42949-h.htm | 532 |
1 files changed, 56 insertions, 476 deletions
diff --git a/42949-h/42949-h.htm b/42949-h/42949-h.htm index 705966b..71ee5eb 100644 --- a/42949-h/42949-h.htm +++ b/42949-h/42949-h.htm @@ -2,7 +2,7 @@ "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> - <meta http-equiv="Content-Type" content="text/html;charset=iso-8859-1" /> + <meta http-equiv="Content-Type" content="text/html;charset=UTF-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg eBook of A Manual of Wood-carving, by Charles G. Leland. @@ -144,46 +144,7 @@ a:link:active {text-decoration: underline;} </style> </head> <body> - - -<pre> - -The Project Gutenberg EBook of A Manual of Wood Carving, by Charles G. Leland - -This eBook is for the use of anyone anywhere at no cost and with -almost no restrictions whatsoever. You may copy it, give it away or -re-use it under the terms of the Project Gutenberg License included -with this eBook or online at www.gutenberg.org/license - - -Title: A Manual of Wood Carving - -Author: Charles G. Leland - -Release Date: June 15, 2013 [EBook #42949] - -Language: English - -Character set encoding: ISO-8859-1 - -*** START OF THIS PROJECT GUTENBERG EBOOK A MANUAL OF WOOD CARVING *** - - - - -Produced by eagkw, Chris Curnow and the Online Distributed -Proofreading Team at http://www.pgdp.net (This file was -produced from images generously made available by The -Internet Archive/American Libraries.) - - - - - - -</pre> - - +<div>*** START OF THE PROJECT GUTENBERG EBOOK 42949 ***</div> <div class="figcenter"> <img id="coverpage" src="images/cover.jpg" width="504" height="649" alt="Cover" /> @@ -217,7 +178,7 @@ French-American and Hungarian Folk Lore Societies; Pres.<br /> British Gypsy Lore Soc., &c.; Author of “The Minor<br /> Arts,” “Twelve Manuals of Arts,” “Practical<br /> Education,” “Album and Handbook of<br /> -Retoussé Work,” &c. &c.</i></p> +Retoussé Work,” &c. &c.</i></p> <p class="tp2"> @@ -358,7 +319,7 @@ which the thanks of both author and publishers are due.</p> </tr><tr> <td class="col1" colspan="2">Twelfth Lesson.</td> </tr><tr> - <td class="col2">Building-up, or Appliqué work</td> + <td class="col2">Building-up, or Appliqué work</td> <td class="col3"><a href="#TWELFTH_LESSON">75</a></td> </tr><tr> <td class="col1" colspan="2">Thirteenth Lesson.</td> @@ -986,7 +947,7 @@ touch it up.</p> <p>The pupil may now, with a pattern-wheel or tracer, indent or mark a line or narrow groove in the outline of the pattern. The tracer is the same implement of the same name which is used in -<i lang="fr" xml:lang="fr">repoussé</i> or brass-sheet or metal-work. Its end is exactly like +<i lang="fr" xml:lang="fr">repoussé</i> or brass-sheet or metal-work. Its end is exactly like that of a screw-driver. To manage it properly hold it upright,<span class="pagenum"><a name="Page_16" id="Page_16">[16]</a></span> and run it along, tapping it as it goes with a hammer of iron or wood, Fig. <a href="#fig020">20</a>. In some countries a stick of @@ -1029,7 +990,7 @@ borne in mind that the pupil who masters this process of indenting with wheel, tracers, and stamps, will be quite able to work patterns in damp sheet-leather, since the latter is<span class="pagenum"><a name="Page_17" id="Page_17">[17]</a></span> effected in the same way with the same tools. Nor does the -first step in <i lang="fr" xml:lang="fr">repoussé</i> or sheet-brass work differ greatly from it. +first step in <i lang="fr" xml:lang="fr">repoussé</i> or sheet-brass work differ greatly from it. All the minor arts have a great deal in common; many of the tools used in one being applicable to others. The pupil who begins with some knowledge of drawing will soon find it easy to @@ -1289,7 +1250,7 @@ and valuable work can be executed in this manner alone. These lines can be painted in black, dark colours, or red, so as to make fine effects in decorative furniture or friezes. It may also be observed, that when cut they may be used for moulds -for plaster of Paris, papier-maché, and leather. The pupil +for plaster of Paris, papier-maché, and leather. The pupil would do well to pass a few days in developing simple groove-work, which is worth perfectly understanding. There are few who cannot with care learn to cut grooves very well with a @@ -1467,7 +1428,7 @@ sweep-cut, than the usual method of devoting much time in the beginning to chipping elaborate leaves and other small work. Therefore it will be well for the pupil to perfect himself in such simple groove and hollow work. This was the first step in -mediæval carving, and it was the proper one for general decoration. +mediæval carving, and it was the proper one for general decoration. It was in this manner that the old carvers of England and their masters, the Flemings, taught their pupils.</p> @@ -1602,7 +1563,7 @@ untouched. Should you do this you will be led to cutting too deeply in some places. When the hard work is effectively executed, and nearly all the wood is roughly cut away, the work is said to be <i>bosted</i> or sketched, a word supposed to be derived -from the French <i lang="fr" xml:lang="fr">ébauché</i> or the Italian <i lang="it" xml:lang="it">abozzo</i>, meaning the +from the French <i lang="fr" xml:lang="fr">ébauché</i> or the Italian <i lang="it" xml:lang="it">abozzo</i>, meaning the same thing.</p> <p>After cutting <a href="#fig037a">Fig. 37 <i>a</i></a>, the pupil may proceed to <a href="#fig037b">37 <i>b</i></a>, @@ -1731,7 +1692,7 @@ the leaf may be a little under-cut to give relief; this effect should be given by a V tool or small veiner. When the leaf is correct in form, proceed with flat gouges to remove the tool marks, holding the tool very firmly, and inclining it to an angle of -about 45°.</p> +about 45°.</p> <p>It is advisable for the beginner to cut several simple leaves with great care, Fig. <a href="#fig039">39</a>, and, if possible, let him draw, shade carefully, @@ -2198,7 +2159,7 @@ most beautiful and characteristic features of leaves be preserved.