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+*** START OF THE PROJECT GUTENBERG EBOOK 78972 ***
+
+
+
+
+                             FIGURE PIPING:
+                       ITS METHODS AND ITS USES.
+
+
+                                   BY
+                           F. RUSSELL, M.C.A.
+
+
+                               =London:=
+                    BAKER AND CONFECTIONER, LIMITED,
+                      61 & 62, CHANCERY LANE, W.C.
+
+
+                                 1903.
+
+[Illustration: Printed by HAMPTON & CO. 13, Cursitor St., London, E.C.]
+
+
+
+
+                               Contents.
+
+
+[Illustration]
+
+                   PREFACE                       vii
+                   CHAPTER   I. —INTRODUCTION      9
+                      „     II. —OUTLINE—BIRDS    16
+                      „    III. —OUTLINE—ANIMALS  32
+                      „     IV. —BAS RELIEF       41
+                      „      V. —MENUS            51
+                      „     VI. —MISCELLANEOUS    63
+
+
+
+
+                                PREFACE.
+
+
+A very few words of introduction will suffice for this little book. Its
+author, Mr. F. Russell, has been known for some time past as one of our
+most skilful and artistic pipers, and the specimens of his work, which
+have been shown principally at the Food and Cookery Exhibition, have
+excited the admiration of the casual spectator, and have received the
+more solid applause of the judges of the art. The reproductions we give
+here, though some of them have lost a good deal in losing colour, are
+certain to please all and will probably excite many to emulate. And
+these last will find that Mr. Russell is as clear in his instructions as
+he is artistic in his work. This book ought to do something to extend
+among the trade the practice of the most fascinating branch of
+ornamental art—Figure Piping—and it is with that view that it has been
+produced.
+
+                                                       EDITOR,
+                                               “BAKER AND CONFECTIONER.”
+
+
+
+
+                             FIGURE PIPING.
+
+
+
+
+                               Chapter I.
+                             INTRODUCTION.
+
+
+“What, again?” I fancy I can hear someone exclaim, who has read some
+former efforts of mine in this direction and on this subject; and with
+all due respect I venture to echo the word, “Again!” And I will take the
+reader into my confidence, and give some reasons why I renew this
+subject after a lapse of a few years, during which time, to my certain
+knowledge, the art of figure piping has sprung up from nooks and
+crannies where it was previously non-existent, and, in one or two
+instances, where least expected.
+
+My reasons, then, for again bringing this most varied and interesting
+art to the front is, firstly, because I have been requested to do so by
+several piping artists, who want to vary their subjects; and, secondly,
+because within the last two years we have had most convincing proof that
+figure piping holds its own as an art with any other form of decorative
+sugar work—it has had a fair honest trial for two seasons, and under the
+disinterested and impartial judgment of different experts it has scored,
+finishing up with a win against any variety. I would respectfully beg of
+the reader to accept this statement without the slightest taint of
+egotism on my part, which is not intended in the slightest degree; but I
+make the statement to prove beyond a doubt that the subject we have in
+hand _is_ worthy of consideration and encouragement to all pipers who
+are of an artistic turn of mind. Moreover, there are doubtless scores of
+young pipers to whom these articles will appeal for the first time, and,
+in regard to the scope for learning, I can assure the reader that I have
+learnt a very great deal since I first entered in the competitions, and
+even now never take my paper cornet in hand but the mind is made up to
+learn something more. So varied and so spontaneous may the subjects in
+this branch of the art become that we may look upon the fund of designs
+as practically inexhaustible. Surely this should act as an incentive to
+the young piper; and when you come to consider that you can make a
+veritable sugar picture to frame and glaze and hang in your private
+sitting room, or pipe a Christmas card, menu, or birthday card, you will
+readily see that figure piping with a meaning will be far more
+interesting as an object to look at than the most elaborate bit of
+scrolling or string work that was ever squeezed through a tube.
+Brilliant and commercial as it may look on a bride cake, it is doomed to
+be destroyed. The bride, who is supposed to make the first attack as the
+“Destroying Angel,” stands nervously with the knife, and, her mind being
+pre-occupied, can no more see the artistic merit of that cake than Hodge
+from the plough can see the literary worth of the soliloquy in Hamlet.
+The destruction of that cake soon becomes complete. The elaborate
+festoons, scrolls, and monograms—all of which were a credit to the
+piping artist—are mangled beyond recognition, and the head of the dove,
+or the foot of a possible cupid may be just recognised as the sections
+are packed away in those wedge-shaped cardboard boxes, with which we are
+all so familiar.
+
+Now, although “artistic piping” may cover all the branches which jut
+from the parent stem, we may with safety come to the conclusion our
+branch has distinctive features, which are very marked, for while the
+“scroller” aims at geometrical accuracy and detail, the flower piper
+aims at thinness of petal, fidelity of shape and colour. The figure
+piper’s aim is bound to be anatomy and natural poses, for his “figures”
+may include anything in the animal world and it is absolutely necessary
+for him to observe, and study as much as possible, the natural and
+varied attitudes of each and all of them—that is, if he intends to work
+up his own designs, instead of working on the observation of others.
+Here I think I may digress a little to explain this matter more fully,
+for there are different grades of piracy in our exhibitions as well as
+on the high seas. Now, looking at it from a standpoint of “right,” I
+think that a student or anyone cannot be blamed for copying a design
+which may take his fancy, in glacé Royal, or any other medium, if by
+doing so he fancies he can improve himself. Or if he be in business, and
+he makes his copy good enough to sell—why not sell it? And if he should
+at any time be cornered as to the source of the design, I think it would
+be to his credit and his interest to tell the truth. Now, exhibition
+business is a different thing altogether, for if an exhibitor, after
+much time and patience and skill, works up a meritorious exhibit, which
+scores first prize, on its own merit, as a piece of original work, I
+contend that it would be absolutely out of place for some other
+exhibitor to present a counterpart of it for competition, say, the
+following year. “Imitation may be the sincerest form of flattery”—but
+there’s a line to be drawn for all that.
+
+We will resume the methods to be aimed at. In the first place, I would
+advise all intending figure-pipers, of whatever age, to aim strongly at
+originality. I fancy I can hear someone exclaim, “Where can we get our
+designs?” Well, if I lived in London, I fancy I could get a dozen or so
+in St. James’s Park, with its enormous variety of birds, its little bits
+of secluded shrubbery, its boats, and kaleidoscope incidents—in fact,
+you can get subjects for figure-piping anywhere almost, while there is
+any life at all. Why, I was riding on a Putney ’bus down Piccadilly one
+day, and saw on the branch of an elm-tree which grows just inside the
+railings of the Green Park a wood pigeon with her nest and pair of young
+ones—a capital subject to go across a chocolate medallion. Another
+pretty subject—and this, too, may be studied almost any day in the
+summer time—is a little girl, basket in hand, feeding the waterfowl,
+scarcely half-a-mile from the scene of the woodpigeon’s nest above
+described. This would be a copy, it is true; but it is a copy from
+Nature, and it was such copies as this that made the name of Sir John
+Millais, Sir Frederick Leighton, and others whose names stand as
+monuments to British Art. Whatever would the Hanging Committee say if a
+painted copy of one of their works were presented for acceptance at the
+next year’s Royal Academy exhibition? Well, as far as reputation went,
+it strikes me very forcibly it would almost be a case of “hanging” for
+the would-be exhibitor.
+
+I have stated on former occasions, and it will bear repeating for the
+benefit of those who study this fascinating subject for the first time,
+that if the designer has a liking for, or is already tolerably well
+skilled in freehand drawing, he is well on the road to success in figure
+piping; and if he has a fancy for natural history, with keen observation
+and a good memory to boot, he has got pretty well all that is required,
+with the exception of a pot of glacé Royal, some paper cornets,
+and—perseverance.
+
+I know perfectly well that a pupil who has any or all these
+qualities—the first-named being most important—in his composition, is
+far and away easier to teach than he who cannot use the lead pencil with
+good effect. In fact, the lead pencil and the paper cornet should, to
+use a common expression, go “handin-hand.” Many a time where the means
+of piping has not been available, I have had recourse to a lead pencil,
+and jotted down on paper some little incident which has been passed as a
+likely subject. By this plan you can accumulate quite a number of
+subjects, which may be reproduced in sugar at any time, possessing a
+value of their own on account of their originality.
+
+These, of course, may be introduced on Bride Cakes, Birthday Cakes or
+Christmas Cakes, petits fours, and in butter on hams, tongues,
+galantines, pressed beef, etc. Of course, a good deal of judgment is
+required in the choice of your subjects for any particular function, and
+what would be highly appropriate for a wedding would be tolerably “tame”
+for a hunting or golfing party. Any design may be suitably embellished
+with a few scrolls, and figure piping may also be judiciously blended
+with flowers occasionally, so that all these branches may work in
+conjunction with each other to gain an artistic end.
+
+The intending figure piper never knows where he may cast his lot, and
+the very emperor of dramatic writers has told us that
+
+                There is a divinity that shapes our ends
+                Rough-hew them how we will.
+
+Therefore, if it be your lot to be cast in a thoroughly representative
+fox-hunting district, surely the habitués of that district would better
+appreciate some fox-hunting designs than they would those that are
+relating to “Ping-Pong,” and the devotees of this up-to-date pastime
+would prefer something in their line to anything bordering on footballs;
+so that if the piping artist can adapt himself to circumstances he is
+sure to attract, by his work, the attention of those who may employ him.
+
+As I proceed, I intend giving the necessary details as to how artistic
+figure piping may be practised from the earliest to the last—no, not the
+last stage, for I shall never reach that goal myself. I must here inform
+the reader that I am still learning, and no doubt will benefit, to some
+extent, by the undertaking I have in hand, which is for the purpose of
+bringing the reader up to the stage that I have arrived at. It will be
+necessary on the way to give some details in natural history, so that we
+try to avoid the common error, not only committed by some piping
+artists, but by taxidermists also, of perching a robin on a twig in the
+same attitude adopted by a Yorkshire canary, or flying doves with their
+crops so apparently full that they have naturally enough lost their
+equilibrium. No, let us endeavour to
+
+               Hold, as ’twere, the mirror up to Nature.