</p> <p>In ribbon or flat carving, a strong shadow or relief may be got as follows. In cutting, slant the chisel or gouge outwards at -an angle of 45°, thus <span class="symb">/</span>. When the grounding is finished, cut +an angle of 45°, thus <span class="symb">/</span>. When the grounding is finished, cut under the slope, half way up. The outline will then be like a <span class="symb"><</span>. This sharp edge may be cut away a very little, such as <span class="symb">﹝</span>, or even into a rounded <span class="symb">﹙</span>, in which case there will be a marked @@ -2315,7 +2276,7 @@ work.</p> <p>Whatever a pupil can draw from life or a block, <em>that</em> he can shadow; and whatever he can draw and shadow he can model -(or <i lang="la" xml:lang="la">vice versâ</i>); and whatever he can model, he can execute in +(or <i lang="la" xml:lang="la">vice versâ</i>); and whatever he can model, he can execute in wood; nor would the working it out in sheet brass or leather trouble him at all. This is the best way to work, so much the best that, under all circumstances, and in spite of all drawbacks, @@ -2497,7 +2458,7 @@ can really give.</p> effect is very much increased or improved by polishing the pattern,<span class="pagenum"><a name="Page_68" id="Page_68">[68]</a></span> and leaving the ground rough or indenting it. This is not only perfectly legitimate, but commonly done in marble or metal -<i lang="fr" xml:lang="fr">repoussé</i> of every kind, as well as leather-work, and yet every +<i lang="fr" xml:lang="fr">repoussé</i> of every kind, as well as leather-work, and yet every writer on wood-carving repeats as a duty the injunction that there must be “no polishing,” and nothing but cutting. This is, indeed, equivalent to prohibiting the application of wood-carving @@ -2551,9 +2512,9 @@ regular intervals. It is so called from the well-known diaper or figured linen cloth, from the -Old French <i lang="fr" xml:lang="fr">diapré</i>, +Old French <i lang="fr" xml:lang="fr">diapré</i>, meaning the same, -from the verb <i lang="fr" xml:lang="fr">diapréz</i>, +from the verb <i lang="fr" xml:lang="fr">diapréz</i>, to diaper, or “diversifie with flourishings” (Cotgrave). The verb, @@ -2682,7 +2643,7 @@ step, sufficiently master any one thing.</p> <h2 class="nobreak"><a name="TWELFTH_LESSON" id="TWELFTH_LESSON">TWELFTH LESSON.</a></h2> -<p class="sbtl">BUILDING-UP, OR APPLIQUÉ WORK.</p> +<p class="sbtl">BUILDING-UP, OR APPLIQUÉ WORK.</p> <div class="dropcap"><a id="ill075b"></a> <img src="images/ill075b.png" width="159" height="252" alt="Ornamental I" title="I" /> @@ -2719,12 +2680,12 @@ really valuable work may be easily made, for such half-decayed pieces of old carving are too often thrown away, and may often be purchased for a trifle.</p> -<p>Still, this method of <i lang="fr" xml:lang="fr">appliqué</i>, or applied wood on wood, though +<p>Still, this method of <i lang="fr" xml:lang="fr">appliqué</i>, or applied wood on wood, though it may be resorted to in certain cases to save a great deal of cutting and material, may be carried too far, when it degenerates into mere manufacture.</p> -<p><i lang="fr" xml:lang="fr">Appliqué</i> work of this kind falls still further into manufacture +<p><i lang="fr" xml:lang="fr">Appliqué</i> work of this kind falls still further into manufacture when it consists of thin boards, cut into patterns with a fret or scroll-saw, worked up with gouges, and then glued on wood. This is plain imitation. Yet it may be borne in mind, though @@ -2733,7 +2694,7 @@ most writers on the subject deny it, that while it is absolutely and if a man can contrive no better way to ornament his house, he is perfectly in the right in doing so, if he thinks fit. And if he can afford the time, skill, and materials, he will probably -advance from <i lang="fr" xml:lang="fr">appliqué</i> work to something better. In any case +advance from <i lang="fr" xml:lang="fr">appliqué</i> work to something better. In any case he will have learned something by it, and it is worth learning. It is too often the case with high art critics, that they exact that everybody <em>must</em> have finished taste and <em>high</em> perceptions @@ -2743,12 +2704,12 @@ all at once, with no regard to expense.</p> <div class="figcenter"><a id="fig052"></a> <img src="images/fig052.png" width="396" height="497" alt="" /> -<div class="caption"><p>Fig. 52. <span class="smcap">Appliqué Work.</span></p> +<div class="caption"><p>Fig. 52. <span class="smcap">Appliqué Work.</span></p> -<p><span class="smcap">Dragon in Thin Wood, Appliqué on a Diaper Ground.</span></p></div> +<p><span class="smcap">Dragon in Thin Wood, Appliqué on a Diaper Ground.</span></p></div> </div> -<p>The pupil may now attempt an easy piece of <i lang="fr" xml:lang="fr">appliqué</i> work. +<p>The pupil may now attempt an easy piece of <i lang="fr" xml:lang="fr">appliqué</i> work. Take a panel, Fig. <a href="#fig052">52</a>, and trace on it the pattern. Leave a blank flat space of the original surface, called the “seat,” for the figures, of their precise size, and then work out the ground. @@ -2757,7 +2718,7 @@ carving or by stamping. Having finished the diapered ground,<span class="pagenum saw or cut out the figures, glue them into their places, and carve them; or the carving may be executed before the application.</p> -<p><i lang="fr" xml:lang="fr">Appliqué</i> work is liable to the objection, especially where +<p><i lang="fr" xml:lang="fr">Appliqué</i> work is liable to the objection, especially where large surfaces are laid on, that two pieces of wood are seldom of <em>precisely</em> the same quality and texture, and that, therefore, they may sometimes afterwards shrink or swell in different @@ -2767,7 +2728,7 @@ but the best preventive of such accidents is to cut both the ground and the piece glued on to it from the same piece of wood, of course perfectly seasoned.</p> -<p>In many cases frames or borders may be <i lang="fr" xml:lang="fr">appliqué</i> or glued +<p>In many cases frames or borders may be <i lang="fr" xml:lang="fr">appliqué</i> or glued on. If the work be intended for an album or book-cover, the frame may be made a trifle higher than the central ornament, to protect it from being scratched when lying with the face on @@ -2865,7 +2826,7 @@ simple figures, or faces, in high relief.