+
+And the more natural in proportion and in pose we get our subjects the
+greater the pleasure it will be; for remember that, in glacé Royal
+piping, unaided by colour of any kind, we have nothing but the shape and
+proportion to establish the identity of whatever animal or bird we have
+tried to represent. Of late years, landscape and seascape piping has
+been introduced into the decorative art, and to a very great extent the
+first-named is an almost indispensable comparison to figure piping, for
+distant hills have to be represented sometimes and foreground trees as
+well, in order to make up a picture in sugar. Now, as in the case of
+landscape painting, we have to manage the perspective by executing all
+the foreground objects boldly and all the distant objects faintly, by
+proper management and delicate handling the cornet can be made to pipe a
+row of poplar trees and a farmhouse which apparently stand at least
+a-quarter of a mile away from a mare and foal, which may be represented
+as grazing in the foreground.
+
+Although I have mentioned here the subject of white piping only, there
+is also a system of coloured piping, which is most practised on
+chocolate medallions, Christmas cakes, birthday cakes, &c. The colouring
+of sugar for flowers is a recognised innovation, and therefore, by way
+of variety, a “bit of colour” may occasionally “embellish the figures”;
+but you cannot, for discretionary reasons, go too far with brilliant
+tints without drawing some objections from the “pure sugar” advocates.
+Vainly may you try to explain that the Spanish green is “_from
+spinach_,” and that the blue and the red are equally harmless; but I
+think most of this prejudice is brought about by the violence of colour
+with which some eatables are “decorated.” Some of our exhibitions will
+prove this, and severe and thoroughly deserved are some of the
+criticisms we read on this subject when the confectionery critic goes
+round, pencil in hand, just to give them a “bit of his mind.” Pleasing
+effects may be obtained by a delicate handling of colour, and later on I
+intend giving instruction in this branch also, although, unfortunately,
+black and white photographic reproductions invariably convey a
+misleading impression as far as coloured designs are concerned, though
+fairly accurate when white sugar is used.
+
+[Illustration]
+
+
+
+
+                              Chapter II.
+                             OUTLINE—BIRDS.
+
+
+Having made the principles of figure piping as plain as I can to the
+reader, I think it is time that I take him by the hand, so to speak, and
+proceeded with something practical. It is to be assumed that he already
+knows the simple method of mixing his glacé Royal, and the making of his
+paper cornets, for, if he is an absolute beginner in piping, I would not
+advise him to commence on figures; but make himself, under tuition, a
+fairly skilled hand in the regulation work, as he will then be thorough
+master of the cornet, and be able to put on his fine strokes and heavy
+strokes, according to his will.
+
+I think the easiest things to pipe in the figure line are birds, so we
+will take a couple for a start, and begin as I began many years ago, by
+doing plenty of outlines. I have already noted the great difference in
+birds, not only in size and shape, but in characteristic attitudes as
+well, and our first subject may as well be that familiar little
+harbinger of Christmas time—the robin. I have not the model of our
+little favourite by me at the present time, but I can see him in my
+“mind’s eye,” and commence thus, with a fine line from the paper cornet
+(Fig. 1). Commence at back of the head; carry the line carefully down
+over the forehead, along the beak, under the lower mandible, down the
+breast to the point under the breast-bone, where the thighs commence,
+which must not be too far back in this instance, or it will upset the
+natural balance of a bird in this position. Leave off at this point, and
+take your cornet back to the starting point; now carry your fine line
+down the back to the root of the tail, and when your judgment will tell
+you that it is far enough for the body, make the tail with an upward
+tendency, which will do much to establish the bird’s identity. Now
+recommence at the top of the thigh to meet the line under the tail.
+Although as yet the bird has no legs, you will plainly see if the body
+is in proportion, and, if so, you can add the legs—as in the
+illustration—the eye, and the wing also.
+
+[Illustration: Plate 1.—ROBINS.]
+
+This outline, when in the reproduction, will probably appear as if it
+were done with a fine white crayon; but in reality it is a line in glacé
+Royal, and, unless otherwise stated, it is my intention to do all the
+subsequent designs in this medium, and originality will be another point
+aimed at.
+
+In Fig. 2 we have the same bird, but in a different attitude—_i.e._, in
+the act of singing, and sitting the reverse way. A great many people
+find it somewhat difficult to do objects of this kind—looking from left
+to right; but this difficulty soon disappears with practice.
+
+The method to be adopted in Fig. 2 is somewhat similar to the other—that
+is, to take your line from the back of the head over to the beak, and
+then after making a slight swelling in the throat, down the breast to
+the thigh. Indeed, the general instructions for No. 1 will do for No. 2;
+but it will be noticed at a glance how different are the positions of
+the two birds; and yet the reader has doubtless noticed them in these
+attitudes many a time and oft. Fig. 2 will almost answer for any bird in
+the act of singing. Something similar to it is adopted for the thrush,
+bullfinch, canary, &c.; but it must always be borne in mind that the two
+last named have a much thicker beak than the robin, and there is a great
+disparity in the bulk as well.
+
+I must here remark that the majority of intending figure pipers are too
+impatient; they want, and expect, satisfactory results to appear at the
+first or second attempt, and if these results do not come at the third,
+fourth, or fifth attempt, they come to the conclusion that it is “a
+gift”; but they have not got that “gift,” and thereupon give up further
+efforts. This is a great mistake, for persistent practice, I contend,
+will accomplish wonders, and I have individuals in my mind, even now,
+who very nearly came to the above-mentioned stage of despair; but after
+sticking to it still further, the reward came to them eventually for
+their dogged perseverance, so that they can not only accomplish figures
+“for the shop window,” but even for exhibition work as well. So I say to
+the pupil—for whom these instructions are intended—“Go at it with a
+determination to succeed, for I can assure you that I have been most
+agreeably surprised at the headway some young fellows of my acquaintance
+have made.”
+
+We have seen how the robin and other birds may be done in outline while
+in a standing position. It will be as well to now give some idea as to
+the methods adopted for those when on the wing. Of course, the head is
+held much more forward, and the legs and feet doubled up under the lower
+part of the breast-bone.
+
+The wings although appearing very natural in the finished study of a
+bird, will seem rather flat in the outline process; but still it will
+convey the idea forcibly enough. Just the same that expression may be
+given in black outline drawing by a few strokes of the artist’s pen: for
+be it remembered, we are but drawing—the glacé Royal taking the place of
+the ink, and the paper cornet taking the place of the pen, both have to
+go according to the will and skill of the operator; and to accentuate
+still further the analogy between the two forms of artistic work, both
+are essentially started in the same way, namely, by a thorough knowledge
+of freehand, outline work, as a forerunner of “filling-in” in the case
+of sugar, or light and shadow in the case of pen and pencil drawing.
+
+While on the subject of birds, it will be as well to say something about
+the branches of trees and shrubs on which they sit. There is no hard and
+fast rule as to the correctness of outline in regard to the branch of a
+tree; for, as the reader knows well enough, they vary so much that no
+one pretends to say they have a true form, but twist and turn in a most
+wayward and eccentric fashion. Still, whatever their form or thickness,
+the feathered denizens of the wood will pose on those twigs and branches
+in a way that Nature has taught them to be the best way. It, therefore,
+behoves the piping student to get these branches at the proper angle,
+and by judiciously narrowing it at the farther end he may give a good
+idea of perspective. Although it may seem to be, at the first glance, an
+unnecessary detail to attempt to make a distinction in trees as far as
+piping is concerned, still, it is an easy matter to copy Nature to some
+extent even in this respect, as it is generally well known that the
+beech and horse-chestnut trees have a comparatively smooth bark, while
+that of the elm and oak is very rough, with a kind of mottled appearance
+at a distance. And as the majority of birds always have been and always
+will be associated with trees and their branches, it is as well to study
+them for the sake of making everything look in harmony when it comes to
+grouping, as we are but in the elementary stage yet, and I take it that
+the student is proceeding with those outlines, for the art of figure
+piping cannot be accomplished in the same off-hand manner as the
+ingredients of a pudding could be weighed out—put in a basin, mixed, and
+steamed for two hours; that would be an accomplished fact, and
+eventually an eaten pudding probably. But the subject we have in hand
+cannot be done in that way, so that it is no use dashing at it, but
+rather let the mind be steadily trained up to a pitch of enthusiasm, so
+that it is a pleasure to persevere, and thus no telling what excellent
+ideas will come in its train. It is this enthusiasm that brings on
+inspiration, to a great extent, in my opinion, and in this way our most
+eminent men—artists, novelists, poets—ah! and even confectioners, have
+at some time or other arrived at that pitch of excellence in handiwork
+which has caused the critics to declare, “Why, that is his masterpiece.”
+
+In the management of leaves for ordinary piping—say, for the branches of
+the trees we have been describing—a small leaf tube might be used for
+some, while the plain paper cornet will answer the purpose for others.
+More elaborate leaf effects may be obtained by piping leaves on a
+slightly greased and bent surface, such as a piece of tin or a glass
+bottle, which leaves, when dry, are taken off in the bent state and
+added to the work; but, as our elementary designs are still on the
+outline principle, it will be sufficient to do them as indicated on the
+reproduction, while some instruction as to the more elaborate form of
+grouping will be given later on.
+
+There is a diversity of opinion, however, among experts and critics,
+especially in the exhibitions, as to the “piping off” process; for the
+ingenious “piper off,” with his mechanical contrivances, can often get a
+more “taking” effect than the first-class “piper on,” who depends solely
+on his skill as a piper to get his effects, and most judges take this
+into consideration, and rightly award the prize where they see the most
+artistic merit without mechanical aid.
+
+[Illustration: Plate 2.—ROBINS.]
+
+In Figs. 3 and 4 of these outline piping sketches, it will be seen that
+the position of the birds is entirely different to those preceding them;
+and in the case of No. 3 the idea of flying is entirely conveyed by the
+management of the wings, and the balance of the bird is dependent on
+them, whereas in the other three it depends on the legs. As before
+stated, if we get these too far forward or backward, the most inartistic
+observer can see there is something wrong with it, although he or she
+cannot for a moment guess the cause.
+
+In Fig. 4 I have gone a stage further in outline work by introducing the
+frame or “skeleton,” of a nest just to show why the bird is in that
+position with a small twig in its beak preparatory to the resumption of
+nest-building operations. All these birds may be piped according to the
+directions given for Fig. 1, and each, in turn, may be completed before
+the branch of the tree is introduced, for this reason:—if you do the
+branch of the tree first, you have to fit the bird to it; and in
+endeavouring to do this you may get its feet a little too much to the
+right or left, or the legs too long or too short; whereas, the bough on
+which you intend it to perch can very easily be brought up to the feet,
+and to get it in the right place, soon becomes an easy matter. The nest
+is easily managed, as it is but a bunch of irregular lines laid one over
+the other till proper formation is arrived at, always bearing in mind
+that the farther side of it must be made with rather faint streaks,
+while the part which is at the front must be in a rather bold and
+intertwining lines, which, if done too mathematically, does away with
+the natural appearance of the structure.
+
+The few leaves which are represented are easily accomplished, and can be
+made with serrated edges or otherwise. As most of us who live in large
+cities are within easy distance of trees and shrubs of all kinds, a
+collection of leaves suitable for copying purposes, is always easily
+attainable, while those who live in the country will have them blowing
+in their backdoor; so there is no need to draw much on the imagination
+in this respect. Indeed, the all-round figure piper would do well to
+make himself tolerably well acquainted with forestry and botany, as well
+as natural history; so that in a case of emergency, where copying
+studies are not available, he could make up a design by drawing on his
+knowledge of the above-mentioned subjects.
+
+
+Making further advances in the subject we have in hand, it will be as
+well to form an outline group; and this may be managed by bringing
+isolated birds in various attitudes together. We will take as our
+design, on this occasion, a group of pheasants.
+
+Now, pheasants—as the reader is probably aware—are of the gallinaceous
+order of birds, and in shape somewhat resemble the domestic fowl. I
+think they are slightly more difficult to “reproduce in sugar” than the
+average singing bird, but not much; and, although it is just possible
+that some of my readers have never seen one in the life, I can assure
+them that, the pheasant, when viewed in his natural surroundings at the
+corner of a wood, or walking with stately tread over the adjoining
+meadow, is a most magnificent bird; his inanimate remains, which may
+hang in the poulterer’s shop, convey no idea of his beautiful
+proportions and plumage while in the life. It is for this reason that I
+take him as a subject; moreover, it has the advantage of being
+comparatively rare “in sugar.” Swans, doves, and storks are becoming
+fairly plentiful, so let as try our hand on something for a change.
+
+Supposing that we decide on a group of four birds. I will take them
+according to the way I have seen them, and trust to memory for the
+accuracy of details. This method is adopted for three reasons:—First is,
+because the nearest lot of live pheasants I know of is not within seven
+miles from where I am writing; the second is because—leaving the
+copyright question out of it altogether—it is not my intention to copy
+from anybody; and, thirdly, because originality will always stand out
+conspicuously in whatever branch of art you may take up.
+
+[Illustration: Plate 3.—PHEASANTS.]
+
+Take a fine-pointed paper cornet first of all for the bird marked A,
+which is represented as a running pheasant. Start piping a fine line in
+a similar manner to that described in a previous chapter on small birds;
+but carry the breast line and left thigh further back, and the right
+thigh and leg more forward, as seen in outline above, as this conveys
+the idea of running; for all game birds run in this way, which is a
+distinctive feature as compared with the mode of progression called
+hopping, as adopted by the jackdaw, the rook, and others of their kind.
+In Fig. B we have a pheasant in the act of flying; the position is
+almost a repetition of a preceding outline sketch, but the shape of the
+body is different—the neck is longer, the head smaller in proportion to
+the general bulk, while the length of tail alters the general outline
+considerably. This may also be piped in the manner described for small
+birds, and may be repeated time after time, until the student gets the
+“balance” and general appearance to his own satisfaction. In Fig. C we
+have a very characteristic position adopted by the pheasant. With an
+upright and alert appearance he turns his head half round, as if on the
+look-out for some expected danger. Fig. D is another characteristic
+attitude, and with the last-named we have completed the details which
+will make up a group of pheasants. It would be as well for the student
+to make himself master of each and everyone of these “units” separately
+before grouping, as he may perhaps find that one or two positions will
+be comparatively easy of execution to him, while the remainder will be
+difficult, and the result indifferent. In this case, if one bird, which
+is sadly out of proportion, were grouped with three good ones, it would
+upset the “arrangement,” altogether, and the average looker-on, although
+he may not be an artist, is generally quite capable of picking out a
+flaw of this kind.
+
+[Illustration: Plate 4.—GROUP OF PHEASANTS.]
+
+Taking it for granted, then, that the student can with confidence pipe
+any and every one of these elementary outlined pheasants separately, he
+may proceed to group them, as shown in Plate 4, and, by introducing a
+small indication of a bird in the distant horizon, it is easy to imagine
+that it may be a bird of prey, and that the pheasants are in a state of
+alarm in consequence; and this, of course, constitutes the subject.
+
+Mention has been made of the wood-pigeon on the elm tree branch
+overlooking Piccadilly. Let us see what we can do with that. It will
+serve as a useful lesson as showing the difference in shape of a pigeon
+and a bird of the thrush tribe, for in the absence of colour, or light
+and shadow, we have only got our outline to depend on. It is not a very
+elaborate subject, it is true, but it would do for variety’s sake to go
+across a birthday or Christmas cake, and may take the fancy of somebody,
+for the wants of cake purchasers are extremely diversified. A case in
+point came to my knowledge quite recently, when a gentleman wanted
+cockroaches piped on a Christmas cake. This special request had to be
+executed in dark chocolate-coloured glacé Royal, and the effect may be
+imagined; but the purchaser was greatly pleased, simply because his
+wishes were carried out, and the “counterfeit presentment” of these
+culinary terrors had a life-like appearance.
+
+Taking, then, the wood-pigeons and nest for a subject, we have got to
+bear in mind one or two facts in connection with these birds which may
+have escaped the notice of the average Metropolitan piper, although of
+late years (many thanks to the County Council and other bodies for it)
+these and other somewhat shy “Provincials” have made themselves quite at
+home in the parks; they have learned to know that they are treated with
+forbearance and kindness, and even protection, that they are perfectly
+safe from the pothunter’s gun and the wildfowler’s snare, the result
+being that the parks of London to-day can boast a greater variety of
+bird life than probably any other city in the world; and this fact gives
+the artistic student splendid chances, whether the medium employed is
+sugar, paint, or pencil.
+
+[Illustration: Plate 5.—WOOD-PIGEON AND NEST.]
+
+The wild wood-pigeon, like its domesticated _confrère_, never lays more
+than two eggs for a sitting, but differs in his ideas of nest building,
+using a mere platform of twigs for the nest and a forked branch or stump
+of a tree for its support. The nest in Piccadilly was typical of this,
+and as there were a pair of strong-looking squeakers in it, which could
+be distinctly seen from the top of a Putney ’bus, the piping subject
+should make up quite a little family party. We will take his nest first,
+with a rather fine pointed paper cornet, and the glacé rather stiff.
+Some rather irregular cross lines may be made, which may form a somewhat
+flattened platform sort of nest, with no more depth than there would be
+in an ordinary flower-pot saucer. Projecting from the interior of this
+may be piped in outline the head and shoulders of the young pigeons.
+These always have a very squabby appearance at whatever age, and are
+never associated with the word “pretty” as is the case with a brood of
+young chickens or ducks. The bough of the tree may now be introduced on
+which the nest is built, with sundry branches spreading out therefrom,
+which can be brought under the nest. The old bird can be piped on the
+bough, with little fear of a mistake as to distance, as the legs of a
+pigeon being comparatively short, so much measurement is not required as
+with the long-legged variety of birds, and the pupil will find, as he
+still further advances, his eye and judgment will become so trained that
+his proper distances will come to him with almost unerring certainty.
+
+While our subject lies in the vicinity of the Green Park, suppose
+we—mentally—take a walk across it, cross the Mall, and see what we can
+find in way of a subject or two in the lake beyond. There are waterfowl
+in plenty, and many a little “tit-bit” for the purposes of a piping
+picture here. As if the London County Council had not provided
+sufficient variety in the shape of ducks, there may be found also a very
+large contingent of seagulls, which, free and unfettered though they be,
+make it their business of coming all the way from the briny ocean to
+share in the safety and the good things which are provided for them, not
+only by the authorities, but by philanthropic individuals as well—so
+that object lessons may be found in plenty, almost within the shadow of
+Buckingham Palace.
+
+[Illustration: Plate 6.—DUCKS AND SWANS.]
+
+Now, ducks and swans being so much associated with the water, they are
+nearly always represented in their natural element, nearly half the body
+being submerged, and legs and feet, to all intents and purposes,
+invisible; but still, they “come on shore” sometimes, and perhaps it
+will be as well to practise a few outlines, both in and out, as it will
+give a better idea as to proportions, for it will be noticed that the
+body of nearly all the aquatic birds is rather long in comparison with
+other members of the feathered tribe, while the legs of nearly
+everything in the duck line are much shorter in proportion to the body
+they have to carry.
+
+In getting the effect of water for a piping sketch, it will be necessary
+to pipe a series of straight lines horizontally on your ground work, the
+distant part of the water being represented by short fine lines—not too
+numerous—while those in the foreground should be longer and thicker.
+This gives the idea of perspective, and although it is in sugar, it has
+the same effect as if it were done in pen-and-ink line drawing. The
+land, of course, should rise from the water at an angle more or less
+acute, according to the nature of the bank, which is to be represented,
+and, in the finished article, much more solid in appearance. But of
+that, more anon, as we are but in the outline stage at present, and
+these continued outlines will do more to foster a knowledge of bird and
+animal anatomy in the mind of a student than any other process I can
+think of, and plenty of practice will get the proper proportions so
+fixed on the operator’s mind that he will wipe out his subject with the
+greatest confidence and ease, so that the correctness of outline can be
+made apparent when viewed from the breadth of an ordinary room.
+
+[Illustration]
+
+
+
+
+                              Chapter III.
+                            OUTLINE—ANIMALS.