</p> <p>It is true that in shops where much large and coarse work is executed, as, for instance, great pieces for ceilings, figures for -façades, and the like, the sculptor, trained from the beginning +façades, and the like, the sculptor, trained from the beginning to the sweep-cut and to bold chipping, makes little account of any difficulty, and proceeds to carve with great confidence. Now what the student must endeavour to attain is some of the confidence @@ -2968,7 +2929,7 @@ is to leave sufficient material everywhere for perfect freedom in the subsequent carving by not cutting anywhere too close.</p> <p>An entirely different method is followed in cutting out moulds, -the pieces to be used for <i lang="fr" xml:lang="fr">appliqué</i> carving, and for the outlines of +the pieces to be used for <i lang="fr" xml:lang="fr">appliqué</i> carving, and for the outlines of fretwork or panels pierced with many interstices of which the surface is afterwards to be carved. These works cannot be held fast in the vice or otherwise, not only because they are often @@ -3138,7 +3099,7 @@ great care into the mould, and then take it off. If your wood be well cut, the leather when dry will be quite as attractive as the carving itself, and may be used in many ways. The wood will not be injured in the least if you wipe it dry after taking -the impression. With such moulds <i lang="fr" xml:lang="fr">papier-maché</i> casts can also +the impression. With such moulds <i lang="fr" xml:lang="fr">papier-maché</i> casts can also be taken. I have now before me a beautiful specimen of old Byzantine work made in this manner.</p> @@ -3200,7 +3161,7 @@ for artists to paint on in oil.</p> <p><span class="pagenum"><a name="Page_92" id="Page_92">[92]</a></span></p> <p>As I have said, incised cutting will be found useful to workers -in leather, papier-maché, clay, or plaster of Paris, because by +in leather, papier-maché, clay, or plaster of Paris, because by means of it they can make moulds. Another kind of mould is made as follows: Cut out with a saw the outline of the pattern in a piece of board thick enough to give the requisite depth. @@ -3563,7 +3524,7 @@ off a piece from his work. In this case he must have recourse to glue. This should be of the very best quality, perfectly light and clean. Glue is made in what alchemists used to call a <i lang="la" xml:lang="la">balneum -mariæ</i>, that is, of a vessel containing hot water, +mariæ</i>, that is, of a vessel containing hot water, within which is a smaller vessel. The glue, which is in the inner pot, is therefore to be boiled by the heat of warm water, and not of the fire directly. @@ -3822,7 +3783,7 @@ course be painted in the ordinary way. But there is another method of applying oil paint which is not so generally known or practised, yet which gives very good results. This consists of <i>rubbing</i> paint with the hand into wood or on plaster of Paris, -papier-maché, or stone. As it is much thinner than with coats +papier-maché, or stone. As it is much thinner than with coats laid on with a brush, it appears more like an innate or natural colour. This was the finger painting of the old Venetian artists. The appearance thus produced, when it is skilfully @@ -3843,7 +3804,7 @@ there be a dark line of brown close to the outline of the pattern. Sometimes the entire ground may be <i>rubbed</i> with brown, allowing an indication or a few dots of white yellow to show here and there. When dry give two coats of retouching varnish (that of -Söhnee Frères, No. 19, Rue des Filles du Calvaire, Paris, is +Söhnee Frères, No. 19, Rue des Filles du Calvaire, Paris, is specially suited to this work). By using olive, dark and light greens, a beautiful imitation of bronze can be thus obtained. In fact, by studying the effects of colour in many kinds of old @@ -3964,7 +3925,7 @@ is at least half an inch in thickness. Press it as hard as you can while forming the mould. When it is dry you can paint or rub the inside with any dry powder, such as whiting, or varnish it, and then make a cast with the same material, <abbr>i.e.</abbr> paper and -paste, or with plaster of Paris. Papier-maché casts, when +paste, or with plaster of Paris. Papier-maché casts, when rubbed by hand with brown paint, form perfect facsimiles of old wood-work. Rubbed with bronze-powders they resemble metals, or they may be ivoried, by the process described in the @@ -3972,7 +3933,7 @@ chapter on dyes.</p> <p>Plaster-casts are very easily broken, and are heavy and difficult to transport. Wax is spoiled almost by a touch, and it -readily yields to heat. Papier-maché, when properly managed, +readily yields to heat. Papier-maché, when properly managed, with a little practice gives a mould which is equal to either for all surfaces except the most minutely delicate. When dry, such casts may be let fall, or really thrown about, without @@ -3988,7 +3949,7 @@ use in his designs. With a little practice, and at no expense, he can make such casts in a material which is almost as durable as wood itself.</p> -<p>In large manufactories of papier-maché the pulp of paper is +<p>In large manufactories of papier-maché the pulp of paper is simply mixed with the paste or size, and put into the moulds in<span class="pagenum"><a name="Page_117" id="Page_117">[117]</a></span> large masses, and then subjected to pressure. When a good surface is secured with fine white paper, it is not of much consequence @@ -4342,13 +4303,13 @@ imitate, and may be executed with a single V tool or firmer.</p> <p><i>Casks, Small Barrels, Kegs.</i> These are useful for waste-paper boxes, or to contain canes and umbrellas. When carved and coloured they form very attractive articles of furniture. They -may be used for garden seats. Heads of animals <i lang="fr" xml:lang="fr">appliqué</i> to +may be used for garden seats. Heads of animals <i lang="fr" xml:lang="fr">appliqué</i> to these, some for handles to lift them, or else holes must be cut in them for this purpose, <i lang="la" xml:lang="la">vide</i> Fig. <a href="#fig056">56</a>.