+
+
+Having made as plain as I can the method to be adopted in piping the
+preceding outline sketches, I will leave the aquatic subject in the
+hands of the advancing student, and, as we have gone fairly well—as far
+as variety is concerned—into ornithological designs, I think we may
+venture to touch upon the borders of that boundless field for
+practice—the animal world. Here it is somewhat difficult to select
+anything for the initial stages as being easier of execution than its
+fellows—that being a matter of opinion. All are beautiful in design, and
+well fitted for their usefulness and their needs, and we as copyists
+from Nature have first of all to acquire an anatomical knowledge of the
+general form of our living model, and then crown that knowledge by a
+never-ceasing observance of its characteristic attitudes, so that we
+may, by a few slight pressures of the paper cornet, give expression to
+the animal we endeavour to portray. However, I think that the deer
+tribes have, from time immemorial, lent themselves to the causes of art,
+and, as far as I can see, are as easy as anything; but I would advise
+anyone to avoid, as much as possible, the study of those to be seen on
+some of the old tapestries, or reproductions, which we see occasionally
+in the illustrated papers from the pictures by the “old masters”;
+because, if these were taken from life, we can only come to the
+conclusion that the breed of stags in those days was very different to
+what it is now—and we don’t want to study deer as they _were_, but as
+they _are_. It is not very easy for the young piper to study these
+beautiful creatures from life, unless he happens to live within easy
+distance of such places as Windsor or Richmond Park. True, the Londoner
+can view a few specimens in the Zoological Gardens; but they are mostly
+foreigners, and, of course, are not seen at their best within a wired
+enclosure, although even that is an opportunity which should not be lost
+sight of; and, failing that we can all have the benefit of the great and
+accurate pictures which England’s greatest animal painter—Sir Edwin
+Landseer—has left behind for our admiration and our education.
+Supposing, then, for a start, we take a couple of deer—the ordinary red
+deer of deer-stalking fame—wild and unfettered in his Highland home. We
+have few opportunities of seeing him, so we have to draw a little on the
+imagination and the description of those who have. True, he is used for
+stag-hunting in England, but on entirely different conditions to the
+first named sport; for here he is deprived of his horns, and kept in a
+semi-domesticated condition, taken to the place of meeting in a cart,
+released, and, after a time limit, the hounds are laid on his track. He
+seldom gets killed, however, for, when he has had enough of the sport,
+he usually trots into some farmhouse or out-building, is recaptured, and
+lives to run another day.
+
+[Illustration: Plate 7.—PIPED STAG.]
+
+To commence the subject I have selected, take a fine-pointed cornet,
+with the usual amount of Glacé Royal therein, and start piping the top
+part of the head of stag, which is intended to represent one that is
+looking the other way; in this position I think it advisable to complete
+the head, including the antlers, before starting with the body. Now take
+your line down the front part of the neck to the lowest point of the
+shoulders, and then another line from the back of the neck over the
+withers to the root of the tail, then over the haunch down to the hock
+of the left leg, which it will be noticed is slightly forward. The fore
+legs may now be completed, and the line brought under the stomach, the
+left hind leg finished, and the right hind leg slightly extended
+backward, as if suddenly brought up to the halt by something which has
+attracted the animal’s attention. The tail can now be added, and a very
+brief inspection will suffice to convince the student if this outline
+figure is in proper proportion, always remembering that a stag has a
+rather “tubby” appearance about the body in proportion to the thinness
+of his legs. He does not appear to be symmetrically built for speed,
+like the racehorse or greyhound, for instance; but he can go for all
+that. His mate, the hind, which is represented on the left, may be piped
+first from the top of the head and down to the throat; the ears may then
+be put on, and the line for the back of the neck brought down over the
+withers along the back, over the rump, and down to the back of the
+forelegs which may now be put in; then the stomach and the hind legs
+completed, and this will constitute the first outline group in the
+animal life. Of course, there is a variety of positions in which we may
+pipe a stag, and, later on, these will be touched upon: but while the
+student is learning the one thoroughly, he is laying in a store of
+ability to branch off in whichever way his fancy leads him.
+
+We will now take for our object-lesson, that good all-round servant of
+man—the horse. Although we need not go far afield to get our model this
+time, he is by no means so easy to accomplish as his plentitude would
+imply—for there are horses _and_ horses; they have not got that “turned
+out of the same mould” appearance that stags have, but the variety is
+very great indeed, while some that we may see in our travels are just
+beyond the attentions of the R.S.P.C.A., and others there are, though
+sound in wind and limb, are anything but “things of beauty.” Still, we
+must make our selection, and as the average Englishman invariably prides
+himself on some sort of knowledge of our equine friend, it is to be
+assumed that the reader will know what sort to select and that to avoid
+when he comes to originate his own subjects.
+
+We will take for our model the ordinary hack. He is, perhaps, the most
+plentiful, and although even he possesses various degrees of form, his
+general shape is such as to call forth the oft rehearsed title of “a
+useful looking nag.” I propose to delineate him to the best of my
+ability in the act of standing, trotting, and leaping—and by following
+out the instructions in regard to the stag, the reader may accomplish
+the outline work of this and most other subjects in the animal line. The
+horse standing is intended to represent one in a field—turned out to
+grass, in fact—without halter or trappings of any kind. By simply
+placing the ears slightly forward it will convey the idea of
+“Expectancy,” or that his attention has been drawn to some distant
+object, such as his owner or driver coming through the gate.
+
+[Illustration: Plate 8.—THREE HORSES IN OUTLINE.]
+
+The horse trotting I have done by completing the head first to the back
+of the ears, the line has then been drawn down the back of the neck,
+over the withers, along the back, over the rump, and down to the “near”
+or left fetlock joint. The paper cornet is then taken to the base of the
+jawbone, the throat, or front part of the neck is put in, and the line
+carried along the extended left foreleg to the point of the hoof. By
+looking at this it will be found that the top line of the horse is
+complete, and you will see pretty clearly at this stage if the back is
+likely to be too long or too short. If satisfactory, the left foreleg
+may be completed, and the line carried under the stomach with a slight
+curve upwards, as it nears the flank, and then the under line of the
+extended left hind leg, including the hoof. We have now what appears to
+be the extended half of a horse with but two legs—and can see plainly
+enough if it is going to be a failure when complete by the proportion of
+all the parts delineated; if apparently satisfactory, we put in the
+“off” or right legs, slightly doubled up under the stomach as shown, the
+tail can then be added and the eye. I have gone into these details
+because I have an idea that there are, perhaps, more critics on the
+points of a horse and his action than on any other animal living. Every
+Englishman seems to be a judge, more or less, and great are the
+arguments, friendly or otherwise, even among experts in horseflesh,
+although they would not bestow a glance or waste an opinion on the most
+perfect cow.
+
+However, we are not experts, but only casual observers, and we will try
+and get our models as they are, if we can. It will be as well, however,
+to note that there does not seem to be so much argument about a trotting
+horse as one that is galloping, and photography itself seems to settle
+the arguments pretty clearly about the first-mentioned mode of
+propulsion, for, judging by the snapshots, I find the legs of the
+trotter are very often placed as the artist draws them, and as we are
+accustomed to see them in our daily walks. But it is not so with
+galloping; so rapid is the motion that we cannot follow the legs with
+our eye, so the artist has to draw a good deal from his stock of
+imagination, and the accuracy of that is very often greatly upset by the
+unerring snapshot, which “fixes” the striding racehorse in perhaps the
+hundredth part of a second. What do we see then? A horse with head
+almost erect, his hind legs extended, one of his forelegs extended, and
+the other in a vertical position with the hoof touching the ground
+looking, at the distance, as if he were poised on a broomstick, and
+three-parts of the weight being behind—looking like some equine
+experiment to defy the laws of gravitation. That this position was
+correct when the snapshot caught him is beyond doubt; but we need not
+copy it for all that, for he was but the fraction of a second in that
+position, and we can select others which will better answer our purpose.
+Moreover, if some great artist were to exhibit a painting of last year’s
+Derby winner passing the post in the position, say, at this year’s Royal
+Academy Exhibition, the least they would say of him would be that he was
+bordering on the “eccentric,” correct though he might be.
+
+We will now proceed with the horse that is jumping. In adopting this
+position, I do not think we are trespassing on the impossible or the
+improbable, as our vision is capable of taking in the attitude of the
+jumper. Moreover, that lightning detective, the camera, “snaps” him in
+similar form; so that with such an ally at our side, we may venture to
+proceed.
+
+The horse’s head may be piped in first, as in the preceding case; and,
+in doing the line for the back, great care should be observed to bring
+it nicely downwards, because our horse, this time, is rearing, so to
+speak, from the ground, and his great thigh muscles have propelled him
+upwards and forwards. We have to get the angle of his backbone according
+to the height he is supposed to be jumping, and, of course, his legs and
+stomach have to be treated accordingly. Having got the back line down to
+the root of the tail, carry it down to the hock, and thence to the point
+of the hoof—which is supposed to be about a foot from the ground. A line
+may then be made from under the jawbone down the chest, and the bent
+foreleg put in, the line taken under the stomach to the flank, and then
+the hind leg completed. Here we may see if any alteration is necessary,
+and, if not, the other two legs may be added, the tail, and the eye
+also. As an accessory to this, a rustic fence may be added, and even in
+the placing of this some discernment is required, for, if you get it too
+far forward, the horse will have the appearance of overreaching himself
+and doomed to come down on the top of it; on the other hand, if you get
+it too far back, it will have an impossible look, and give the animal
+the appearance of flying, instead of leaping. I think the best effect
+can be obtained by piping the first or foreground post of the fence
+somewhere under the hoof of the foreleg, and then, by a little
+management of perspective, take the rails under the stomach, just about
+where the saddle girth or the stirrups would be and just a medium
+distance below them. This detail may seem somewhat unimportant; but,
+simple though it seems, it is really surprising what a difference even
+the eighth of an inch will make in the placing of these posts and rails,
+and it is always best to do them after the horse is completed, as it is
+far easier to alter them, if necessary, than it is to alter him to suit
+the rails.
+
+[Illustration: Plate 9.—OUTLINE OF LADY FEEDING PIGEONS.]
+
+As we are now rapidly nearing the end of the outline stage of figure
+piping, it will be absolutely essential to touch on the “human form
+divine.” There are innumerable other outlines which might be practised;
+but I think the student—be he of average ability—might be almost left at
+this juncture to choose his own subjects. If still more elementary
+outline work is needed, and if he has thoroughly “grasped” the methods
+and can turn the specimens out to his own satisfaction, at the present
+stage, why a wide field is open to him for further progress, which needs
+no introduction. The human figure, though almost ever present for study,
+is, perhaps, more difficult than anything else in the way of piping—in
+fact, we might consider that we are bordering on the “classical” stage
+when we can manage the _genus homo_; but still there are various degrees
+we can touch upon before we arrive at the culminating point.
+
+In piping a human being, it will generally be found that the face is the
+most difficult—especially in three-quarter or full-face; in profile, a
+fairly good expression can be obtained, and even that with the greatest
+possible care; but as our mission is now on outlines, we will leave that
+for a brief space, and study more in proportions. We will take for our
+subject a lady feeding pigeons, and, without ignoring the animal world
+altogether, what more appropriate than a dog of the St. Bernard kind
+looking on as an interesting spectator? A few fowls may also be
+introduced, and these will complete the subject. First of all pipe the
+outline forming the lady’s hat, and then the head; the back and front
+lines may then be gracefully brought down to ankles, and the lower part
+of the skirt completed. A lady friend of mine has told me that my
+feminine ideals are not quite up to date in regard to the fashions; this
+may be so, and I fully appreciate this little bit of friendly criticism,
+with a promise to study the fashion-plates a little more than I have
+hitherto done. Having got your back and front lines completed, the arms
+may heighten the effect. The pigeons and fowls can be piped in, and
+lastly the dog.
+
+[Illustration]
+
+
+
+
+                              Chapter IV.
+                              BAS RELIEF.
+
+
+And now, seeing that we have gone through a fair number of outline
+studies, preparatory for the more important part of filling in, we will
+commence with what we may call—
+
+
+                        SKETCHES IN BAS RELIEF.
+
+Here we have to study the anatomy of whatever we intend to portray in a
+more intensified form than hitherto, as, within the finest of outlines,
+while yet wet, the body has to be “squeezed” with light pressure for
+comparatively flat parts and heavier pressure for the more prominent or
+muscular parts. The glacé Royal must not be so stiff for this purpose as
+you would have it for string work on a wedding cake, neither must it be
+“sloppy,” but just so that it will settle down nicely.
+
+[Illustration: Plate 10.—SPANIEL DOG AND PHEASANT.]
+
+To make a start, we will take a spaniel dog and pheasant, which will be
+an appropriate design for almost any sporting function, or, indeed, a
+Christmas cake, as, during the festive season, there are plenty of
+purchasers who have sporting proclivities. Though the outline of a dog
+has been given before, it was of a different type and position; so to
+make a repetition of it would be useless. For this purpose moreover, we
+want it looking the reverse way, and for the purposes of earlier stages
+of Bas Relief we had better still commence fine outlines, filling the
+body in afterwards. Pipe the head looking upwards and the ears rather
+inclined forward, and after the body line and legs are completed you may
+commence to fill in. Although we have a good indication of the ear at
+this stage, it will be as well to leave its final touches till the whole
+picture is dry or nearly so, as, considering the rather soft state of
+the glacé Royal it will not do to overload it, or it might break bounds
+and spread too far each way. Having so far completed the dog by filling
+in those parts which constitute the shoulders, ribs, hind quarters, &c.,
+as in illustration, the pheasant may now be put in. It is not flying in
+the same direction as those previously depicted, and, as it is going
+from left to right, it will be slightly more difficult of manipulation.
+When the head, body, and tail are finished, it will be as well to let
+them dry before adding the wings, for the same reasons mentioned in
+connection with the dog’s ears; and while they are drying, the blades of
+grass, fern leaves, trunk of tree and branches may be added. For some of
+these, a small quantity of the glacé Royal may be separated and a little
+more sugar added in order to make it stiffer, for some of the blades of
+grass and stems of fern leaves require to be rather fine to give it a
+natural effect.
+
+Care should be taken as much as possible to get the relative proportions
+of dogs and birds or horses and men, when grouped together, especially
+where represented in the foreground, as it tends to make a distinction
+in breed and size: for instance, if the dog represented above was
+intended to be a retriever, he would have to be made larger, while the
+pheasant would remain the same.
+
+[Illustration: Plate 11.—A DOUBTFUL STARTER.]
+
+It is not usual to introduce the comic element in cake decoration, but
+at Christmas time, when happiness and merriment are rife, and good
+wishes to that end are plentiful enough, a few subjects bordering on the
+comic are admissible. So I introduce one here, which will explain
+itself; it should be piped on a dark ground—chocolate for
+preference—either in medallion form—or chocolate icing run in an oval or
+a circle on the top of the cake. The mule may be piped first, on the
+same principle as mentioned previously, and the men afterwards and if
+the icing is rather soft it will be as well to let their bodies dry
+before adding the arms. The reason for this is obvious, for whereas the
+muscles of a horse or dog are blended in, so to speak, with the
+surrounding flesh, the arms of a man are “hung on” as it were, and,
+therefore, stand out from the body; therefore, they should be piped on
+after the body is dry to give the high relief that is necessary. Care
+should be taken in getting the correct distances of the men from the
+animal, otherwise the general idea of “pushing” and “pulling” will be
+lost.
+
+[Illustration: Plate 12.—“WON BY A LENGTH.”]
+
+Another design with a sporting title might be here introduced. It is an
+incident which might be seen in any country district where rabbits
+abound, and it might as well figure in a piping sketch as in any other
+form of illustration. It is almost needless to relate the circumstances,
+but briefly the rabbit has been surprised in his feeding ground by a fox
+terrier, and a terrible race for life has been the result; but although
+a good distance had to be covered, and a fence negotiated between
+“bunny” and his burrow, he has succeeded at the finish and “Won by a
+Length.”
+
+In piping small subjects, there are times when you may venture to
+“squeeze” out the miniature animals without going over the perfect
+outline first, and this fox terrier, with body and legs extended, may be
+treated in that way. The head and neck may be done first, a little extra
+pressure for depth of shoulder and thickness of barrel, finer round the
+loins, and then the thigh with the hind leg extended. The posts and
+rails will form a short lesson in perspective piping—for we have to make
+them fairly substantial in the foreground—and gradually lessen or melt
+away to the distance. In order to do this, we must get the first post
+high and solid in comparison with the rest, and keep shortening them,
+and making them thinner as they recede. It is necessary to manage the
+horizontal rails, too, in a similar way. The intervening span between
+the fence and burrows may be piped in a series of irregular curved
+lines, for we want it to appear like a ditch; the grasses and ferns in
+the bank on the left should be piped in with icing which has been made a
+little stiffer than that used for the animals, and the branches of the
+tree will require the same medium.
+
+[Illustration: Plate 13.—DOGS AND CAT—“WAITING FOR THEE.”]
+
+Yet another “serio comic” subject may be introduced, in which again the
+popular fox terrier is in evidence, in which, too, his arch enemy the
+domestic cat has to use her climbing powers to get out of his way. It
+will serve as a companion picture to the foregoing; moreover, it will
+make a variation in the attitude of dogs under different conditions. I
+think in this group it is as well to finish the tree first, and then
+introduce the cat on the branch, this being the main object in the
+picture. The right-hand dog can then be piped, especial care being taken
+in the head, as he is supposed to be looking intently upwards, and his
+ears may be placed rather forward so as to convey the impression that
+the whole of his attention is “focussed” on the one spot. As in the case
+of the preceding terrier, the body may be piped without the assistance
+of a complete outline, or with it, according to the advance the student
+may have made, and the method adopted above will answer equally well for
+this. The dog on the left, which is partly hidden by the trunk of the
+tree, may now be piped, care being taken to get the head well elevated,
+as also with his companion on the other side. The irregular strokes,
+which represent the ground, will by this time cause little difficulty to
+the student, always bearing in mind the bold strokes for the foreground
+and the fine ones for the background. Here is introduced a small stream
+at the foot of the tree; it serves to break up the continuity of the
+ground, and slightly adds to the rustic appearance of the scene. Very
+faint outlines of a cottage in the distance may be lightly added, when
+the subject, as a piping sketch, may be considered complete.
+
+[Illustration: Plate 14.—MAN IN THE SNOW.]
+
+Before advancing towards more extended designs, one more minor subject
+may be given—bordering as it is, on the comic side. Mr. Phil May has
+given us many ludicrous types of men under the heading “Songs and their
+Singers”; but this little snow scene is not intended in any way to clash
+or “pirate” his creations, but simply to stand or fall on its own merits
+or demerits, as a freak of fancy. It has appeared many times on
+Christmas and other cakes, and, in the eyes of a certain section of
+buyers, it is held just as “taking” for the festive season as the more
+prosaic “Robin on the twig.” The method of doing this subject is fairly
+simple, the man with the heavy stick being piped in first, after which a
+heavy ground may be done, and before this is allowed to dry, a few
+rather long indentations may be made to represent the “Footsteps in the
+Snow”; the leafless trees in the background may be added, and numerous
+small flaky dots distributed all over the surface, which will give it a
+rather realistic effect.
+
+Coming to a more complicated, and therefore a more ambitious, subject
+altogether, it will be advisable for the pupil to provide himself with a
+fairly large surface of some kind to practice on—such as the back of an
+ordinary black tea-tray. The subject itself is not exactly taken from
+life, but is mainly drawn from the imagination, as a result of reading
+descriptions in the sporting press of this class of shooting. We have
+had, in the preceding sketches, dogs in various attitudes on land: this
+last design will serve if only to illustrate them for an aquatic
+purpose, and by grouping these and several other “items” together make
+up a picture in sugar which will tell its own tale. This is a subject
+which may be started anywhere almost, but perhaps, the boat and its
+occupants should receive our attention first, as we can then “draw” up
+to it from the left afterwards. Proceed, then, to pipe the boat first
+and the man who is shooting next, to be followed by the man who is
+seated, also the dog; the reeds may then be added, and the best method
+of doing these is to start at the base of the stem, and, with a graceful
+sweep, bring them to a point—the majority of them bending to the breeze
+in one direction. The stems at the base should be kept fairly level, as
+they have to be represented as growing in water; and, to give this
+effect, rather irregular horizontal lines have to be piped, longer, and
+fairly thick, in the foreground, and fewer and less numerous as they
+recede. The dog swimming with a bird in his mouth can be piped in now,
+also the small reedy island with the water spaniel on it. I have omitted
+to state the cloudy effect has been obtained simply by rubbing some fine
+dry icing sugar on the ground work with the forefinger, and it is as
+well to do this really before any piping is put on at all, or it can be
+left out entirely—just as a matter of taste. The flock of wild fowl,
+which we may imagine have been driven from their hiding place by the
+dogs, will be now introduced, and one or two of them must bear
+unmistakable evidence of having been “hard hit” by the gunner, and,
+therefore, should be depicted well in the line of fire from the
+fowling-piece.
+
+[Illustration: Plate 15.—“A STORMY DAY IN THE FENS.”]
+
+[Illustration]
+
+
+
+
+                               Chapter V.
+                                 MENUS.