</p> <p><i>Frames for Pictures or Looking-glasses.</i> These give a wide range to the wood-carver, for all borders are suitable to frames. -Heads may be <i lang="fr" xml:lang="fr">appliqué</i> to corners and centres of frames. It is +Heads may be <i lang="fr" xml:lang="fr">appliqué</i> to corners and centres of frames. It is very much to be desired that designers and carvers would exert their inventiveness and endeavour to break up the monotony and feebleness which characterize most frames, <i lang="la" xml:lang="la">vide</i> borders and @@ -4408,7 +4369,7 @@ mural work, which should be visible at great distances, out of<span class="pagen pretty flowers or too delicate work. A room with good bold door-panels, wainscot, or dado and a frieze, seems half furnished, while trifling and feeble ornaments detract from such appearance. -The great secret of the attractiveness of mediæval and savage +The great secret of the attractiveness of mediæval and savage decoration is its energy. Even eccentricity and grotesqueness lose all that is repulsive in them when they are simply and vigorously set forth.</p> @@ -4563,7 +4524,7 @@ grotesque kinds.</p> sarcophagus forms an excellent subject for a useful box. Take two pieces of wood, adapt them to make a box, like the Egyptian type, that is, the lid being about one-fourth as thick as -the box. <i lang="fr" xml:lang="fr">Appliqué</i> or glue more wood on to the lid, in the +the box. <i lang="fr" xml:lang="fr">Appliqué</i> or glue more wood on to the lid, in the centre. The whole may be then smoothed into shape, painted and gilt, or else carved in low relief, or simply stamped. It may also be all gilt, and the dot work and shadows painted in brown @@ -4572,7 +4533,7 @@ not difficult, and the result will be a very handsome object.</p> <p><i>Roman Sarcophagus.</i> This is simply a square box carved in very high relief, after the pattern of a Roman tomb. The ornaments -may be <i lang="fr" xml:lang="fr">appliqué</i>. These sarcophagi are very beautiful +may be <i lang="fr" xml:lang="fr">appliqué</i>. These sarcophagi are very beautiful when ivoried.</p> <p><i>Books.</i> A very pretty pattern for a box is an old book of the @@ -4582,7 +4543,7 @@ lid. Care should be taken to polish and ornament the whole so as to look like an original. It was very common to make the sides of old books of wooden panels, which were carved in high relief. Silver and brass or iron clasps and studs taken from -such old books may be bought in many bric-à-brac shops.</p> +such old books may be bought in many bric-à -brac shops.</p> <p><i>Staves or Alpenstocks.</i> A staff four or five feet in length is more useful for a pedestrian going a great distance than a cane, @@ -4674,7 +4635,7 @@ form handsome decorations to place <em>above</em> a door; they may also be used to place above windows. Inscriptions, or simple figures with ornament, look very well on them.</p> -<p><i>Outside or Façade Pieces.</i> Many a house, be it mansion or +<p><i>Outside or Façade Pieces.</i> Many a house, be it mansion or cottage, which seems utterly prosaic and plain, might be greatly improved if between its windows, on the outside, there could be set ornamental panels. These may be painted, carved in stone, @@ -4757,7 +4718,7 @@ twisted once or twice, as often happens, it is almost impossible at times to get it off.</p> <p><i>The Boss</i> or round central projection formed a very important -part or speciality in mediæval wood-carving. It can be advantageously +part or speciality in mediæval wood-carving. It can be advantageously used as a centre, and sets off to good effect surrounding flat or plain carving. It is sometimes used as a handle for chests. It is, when a simple half-circle, very easily sketched<span class="pagenum"><a name="Page_142" id="Page_142">[142]</a></span> @@ -4866,7 +4827,7 @@ be carved.</p> made in a great variety of forms. The simplest is merely three pieces of board fastened together in a triangle. In the illustration, Fig. <a href="#fig077">77</a>, there are five pieces. The centre of <i>b</i> slopes at an -angle of 45°. Bracket shelves are made by hanging two brackets +angle of 45°. Bracket shelves are made by hanging two brackets and laying a board across them. A bracket may be made on a longer board, and have two or more shelves, it then becomes a hanging rack or cabinet. Or the support may be a long strip in @@ -4876,7 +4837,7 @@ may be adapted to brackets.</p> <div class="figcenter"><a id="fig077"></a> <img src="images/fig077.png" width="277" height="400" alt="" /> -<div class="caption"><p>Fig. 77. <span class="smcap">Bracket. The Tannhäuser.</span></p></div> +<div class="caption"><p>Fig. 77. <span class="smcap">Bracket. The Tannhäuser.</span></p></div> </div> <p><i>Violin and Guitar Cases.</i> In the old times these were often @@ -5093,7 +5054,7 @@ stick, or horn, or oval box, is made to rudely resemble a figure by adding to it a head and legs, this is so called.</p> -<p><i>Ædicula.</i> A small house or tower, generally used as a box. +<p><i>Ædicula.</i> A small house or tower, generally used as a box. Very effective and beautiful articles are thus made.</p> <p><i>Ante-fix.</i> Ornament carved in stone or wood, or made from @@ -5236,14 +5197,14 @@ by C. G. Leland; London, Whittaker and Co.</p> <ul class="index"> <li><a id="index_a"></a>Acerra, <a href="#Page_151">151</a></li> -<li>Ædicula, <a href="#Page_151">151</a></li> +<li>Ædicula, <a href="#Page_151">151</a></li> <li>Album-covers, <a href="#Page_129">129</a>, <a href="#Page_131">131</a></li> <li>Alms boxes, <a href="#Page_148">148</a></li> <li>Alpenstocks, carved, <a href="#Page_136">136</a></li> <li>Ammonia as a wood stain, <a href="#Page_112">112</a></li> <li>Animal forms, carving, <a href="#Page_59">59</a></li> <li>Antefix, <a href="#Page_151">151</a></li> -<li><i lang="fr" xml:lang="fr">Appliqué</i> work, <a href="#Page_75">75</a>, <a href="#Page_84">84</a>;</li> +<li><i lang="fr" xml:lang="fr">Appliqué</i> work, <a href="#Page_75">75</a>, <a href="#Page_84">84</a>;</li> <li class="isub1">it may be carried too far, <a href="#Page_76">76</a></li> <li>Art, “high,” and carving, <a href="#Page_64">64</a>, <a href="#Page_76">76</a>.