+
+
+As figure piping lends itself readily to this class of work, there is a
+wide field for design not only for present day functions, but those of
+the future as well. These may be piped in a variety of forms, and the
+groundwork for piping on may be silk, satin, velvet, tinted cardboard,
+or any other foundation that will take kindly to icing sugar. Taken
+altogether, this class of decoration depends more on the artistic taste
+of the piper than most of the other branches, because you have to study
+the effect of different tints in your background and the unaided effect
+of the piping itself. In the case of a Christmas or other cake, a few
+silver leaves, comfits, or gum paste novelties, may with impunity and
+advantage be added, which, of course, would “soften” down the attention
+from any possible defect in the piping. But in the work on the menu you
+have to take great care, as the slightest mistake is not very easily
+rectified, or, at least, it has a “nasty habit” of leaving a slight
+stain behind it. But the pupil who makes up his mind to go on a few
+“trial trips” first could not do better than get a large school slate
+and mark it out in lines similar to illustration. He could practise his
+writing in the small space and the figures round the margin. It is
+almost needless to state that this suggestion for a piped menu is not
+intended to supersede the printed article—at least, not in the original,
+as, of course, it would be much too large for the table; but if neatly
+framed and hung at the end of dining-room, it is not altogether
+unappropriate for the occasion. Moreover, impressions or reproductions
+may be made by the half-tone process which would at least recommend
+itself for a special occasion, if only on the score of novelty, and
+could then be brought down to a size suitable for use on the table. In
+this class of work it behoves the piper to make himself pretty well
+acquainted with most of the prominent points of the British sports and
+pastimes, with the addition of naval, military, and other scenes; so
+that if it should be his intention to pipe a menu for a Golf Club
+dinner, for instance, he could illustrate that menu with such scenes as
+“Driving from the Tee,” “Bunkered,” “A Long Putt,” and so forth. It is
+the same with other scenes, and novelties of this kind will invariably
+take the eye of exponents of a game—be it Golf, Football, or Cricket.
+
+[Illustration: Plate 16.—DESIGN FOR PIPED MENU, ETC.—PHEASANT SHOOTING.]
+
+The menus we are now going to treat are military and aquatic, and we
+will take the “aquatic” first. The reader will see at a glance that this
+sketch is intended for the Oxford and Cambridge Boat Race. The original
+is on a dark and light blue background, which makes this fact more
+evident still. The various details of this design were gained by direct
+observation, for a good many years ago I lived not very far from Putney
+Bridge, and used to see the crews in training. At that time, however,
+the idea of turning any of those scenes into a piping design never for a
+moment occurred to me; but rough pencil sketches were taken all the
+same, and from the recorded memories thus obtained this aquatic menu was
+designed.
+
+[Illustration: Plate 17.—AQUATIC MENU.]
+
+In piping a series of sketches of this description, it is essential to
+collect your incidents and then let them illustrate the progress of the
+contest in rotation. The first scene, “Training,” is not very difficult.
+The trotting horse with the trainer, or “coach,” on his back may be
+piped in first, and then the heavy irregular lines which represent the
+river bank, a series of fine lines to represent the water in the river,
+and on this a long low boat or outrigger, with faint indications of nine
+men in the boat as represented; a very faint outline of distant trees
+(which has to be done with a very fine pointed paper cornet) will
+indicate the opposite bank, and the willow tree may be boldly done in
+the foreground to complete the first sketch. “Gone to Putney” represents
+two of the oarsmen going down to the river from the direction of the
+boathouses to embark in their frail craft, which is presumably waiting
+for them for a practise spin towards Barnes Bridge. In the third sketch
+we have two young ladies at the edge of one of the numerous creeks, who
+may be sisters, cousins, or otherwise, of certain members of the crew
+who are now practising in the upper reaches of the river. These may be
+piped without the preliminary outline, as also the solitary oarsman who
+has just arrived on the scene. Here, as in previous designs, the
+necessity of perspective piping will be apparent, for, since our medium
+is glacé Royal without any blending of neutral tints, we have to get the
+distant effect by the sole means of reducing the scale of our objects.
+
+There is considerably more work in the last sketch of this series,
+although the difficulties are not so great as they may appear at first
+sight, for it is only a matter of grouping, what the student has been
+practising in detail during the earlier part of these instructions. “A
+Struggle for Supremacy” is just such a scene as may be witnessed in the
+vicinity of Barnes Bridge on any boat-race day, when the leading crew
+with stern determination are holding their lead, while the others are
+putting forth almost superhuman efforts to reduce it. It is a matter of
+small moment which of these figures may be piped first—perhaps the
+horses, and, as they are looking partly from left to right, they may be
+less easy than those looking the reverse way. While these horses are
+drying, the spectators on foot may be added one by one, with a few
+irregular lines to indicate where the groundwork of the river bank is
+going to be; fine horizontal lines, too, for the river may be added, and
+then the distant boats. When the horses have become partly dry, the
+riders may be piped on—care being taken that they sit as naturally as
+possible. The river bank (or towing path, as this part is generally
+called) may be completed with plenty of “body” in that part which is
+nearest to you.
+
+[Illustration: Plate 18.—MILITARY MENU.]
+
+The second menu—which is designed for military functions, and especially
+those in relation to cavalry—is introduced here by way of variety, and a
+glance will suffice to show the difference in subjects as compared with
+the other. This is as well, for the various scenes include a goodly
+number of horses in various positions: each and every one of these the
+pupil can copy singly if he chooses. Natives of the Metropolis will
+scarcely need an explanation as to the first scene; but for the benefit
+of the far away provincial, it may be stated that Hurlingham, which is
+the home of aristocratic pastimes, lies on the fringe of London in the
+Fulham district. It is here that polo is to be seen at its best—a
+pastime which is adapted to, and adopted by, most cavalry regiments. So
+the first scene on the menu represents rival military teams at this
+equestrian game. These horses may be piped as in the past, and allowed
+to get tolerably dry before adding the riders to them. Care, of course,
+must be taken in making the riders in their correct attitudes, so as to
+give life and spirit in the scene as far as lies in our power. Sketch
+No. 2 represents a trooper practising outpost duty at Aldershot; while
+the third is intended for the military charger at full gallop with his
+rider in a tent-pegging competition at the Agricultural Hall during the
+annual Military Tournament. The next step of the professional soldier
+is, as we may assume, “Foreign Service,” and there are, perhaps, more
+difficulties in the delineation of this subject than in any of its
+predecessors, for in piping, with nothing but the white icing, we cannot
+very well get one animal behind the other with any degree of accuracy in
+all details, so we have to use outlines only for some of the offside
+horses, which method, although its result appears somewhat “sketchy,”
+will convey the idea more forcibly than if two solid horses were merged
+into one. It will be seen by this last sketch that the team of artillery
+horses is represented in a hilly country; therefore, the leader should
+be first piped and well elevated, so that those in the rear are much
+lower when they are completed. The officer’s charger, in advance, too,
+should be well up the hill, and the groundwork must be piped slanting
+downwards, with a couple of trees of the palm variety on top, just to
+give it that foreign aspect which we intend to convey. A very faint
+undulating line will give a “shadowy” idea of distant mountains, while a
+couple of bursting shells from the enemy’s artillery will give a
+realistic touch to the scene. Perhaps I may be permitted to state in
+behalf of the art of figure piping generally, that these menus we have
+just had under consideration, have been successful beyond the designer’s
+expectations, having been awarded a special silver medal—appreciated the
+more from the fact that it was presented by Mr. J. Szanyo, the King’s
+confectioner—at the Universal Cookery Exhibition, Royal Albert Hall,
+London, 1902, and the first prize (gold medal) for “The most Artistic
+Piece of Work of any kind,” at the International Confectionery
+Exhibition, Royal Agricultural Hall, London, 1902.
+
+[Illustration: Plate 19.—PATRIOTIC MENU.]
+
+Although we have had two menus under consideration, I think there is yet
+room for another, as it is variety of design we want, and may as well
+have it on a menu as on anything else. As this has been done partly in
+colours, the reproduction is not so clearly defined; but, perhaps, a
+little explanation will assist the reader. It is intended for a
+patriotic menu. In the original it is headed by “God Save our King,”
+then a crown, which is piped in yellow to represent the gold, and
+crimson to represent the velvet. Two doves are flying towards it with
+sprigs of laurel as emblems of peace. The crown is supported by the
+Rose, Shamrock, and Thistle, in colours. At the head of the menu proper,
+is the Prince of Wales’s feathers, which is flanked by leeks emblematic
+of Wales; and from the ribbon at the base, spring two Union Jacks in
+colours, then follows the menu itself in italics. The sketches which
+flank the menu proper, are respectively “Epsom,” “Sandringham,”
+“Aintree,” and “Cowes,” while the last scene is Boer and Briton shaking
+hands, entitled, “Peace,” so that the idea is to represent the British
+sports in which His Majesty takes a great interest. The menu itself is
+piped in white, on a red ground, which is edged with gold, and the wide
+margin around it is a Royal blue, the figure piping being in white. We
+thus have a combination of red, white, and blue. It is, perhaps, not
+necessary to go into detail as to how this is done, as a glance of the
+method adopted in the previous designs will suffice; but this is simply
+to illustrate another of the uses of Figure Piping. As reference has
+been made to piping in colours, however, I may mention here that in
+certain subjects some very good effects may be obtained; but for
+anything which is intended to be eaten, of course, our range of colours
+are somewhat limited—or at least, among those which may be pronounced
+“harmless” in this category, I think we are allowed to dabble a little
+in pale green, yellow, pink, and brown, or chocolate, and some very
+novel effects can be got up even with this limited array, especially in
+the Christmas cake or chocolate medallion line. While, if we go beyond
+the eatable stage, and go in for piped menus or framed pictures for our
+shops, or sitting-rooms, we can almost get up an effect like a
+water-colour drawing, the only difference is the piping picture has the
+additional novelty of being in bas relief, which has rather a taking
+effect when viewed from a short distance with a side-light shining upon
+it. These, too, will last for very many years if kept in an ordinary dry
+room, so that the artistic confectioner may vary the monotony of always
+making something for somebody else to destroy.
+
+In mixing coloured icing for a landscape, for instance, two or three
+shades of green may be made; but, as in water-colours, nothing should be
+too “glaring”; a few drops of Browning or “Black Jack” will always sober
+down a too brilliant green, and a little extract of saffron added will
+make another shade, and a knowledge of each, with the “happy medium”
+thrown in, will be beneficial “assets” towards the art of Figure Piping
+in colours. The methods to be adopted in the arrangement of the various
+tints will be greatly simplified if the operator has a slight knowledge
+of the general use of colours, as he will then know where to place them
+to get the best effect.