</li> <li class="isub1"><i>See also</i> Conventional, the, Rule, etc.</li> @@ -5295,7 +5256,7 @@ by C. G. Leland; London, Whittaker and Co.</p> <li class="isub1">coin (or corner), <a href="#Page_150">150</a></li> <li>Bread platters, <a href="#Page_137">137</a>, <a href="#Page_140">140</a>, <a href="#Page_152">152</a></li> <li>Buffets, <a href="#Page_148">148</a></li> -<li>Building-up, or <i lang="fr" xml:lang="fr">appliqué</i> work, <a href="#Page_75">75</a></li> +<li>Building-up, or <i lang="fr" xml:lang="fr">appliqué</i> work, <a href="#Page_75">75</a></li> <li>Butternut as a dye, <a href="#Page_111">111</a></li> </ul> @@ -5389,7 +5350,7 @@ by C. G. Leland; London, Whittaker and Co.</p> </ul> <ul class="index"> -<li><a id="index_f"></a>Façade pieces, <a href="#Page_139">139</a></li> +<li><a id="index_f"></a>Façade pieces, <a href="#Page_139">139</a></li> <li>Figures, carving simple, <a href="#Page_59">59</a></li> <li>Figurini, <a href="#Page_62">62</a>, <a href="#Page_83">83</a></li> <li>Files for finishing, <a href="#Page_64">64</a></li> @@ -5503,7 +5464,7 @@ by C. G. Leland; London, Whittaker and Co.</p> <ul class="index"> <li><a id="index_m"></a>Macaroni tool, the, <a href="#Page_10">10</a>, <a href="#Page_42">42</a></li> <li>Mander’s stains for wood, <a href="#Page_111">111</a></li> -<li>Metal work, <i lang="fr" xml:lang="fr">repoussé</i>, <a href="#Page_15">15</a>, <a href="#Page_17">17</a></li> +<li>Metal work, <i lang="fr" xml:lang="fr">repoussé</i>, <a href="#Page_15">15</a>, <a href="#Page_17">17</a></li> <li>Mirrors, hand, <a href="#Page_153">153</a></li> <li>Mitchell, C. F., his “Lessons in Carpentry,” <a href="#Page_126">126</a></li> <li>Modelling, <a href="#Page_39">39</a>, <a href="#Page_49">49</a>, <a href="#Page_55">55</a>, <a href="#Page_61">61</a>, <a href="#Page_79">79</a>;</li> @@ -5548,7 +5509,7 @@ by C. G. Leland; London, Whittaker and Co.</p> <li>Painting, finger, of the old Venetians, <a href="#Page_113">113</a></li> <li>Panels for carving, <a href="#Page_123">123</a>, <a href="#Page_129">129</a>, <a href="#Page_132">132</a></li> <li>Paper squeezes, <a href="#Page_115">115</a></li> -<li><i lang="fr" xml:lang="fr">Papier-maché</i> work, etc., and carving, <a href="#Page_90">90</a>, <a href="#Page_92">92</a>, <a href="#Page_116">116</a></li> +<li><i lang="fr" xml:lang="fr">Papier-maché</i> work, etc., and carving, <a href="#Page_90">90</a>, <a href="#Page_92">92</a>, <a href="#Page_116">116</a></li> <li>Parting tool, the, <a href="#Page_10">10</a>, <a href="#Page_13">13</a>.</li> <li class="isub1"><i>See also</i> V tool.</li> <li>Patterns for carvers, <a href="#Page_74">74</a>, <a href="#Page_122">122</a></li> @@ -5583,7 +5544,7 @@ by C. G. Leland; London, Whittaker and Co.</p> <li class="isub1">progress towards, <a href="#Page_39">39</a></li> <li>Reliquaries (boxes), <a href="#Page_136">136</a></li> <li>Repairing wood-carvings, <a href="#Page_105">105</a></li> -<li><i lang="fr" xml:lang="fr">Repoussé</i> work, <a href="#Page_15">15</a>, <a href="#Page_17">17</a></li> +<li><i lang="fr" xml:lang="fr">Repoussé</i> work, <a href="#Page_15">15</a>, <a href="#Page_17">17</a></li> <li>Ribbon carving, <a href="#Page_34">34</a>, <a href="#Page_48">48</a>, <a href="#Page_57">57</a>.</li> <li class="isub1"><i>See also</i> Flat carving.</li> <li>Ring boxes, <a href="#Page_148">148</a>, <a href="#Page_152">152</a></li> @@ -5628,7 +5589,7 @@ by C. G. Leland; London, Whittaker and Co.</p> <li>Snibs, or dogs, <a href="#Page_8">8</a></li> <li>Soda as a dye for wood, <a href="#Page_111">111</a></li> <li>Sofa-backs, false, <a href="#Page_139">139</a></li> -<li>Söhnee Frères, their varnish, <a href="#Page_113">113</a></li> +<li>Söhnee Frères, their varnish, <a href="#Page_113">113</a></li> <li>Spaces, filling, <a href="#Page_139">139</a>, <a href="#Page_150">150</a>, <a href="#Page_151">151</a></li> <li>Spade chisel, the, <a href="#Page_10">10</a></li> <li>Spade gouge, the, <a href="#Page_10">10</a></li> @@ -5659,7 +5620,7 @@ by C. G. Leland; London, Whittaker and Co.</p> <ul class="index"> <li><a id="index_t"></a>Tables, <a href="#Page_150">150</a></li> <li>Tankards, carving, <a href="#Page_98">98</a>, <a href="#Page_134">134</a></li> -<li>Tannhäuser bracket, <a href="#Page_145">145</a></li> +<li>Tannhäuser bracket, <a href="#Page_145">145</a></li> <li>Tea as a dye, <a href="#Page_111">111</a></li> <li>Tiles, <a href="#Page_129">129</a></li> <li>Tool, the, art of turning it about, <a href="#Page_35">35</a>, <a href="#Page_37">37</a>, <a href="#Page_46">46</a></li> @@ -5742,7 +5703,7 @@ of Plates.)<br /> 90 “Egpytian” changed to “Egyptian” (Egyptian Cutting.)<br /> -113 “Fréres” changed to “Frères” (that of Söhnee Frères)<br /> +113 “Fréres” changed to “Frères” (that of Söhnee Frères)<br /> 143 “Vertemnus” changed to “Vertumnus” (Flora and Pomona and Vertumnus in simple archaic forms).</p> @@ -5751,387 +5712,6 @@ Vertumnus in simple archaic forms).</p> spelling and hyphenation.</p> </div> - - - - - - - -<pre> - - - - - -End of Project Gutenberg's A Manual of Wood Carving, by Charles G. Leland - -*** END OF THIS PROJECT GUTENBERG EBOOK A MANUAL OF WOOD CARVING *** - -***** This file should be named 42949-h.htm or 42949-h.