+
+[Illustration]
+
+[Illustration: Plate 20.—A REMINISCENCE OF THE BOER WAR.]
+
+
+
+
+                              Chapter VI.
+                             MISCELLANEOUS.
+
+
+Before closing this little book, it may be as well to present the reader
+with a few more illustrations, and a brief explanation concerning them.
+
+The following illustration of a piping study is from the original, which
+was designed at the time that Great Britain was in the thick—or, rather,
+at the waning point—of the Boer War. It will be too much repetition for
+me to describe over again the methods to be adopted in piping these
+figures, but briefly the top left-hand figure was intended to be that of
+the ever-popular Baden-Powell, watching for the relief column which
+eventually accomplished its purpose. It is needless to describe the
+central figure in the top line, as he will be a backward eight-year old
+schoolboy who does not recognise, or feel a certain thrill of pride at
+the very utterance of the name of, “Bobs.” The equestrian figure on the
+right was originally intended for the Earl of Airlie, for he bravely met
+his death when charging the enemy at the head of his Lancers. The
+remainder of the design will explain itself.
+
+Our next study is a group of designs illustrating some important
+episodes in the life of a fox, the central figure showing the
+poultry-loving and “crafty gentleman” himself in the act of carrying off
+his prey. “Notice to quit” follows, and so on to the moment of
+retribution, when his misdeeds are finally expiated under the woodland
+tree. This group was piped all white on a chocolate ground, and was the
+forerunner, in a sporting sense, of the more ambitious work which is
+given on page 66. It was in coloured piping, and was more in the nature
+of a _bona fide_ picture in glacé Royal.
+
+[Illustration: Plate 21.—EPISODES IN THE LIFE OF A FOX.]
+
+
+                       ON BUTTER AND LARD PIPING.
+
+[Illustration: Plate 22.—DESIGN IN BUTTER PIPING FOR BOAR’S HEAD, ETC.]
+
+[Illustration: Plate 23.—“FULL CRY” (see page 65).]
+
+Except for practice, or, perhaps, with some uneatable speciality for a
+Christmas show, I would not advise the use of lard for piping. Both of
+these mediums are prepared in the same way, however. That is slightly
+warmed (not melted) in a basin, and then beaten up with a three-pronged
+fork or small whisk, until it becomes of a creamy appearance, and about
+the same consistency as glacé Royal. In using the lard for practice, any
+of the foregoing designs might be utilized, and piped on the back of an
+iron tray or any other dark enamelled surface, as it is then easier to
+remove it when no longer required. This lard piping practice should
+always be a forerunner to the butter decoration, which is used for
+glazed ox tongues, hams, boar’s heads, beef, galantines, &c. Figure
+piping lends itself readily to this class of work, and as the weight of
+material is almost nil for the accomplishment of a design, it is just as
+well to use a little of the best butter you can procure for the purpose,
+so as to be in keeping with the quality of the viand it assists to
+embellish. A fairly warm place should be selected for butter piping, as,
+if it is done in a cold larder, the butter will get fast in the cornet
+and become unmanageable, and that in the basin will become lumpy through
+the surface and sides getting set. The piping itself may be done in
+precisely the same way as with glacé Royal, and I herewith give a few
+designs which are not only suitable for the purpose named, but have been
+mostly executed in “grease,” and, as the illustrations will show, have
+been used on boar’s heads. Piping on glazed ox tongues should always be
+neatly done, and the designs not too heavy, otherwise they look vulgar
+and “messy,” while the artistic effort of the piper makes it appear
+overloaded.
+
+[Illustration: Plate 24.—BOAR’S HEAD PIPED WITH BUTTER.]
+
+In my experiences I have known a simple piping sketch in butter—which
+has decorated a piece of pressed beef—to be the cause of bringing out
+the whole family party, especially when some subject has been hit upon,
+not altogether accidentally, which has had its bearing on the hobbies or
+sporting proclivities of one or more members of the family. Indeed, on
+one occasion, it was the means of getting an order for over 300 menus,
+illustrated from designs in glacé Royal; and it is, perhaps, only
+natural that the member of the family who is almost sure to be the
+pioneer in taking notice of these little efforts, is the artist of the
+house, generally one of the daughters.
+
+Although I feel I have now got to the end of “Figure Piping,” I by no
+means wish to convey the impression that the subject itself is unworthy
+of further comment or effort. But I do think that the young piper who
+wishes to vary his every-day style by a few figures, may get a few hints
+from the foregoing pages which will enable him to start on a better
+footing than if he had not studied them. Figure piping in its broad
+sense is something like cooking and confectionery—the climax is never
+reached; but in the first-named it is as well to bear the fact in mind,
+that he who has the most artistic practice, and the keenest eye for
+fresh subjects and general effect, will not only accomplish what few
+things are delineated herein, but will open up a field for himself which
+may reveal possibilities that he never dreamt of.
+
+
+                                THE END.
+
+------------------------------------------------------------------------
+
+
+
+
+                          TRANSCRIBER’S NOTES
+
+
+ ● Fixed typos; non-standard spelling and dialect retained.
+ ● Enclosed italics font in _underscores_.
+ ● Enclosed blackletter font in =equals=.
+
+*** END OF THE PROJECT GUTENBERG EBOOK 78972 ***
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+  <body>   
+<div style='text-align:center'>*** START OF THE PROJECT GUTENBERG EBOOK 78972 ***</div>
+
+
+<div class='tnotes covernote'>
+
+<p class='c000'><strong>Transcriber’s Note:</strong></p>
+
+<p class='c000'>New original cover art included with this eBook is granted to the public domain.</p>
+
+</div>
+
+<div class='titlepage'>
+
+<div>
+  <h1 class='c001'>FIGURE PIPING:<br> <span class='xlarge'>ITS METHODS AND ITS USES.</span></h1>
+</div>
+
+<div class='nf-center-c0'>
+<div class='nf-center c002'>
+    <div><span class='small'>BY</span></div>
+    <div><span class='large'>F. RUSSELL, M.C.A.</span></div>
+    <div class='c002'><span class='blackletter'>London:</span></div>
+    <div>BAKER AND CONFECTIONER, <span class='sc'>Limited,</span></div>
+    <div><span class='sc'>61 &#38; 62, Chancery Lane, W.C.</span></div>
+    <div class='c002'>1903.</div>
+  </div>
+</div>
+
+</div>
+
+<div  class='figcenter id001'>
+<img src='images/verso-decorative.jpg' alt='Printed by HAMPTON &#38; CO. 13, Cursitor St., London, E.C.' class='ig001'>
+</div>
+
+<div class='chapter'>
+  <h2 class='c003'>Contents.</h2>
+</div>
+
+<div class='c002 figcenter id001'>
+<img src='images/image-v.jpg' alt='' class='ig001'>
+</div>
+
+<table class='table0'>
+  <tr>
+    <td class='c004'><span class='sc'>Preface</span></td>
+    <td class='c005'>&#160;</td>
+    <td class='c006'>&#160;</td>
+    <td class='c007'><a href='#Page_vii'>vii</a></td>
+  </tr>
+  <tr>
+    <td class='c004'><span class='sc'>Chapter</span></td>
+    <td class='c005'>I.</td>
+    <td class='c006'>—<span class='sc'>Introduction</span></td>
+    <td class='c007'><a href='#Page_9'>9</a></td>
+  </tr>
+  <tr>
+    <td class='c004'>„</td>
+    <td class='c005'>II.</td>
+    <td class='c006'>—<span class='sc'>Outline—Birds</span></td>
+    <td class='c007'><a href='#Page_16'>16</a></td>
+  </tr>
+  <tr>
+    <td class='c004'>„</td>
+    <td class='c005'>III.</td>
+    <td class='c006'>—<span class='sc'>Outline—Animals</span></td>
+    <td class='c007'><a href='#Page_32'>32</a></td>
+  </tr>
+  <tr>
+    <td class='c004'>„</td>
+    <td class='c005'>IV.</td>
+    <td class='c006'>—<span class='sc'>Bas Relief</span></td>
+    <td class='c007'><a href='#Page_41'>41</a></td>
+  </tr>
+  <tr>
+    <td class='c004'>„</td>
+    <td class='c005'>V.</td>
+    <td class='c006'>—<span class='sc'>Menus</span></td>
+    <td class='c007'><a href='#Page_51'>51</a></td>
+  </tr>
+  <tr>
+    <td class='c004'>„</td>
+    <td class='c005'>VI.</td>
+    <td class='c006'>—<span class='sc'>Miscellaneous</span></td>
+    <td class='c007'><a href='#Page_63'>63</a></td>
+  </tr>
+</table>
+
+<div class='chapter'>
+  <span class='pageno' id='Page_vii'>vii</span>
+  <h2 class='c003'>PREFACE.</h2>
+</div>
+
+<p class='drop-capa0_0_7 c008'>A very few words of introduction will suffice
+for this little book. Its author, Mr. F.
+Russell, has been known for some time past
+as one of our most skilful and artistic pipers, and
+the specimens of his work, which have been shown
+principally at the Food and Cookery Exhibition,
+have excited the admiration of the casual spectator,
+and have received the more solid applause of the
+judges of the art. The reproductions we give here,
+though some of them have lost a good deal in
+losing colour, are certain to please all and will
+probably excite many to emulate. And these last
+will find that Mr. Russell is as clear in his instructions
+as he is artistic in his work. This book
+ought to do something to extend among the trade
+the practice of the most fascinating branch of
+ornamental art—Figure Piping—and it is with that
+view that it has been produced.</p>
+
+<div class='lg-container-r'>
+  <div class='linegroup'>
+    <div class='group'>
+      <div class='line in8'>EDITOR,</div>
+      <div class='line'>“BAKER AND CONFECTIONER.”</div>
+    </div>
+  </div>
+</div>
+
+<div class='chapter ph1'>
+
+<div class='nf-center-c0'>
+<div class='nf-center c009'>
+    <div>FIGURE PIPING.</div>
+  </div>
+</div>
+
+</div>
+
+<div>
+  <span class='pageno' id='Page_9'>9</span>
+  <h2 class='c003'>Chapter I.<br> <span class='c010'>INTRODUCTION.</span></h2>
+</div>
+
+<p class='c011'>“What, again?” I fancy I can hear someone exclaim,
+who has read some former efforts of mine in
+this direction and on this subject; and with all
+due respect I venture to echo the word, “Again!”