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/4/2/9/4/42949/ - -Produced by eagkw, Chris Curnow and the Online Distributed -Proofreading Team at http://www.pgdp.net (This file was -produced from images generously made available by The -Internet Archive/American Libraries.) - - -Updated editions will replace the previous one--the old editions -will be renamed. - -Creating the works from public domain print editions means that no -one owns a United States copyright in these works, so the Foundation -(and you!) can copy and distribute it in the United States without -permission and without paying copyright royalties. Special rules, -set forth in the General Terms of Use part of this license, apply to -copying and distributing Project Gutenberg-tm electronic works to -protect the PROJECT GUTENBERG-tm concept and trademark. Project -Gutenberg is a registered trademark, and may not be used if you -charge for the eBooks, unless you receive specific permission. If you -do not charge anything for copies of this eBook, complying with the -rules is very easy. You may use this eBook for nearly any purpose -such as creation of derivative works, reports, performances and -research. They may be modified and printed and given away--you may do -practically ANYTHING with public domain eBooks. Redistribution is -subject to the trademark license, especially commercial -redistribution. - - - -*** START: FULL LICENSE *** - -THE FULL PROJECT GUTENBERG LICENSE -PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK - -To protect the Project Gutenberg-tm mission of promoting the free -distribution of electronic works, by using or distributing this work -(or any other work associated in any way with the phrase "Project -Gutenberg"), you agree to comply with all the terms of the Full Project -Gutenberg-tm License (available with this file or online at -http://gutenberg.org/license). - - -Section 1. General Terms of Use and Redistributing Project Gutenberg-tm -electronic works - -1.A. By reading or using any part of this Project Gutenberg-tm -electronic work, you indicate that you have read, understand, agree to -and accept all the terms of this license and intellectual property -(trademark/copyright) agreement. If you do not agree to abide by all -the terms of this agreement, you must cease using and return or destroy -all copies of Project Gutenberg-tm electronic works in your possession. -If you paid a fee for obtaining a copy of or access to a Project -Gutenberg-tm electronic work and you do not agree to be bound by the -terms of this agreement, you may obtain a refund from the person or -entity to whom you paid the fee as set forth in paragraph 1.E.8. - -1.B. "Project Gutenberg" is a registered trademark. It may only be -used on or associated in any way with an electronic work by people who -agree to be bound by the terms of this agreement. There are a few -things that you can do with most Project Gutenberg-tm electronic works -even without complying with the full terms of this agreement. See -paragraph 1.C below. There are a lot of things you can do with Project -Gutenberg-tm electronic works if you follow the terms of this agreement -and help preserve free future access to Project Gutenberg-tm electronic -works. See paragraph 1.E below. - -1.C. The Project Gutenberg Literary Archive Foundation ("the Foundation" -or PGLAF), owns a compilation copyright in the collection of Project -Gutenberg-tm electronic works. Nearly all the individual works in the -collection are in the public domain in the United States. If an -individual work is in the public domain in the United States and you are -located in the United States, we do not claim a right to prevent you from -copying, distributing, performing, displaying or creating derivative -works based on the work as long as all references to Project Gutenberg -are removed. Of course, we hope that you will support the Project -Gutenberg-tm mission of promoting free access to electronic works by -freely sharing Project Gutenberg-tm works in compliance with the terms of -this agreement for keeping the Project Gutenberg-tm name associated with -the work. You can easily comply with the terms of this agreement by -keeping this work in the same format with its attached full Project -Gutenberg-tm License when you share it without charge with others. - -1.D. The copyright laws of the place where you are located also govern -what you can do with this work. Copyright laws in most countries are in -a constant state of change. If you are outside the United States, check -the laws of your country in addition to the terms of this agreement -before downloading, copying, displaying, performing, distributing or -creating derivative works based on this work or any other Project -Gutenberg-tm work. The Foundation makes no representations concerning -the copyright status of any work in any country outside the United -States. - -1.E. Unless you have removed all references to Project Gutenberg: - -1.E.1. The following sentence, with active links to, or other immediate -access to, the full Project Gutenberg-tm License must appear prominently -whenever any copy of a Project Gutenberg-tm work (any work on which the -phrase "Project Gutenberg" appears, or with which the phrase "Project -Gutenberg" is associated) is accessed, displayed, performed, viewed, -copied or distributed: - -This eBook is for the use of anyone anywhere at no cost and with -almost no restrictions whatsoever. You may copy it, give it away or -re-use it under the terms of the Project Gutenberg License included -with this eBook or online at www.gutenberg.org/license - -1.E.2. If an individual Project Gutenberg-tm electronic work is derived -from the public domain (does not contain a notice indicating that it is -posted with permission of the copyright holder), the work can be copied -and distributed to anyone in the United States without paying any fees -or charges. If you are redistributing or providing access to a work -with the phrase "Project Gutenberg" associated with or appearing on the -work, you must comply either with the requirements of paragraphs 1.E.1 -through 1.E.7 or obtain permission for the use of the work and the -Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or -1.E.9. - -1.E.3. If an individual Project Gutenberg-tm electronic work is posted -with the permission of the copyright holder, your use and distribution -must comply with both paragraphs 1.E.1 through 1.E.7 and any additional -terms imposed by the copyright holder. Additional terms will be linked -to the Project Gutenberg-tm License for all works posted with the -permission of the copyright holder found at the beginning of this work. - -1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm -License terms from this work, or any files containing a part of this -work or any other work associated with Project Gutenberg-tm. - -1.E.5. Do not copy, display, perform, distribute or redistribute this -electronic work, or any part of this electronic work, without -prominently displaying the sentence set forth in paragraph 1.E.1 with -active links or immediate access to the full terms of the Project -Gutenberg-tm License. - -1.E.6. You may convert to and distribute this work in any binary, -compressed, marked up, nonproprietary or proprietary form, including any -word processing or hypertext form. However, if you provide access to or -distribute copies of a Project Gutenberg-tm work in a format other than -"Plain Vanilla ASCII" or other format used in the official version -posted on the official Project Gutenberg-tm web site (www.gutenberg.org), -you must, at no additional cost, fee or expense to the user, provide a -copy, a means of exporting a copy, or a means of obtaining a copy upon -request, of the work in its original "Plain Vanilla ASCII" or other -form. Any alternate format must include the full Project Gutenberg-tm -License as specified in paragraph 1.E.1. - -1.E.7. Do not charge a fee for access to, viewing, displaying, -performing, copying or distributing any Project Gutenberg-tm works -unless you comply with paragraph 1.E.8 or 1.E.9. - -1.E.8. You may charge a reasonable fee for copies of or providing -access to or distributing Project Gutenberg-tm electronic works provided -that - -- You pay a royalty fee of 20% of the gross profits you derive from - the use of Project Gutenberg-tm works calculated using the method - you already use to calculate your applicable taxes. The fee is - owed to the owner of the Project Gutenberg-tm trademark, but he - has agreed to donate royalties under this paragraph to the - Project Gutenberg Literary Archive Foundation. Royalty payments - must be paid within 60 days following each date on which you - prepare (or are legally required to prepare) your periodic tax - returns. Royalty payments should be clearly marked as such and - sent to the Project Gutenberg Literary Archive Foundation at the - address specified in Section 4, "Information about donations to - the Project Gutenberg Literary Archive Foundation." - -- You provide a full refund of any money paid by a user who notifies - you in writing (or by e-mail) within 30 days of receipt that s/he - does not agree to the terms of the full Project Gutenberg-tm - License. You must require such a user to return or - destroy all copies of the works possessed in a physical medium - and discontinue all use of and all access to other copies of - Project Gutenberg-tm works. - -- You provide, in accordance with paragraph 1.F.3, a full refund of any - money paid for a work or a replacement copy, if a defect in the - electronic work is discovered and reported to you within 90 days - of receipt of the work. - -- You comply with all other terms of this agreement for free - distribution of Project Gutenberg-tm works. - -1.E.9. If you wish to charge a fee or distribute a Project Gutenberg-tm -electronic work or group of works on different terms than are set -forth in this agreement, you must obtain permission in writing from -both the Project Gutenberg Literary Archive Foundation and Michael -Hart, the owner of the Project Gutenberg-tm trademark. Contact the -Foundation as set forth in Section 3 below. - -1.F. - -1.F.1. Project Gutenberg volunteers and employees expend considerable -effort to identify, do copyright research on, transcribe and proofread -public domain works in creating the Project Gutenberg-tm -collection. Despite these efforts, Project Gutenberg-tm electronic -works, and the medium on which they may be stored, may contain -"Defects," such as, but not limited to, incomplete, inaccurate or -corrupt data, transcription errors, a copyright or other intellectual -property infringement, a defective or damaged disk or other medium, a -computer virus, or computer codes that damage or cannot be read by -your equipment. - -1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right -of Replacement or Refund" described in paragraph 1.F.3, the Project -Gutenberg Literary Archive Foundation, the owner of the Project -Gutenberg-tm trademark, and any other party distributing a Project -Gutenberg-tm electronic work under this agreement, disclaim all -liability to you for damages, costs and expenses, including legal -fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT -LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE -PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE -TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE -LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR -INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH -DAMAGE. - -1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a -defect in this electronic work within 90 days of receiving it, you can -receive a refund of the money (if any) you paid for it by sending a -written explanation to the person you received the work from. If you -received the work on a physical medium, you must return the medium with -your written explanation. The person or entity that provided you with -the defective work may elect to provide a replacement copy in lieu of a -refund. If you received the work electronically, the person or entity -providing it to you may choose to give you a second opportunity to -receive the work electronically in lieu of a refund. If the second copy -is also defective, you may demand a refund in writing without further -opportunities to fix the problem. - -1.F.4. Except for the limited right of replacement or refund set forth -in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER -WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO -WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE. - -1.F.5. Some states do not allow disclaimers of certain implied -warranties or the exclusion or limitation of certain types of damages. -If any disclaimer or limitation set forth in this agreement violates the -law of the state applicable to this agreement, the agreement shall be -interpreted to make the maximum disclaimer or limitation permitted by -the applicable state law. The invalidity or unenforceability of any -provision of this agreement shall not void the remaining provisions. - -1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the -trademark owner, any agent or employee of the Foundation, anyone -providing copies of Project Gutenberg-tm electronic works in accordance -with this agreement, and any volunteers associated with the production, -promotion and distribution of Project Gutenberg-tm electronic works, -harmless from all liability, costs and expenses, including legal fees, -that arise directly or indirectly from any of the following which you do -or cause to occur: (a) distribution of this or any Project Gutenberg-tm -work, (b) alteration, modification, or additions or deletions to any -Project Gutenberg-tm work, and (c) any Defect you cause. - - -Section 2. Information about the Mission of Project Gutenberg-tm - -Project Gutenberg-tm is synonymous with the free distribution of -electronic works in formats readable by the widest variety of computers -including obsolete, old, middle-aged and new computers. It exists -because of the efforts of hundreds of volunteers and donations from -people in all walks of life. - -Volunteers and financial support to provide volunteers with the -assistance they need, are critical to reaching Project Gutenberg-tm's -goals and ensuring that the Project Gutenberg-tm collection will -remain freely available for generations to come. In 2001, the Project -Gutenberg Literary Archive Foundation was created to provide a secure -and permanent future for Project Gutenberg-tm and future generations. -To learn more about the Project Gutenberg Literary Archive Foundation -and how your efforts and donations can help, see Sections 3 and 4 -and the Foundation web page at http://www.pglaf.org. - - -Section 3. Information about the Project Gutenberg Literary Archive -Foundation - -The Project Gutenberg Literary Archive Foundation is a non profit -501(c)(3) educational corporation organized under the laws of the -state of Mississippi and granted tax exempt status by the Internal -Revenue Service. The Foundation's EIN or federal tax identification -number is 64-6221541. Its 501(c)(3) letter is posted at -http://pglaf.org/fundraising. Contributions to the Project Gutenberg -Literary Archive Foundation are tax deductible to the full extent -permitted by U.S. federal laws and your state's laws. - -The Foundation's principal office is located at 4557 Melan Dr. S. -Fairbanks, AK, 99712., but its volunteers and employees are scattered -throughout numerous locations. Its business office is located at -809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email -business@pglaf.org. Email contact links and up to date contact -information can be found at the Foundation's web site and official -page at http://pglaf.org - -For additional contact information: - Dr. Gregory B. Newby - Chief Executive and Director - gbnewby@pglaf.org - - -Section 4. Information about Donations to the Project Gutenberg -Literary Archive Foundation - -Project Gutenberg-tm depends upon and cannot survive without wide -spread public support and donations to carry out its mission of -increasing the number of public domain and licensed works that can be -freely distributed in machine readable form accessible by the widest -array of equipment including outdated equipment. Many small donations -($1 to $5,000) are particularly important to maintaining tax exempt -status with the IRS. - -The Foundation is committed to complying with the laws regulating -charities and charitable donations in all 50 states of the United -States. Compliance requirements are not uniform and it takes a -considerable effort, much paperwork and many fees to meet and keep up -with these requirements. We do not solicit donations in locations -where we have not received written confirmation of compliance. To -SEND DONATIONS or determine the status of compliance for any -particular state visit http://pglaf.org - -While we cannot and do not solicit contributions from states where we -have not met the solicitation requirements, we know of no prohibition -against accepting unsolicited donations from donors in such states who -approach us with offers to donate. - -International donations are gratefully accepted, but we cannot make -any statements concerning tax treatment of donations received from -outside the United States. U.S. laws alone swamp our small staff. - -Please check the Project Gutenberg Web pages for current donation -methods and addresses. Donations are accepted in a number of other -ways including checks, online payments and credit card donations. -To donate, please visit: http://pglaf.org/donate - - -Section 5. General Information About Project Gutenberg-tm electronic -works. - -Professor Michael S. Hart is the originator of the Project Gutenberg-tm -concept of a library of electronic works that could be freely shared -with anyone. For thirty years, he produced and distributed Project -Gutenberg-tm eBooks with only a loose network of volunteer support. - - -Project Gutenberg-tm eBooks are often created from several printed -editions, all of which are confirmed as Public Domain in the U.S. -unless a copyright notice is included. Thus, we do not necessarily -keep eBooks in compliance with any particular paper edition. - - -Most people start at our Web site which has the main PG search facility: - - http://www.gutenberg.org - -This Web site includes information about Project Gutenberg-tm, -including how to make donations to the Project Gutenberg Literary -Archive Foundation, how to help produce our new eBooks, and how to -subscribe to our email newsletter to hear about new eBooks. - - -</pre> - +<div>*** END OF THE PROJECT GUTENBERG EBOOK 42949 ***</div> </body> </html> |