+And I will take the reader into my confidence,
+and give some reasons why I renew this subject
+after a lapse of a few years, during which time, to
+my certain knowledge, the art of figure piping has
+sprung up from nooks and crannies where it was previously
+non-existent, and, in one or two instances,
+where least expected.</p>
+
+<p class='c012'>My reasons, then, for again bringing this most
+varied and interesting art to the front is, firstly, because
+I have been requested to do so by several piping
+artists, who want to vary their subjects; and,
+secondly, because within the last two years we have
+had most convincing proof that figure piping holds
+its own as an art with any other form of decorative
+sugar work—it has had a fair honest trial for two
+seasons, and under the disinterested and impartial
+judgment of different experts it has scored, finishing
+up with a win against any variety. I would respectfully
+beg of the reader to accept this statement without
+the slightest taint of egotism on my part, which is
+not intended in the slightest degree; but I make the
+<span class='pageno' id='Page_10'>10</span>statement to prove beyond a doubt that the subject we
+have in hand <i>is</i> worthy of consideration and encouragement
+to all pipers who are of an artistic turn of
+mind. Moreover, there are doubtless scores of young
+pipers to whom these articles will appeal for the first
+time, and, in regard to the scope for learning, I can
+assure the reader that I have learnt a very great deal
+since I first entered in the competitions, and even now
+never take my paper cornet in hand but the mind is
+made up to learn something more. So varied and so
+spontaneous may the subjects in this branch of the
+art become that we may look upon the fund of designs
+as practically inexhaustible. Surely this should act
+as an incentive to the young piper; and when you come
+to consider that you can make a veritable sugar picture
+to frame and glaze and hang in your private
+sitting room, or pipe a Christmas card, menu, or
+birthday card, you will readily see that figure piping
+with a meaning will be far more interesting as an object
+to look at than the most elaborate bit of scrolling
+or string work that was ever squeezed through a tube.
+Brilliant and commercial as it may look on a bride
+cake, it is doomed to be destroyed. The bride, who is
+supposed to make the first attack as the “Destroying
+Angel,” stands nervously with the knife, and, her mind
+being pre-occupied, can no more see the artistic merit
+of that cake than Hodge from the plough can see the
+literary worth of the soliloquy in Hamlet. The destruction
+of that cake soon becomes complete. The
+elaborate festoons, scrolls, and monograms—all of
+which were a credit to the piping artist—are mangled
+beyond recognition, and the head of the dove, or the
+foot of a possible cupid may be just recognised as the
+sections are packed away in those wedge-shaped cardboard
+boxes, with which we are all so familiar.</p>
+
+<p class='c012'>Now, although “artistic piping” may cover all the
+branches which jut from the parent stem, we may with
+safety come to the conclusion our branch has distinctive
+<span class='pageno' id='Page_11'>11</span>features, which are very marked, for while
+the “scroller” aims at geometrical accuracy and
+detail, the flower piper aims at thinness of petal,
+fidelity of shape and colour. The figure piper’s aim
+is bound to be anatomy and natural poses, for his
+“figures” may include anything in the animal world
+and it is absolutely necessary for him to observe, and
+study as much as possible, the natural and varied
+attitudes of each and all of them—that is, if he intends
+to work up his own designs, instead of working on the
+observation of others. Here I think I may digress a
+little to explain this matter more fully, for there are
+different grades of piracy in our exhibitions as well as
+on the high seas. Now, looking at it from a standpoint
+of “right,” I think that a student or anyone
+cannot be blamed for copying a design which may take
+his fancy, in glacé Royal, or any other medium, if by
+doing so he fancies he can improve himself. Or if he be
+in business, and he makes his copy good enough to sell—why
+not sell it? And if he should at any time be cornered
+as to the source of the design, I think it would be
+to his credit and his interest to tell the truth. Now,
+exhibition business is a different thing altogether, for
+if an exhibitor, after much time and patience and
+skill, works up a meritorious exhibit, which scores
+first prize, on its own merit, as a piece of original work,
+I contend that it would be absolutely out of place for
+some other exhibitor to present a counterpart of it for
+competition, say, the following year. “Imitation
+may be the sincerest form of flattery”—but there’s
+a line to be drawn for all that.</p>
+
+<p class='c012'>We will resume the methods to be aimed at. In
+the first place, I would advise all intending figure-pipers,
+of whatever age, to aim strongly at originality.
+I fancy I can hear someone exclaim, “Where can we
+get our designs?” Well, if I lived in London, I fancy
+I could get a dozen or so in St. James’s Park, with its
+enormous variety of birds, its little bits of secluded
+<span class='pageno' id='Page_12'>12</span>shrubbery, its boats, and kaleidoscope incidents—in
+fact, you can get subjects for figure-piping anywhere
+almost, while there is any life at all. Why, I was
+riding on a Putney ’bus down Piccadilly one day,
+and saw on the branch of an elm-tree which grows
+just inside the railings of the Green Park a wood
+pigeon with her nest and pair of young ones—a capital
+subject to go across a chocolate medallion. Another
+pretty subject—and this, too, may be studied almost
+any day in the summer time—is a little girl, basket in
+hand, feeding the waterfowl, scarcely half-a-mile from
+the scene of the woodpigeon’s nest above described.
+This would be a copy, it is true; but it is a copy from
+Nature, and it was such copies as this that made the
+name of Sir John Millais, Sir Frederick Leighton, and
+others whose names stand as monuments to British
+Art. Whatever would the Hanging Committee say if
+a painted copy of one of their works were presented
+for acceptance at the next year’s Royal Academy
+exhibition? Well, as far as reputation went, it
+strikes me very forcibly it would almost be a case of
+“hanging” for the would-be exhibitor.</p>
+
+<p class='c012'>I have stated on former occasions, and it will bear
+repeating for the benefit of those who study this
+fascinating subject for the first time, that if the designer
+has a liking for, or is already tolerably well
+skilled in freehand drawing, he is well on the road to
+success in figure piping; and if he has a fancy for
+natural history, with keen observation and a good
+memory to boot, he has got pretty well all that is
+required, with the exception of a pot of glacé Royal,
+some paper cornets, and—perseverance.</p>
+
+<p class='c012'>I know perfectly well that a pupil who has any or
+all these qualities—the first-named being most important—in
+his composition, is far and away easier to
+teach than he who cannot use the lead pencil with
+good effect. In fact, the lead pencil and the paper
+cornet should, to use a common expression, go “handin-hand.”
+<span class='pageno' id='Page_13'>13</span>Many a time where the means of piping
+has not been available, I have had recourse to a lead
+pencil, and jotted down on paper some little incident
+which has been passed as a likely subject. By this plan
+you can accumulate quite a number of subjects, which
+may be reproduced in sugar at any time, possessing a
+value of their own on account of their originality.</p>
+
+<p class='c012'>These, of course, may be introduced on Bride Cakes,
+Birthday Cakes or Christmas Cakes, petits fours, and
+in butter on hams, tongues, galantines, pressed beef,
+etc. Of course, a good deal of judgment is required
+in the choice of your subjects for any particular
+function, and what would be highly appropriate
+for a wedding would be tolerably “tame” for
+a hunting or golfing party. Any design may be suitably
+embellished with a few scrolls, and figure piping
+may also be judiciously blended with flowers occasionally,
+so that all these branches may work in conjunction
+with each other to gain an artistic end.</p>
+
+<p class='c012'>The intending figure piper never knows where he
+may cast his lot, and the very emperor of dramatic
+writers has told us that</p>
+
+<div class='lg-container-b c013'>
+  <div class='linegroup'>
+    <div class='group'>
+      <div class='line'>There is a divinity that shapes our ends</div>
+      <div class='line'>Rough-hew them how we will.</div>
+    </div>
+  </div>
+</div>
+
+<p class='c012'>Therefore, if it be your lot to be cast in a thoroughly
+representative fox-hunting district, surely the habitués
+of that district would better appreciate some fox-hunting
+designs than they would those that are relating
+to “Ping-Pong,” and the devotees of this up-to-date
+pastime would prefer something in their line to
+anything bordering on footballs; so that if the piping
+artist can adapt himself to circumstances he is sure
+to attract, by his work, the attention of those who
+may employ him.</p>
+
+<p class='c012'>As I proceed, I intend giving the necessary details as
+to how artistic figure piping may be practised from the
+earliest to the last—no, not the last stage, for I shall
+never reach that goal myself. I must here inform the
+<span class='pageno' id='Page_14'>14</span>reader that I am still learning, and no doubt will benefit,
+to some extent, by the undertaking I have in hand,
+which is for the purpose of bringing the reader up to the
+stage that I have arrived at. It will be necessary on
+the way to give some details in natural history, so that
+we try to avoid the common error, not only committed
+by some piping artists, but by taxidermists
+also, of perching a robin on a twig in the same attitude
+adopted by a Yorkshire canary, or flying doves with
+their crops so apparently full that they have naturally
+enough lost their equilibrium. No, let us endeavour
+to</p>
+
+<div class='lg-container-b c013'>
+  <div class='linegroup'>
+    <div class='group'>
+      <div class='line'>Hold, as ’twere, the mirror up to Nature.</div>
+    </div>
+  </div>
+</div>
+
+<p class='c012'>And the more natural in proportion and in pose we get
+our subjects the greater the pleasure it will be; for
+remember that, in glacé Royal piping, unaided by
+colour of any kind, we have nothing but the shape and
+proportion to establish the identity of whatever
+animal or bird we have tried to represent. Of late
+years, landscape and seascape piping has been introduced
+into the decorative art, and to a very great
+extent the first-named is an almost indispensable
+comparison to figure piping, for distant hills have to
+be represented sometimes and foreground trees as
+well, in order to make up a picture in sugar. Now, as
+in the case of landscape painting, we have to manage
+the perspective by executing all the foreground objects
+boldly and all the distant objects faintly, by proper
+management and delicate handling the cornet can be
+made to pipe a row of poplar trees and a farmhouse
+which apparently stand at least a-quarter of a mile
+away from a mare and foal, which may be represented
+as grazing in the foreground.</p>
+
+<p class='c012'>Although I have mentioned here the subject of white
+piping only, there is also a system of coloured piping,
+which is most practised on chocolate medallions, Christmas
+cakes, birthday cakes, &#38;c. The colouring of sugar
+for flowers is a recognised innovation, and therefore, by
+<span class='pageno' id='Page_15'>15</span>way of variety, a “bit of colour” may occasionally
+“embellish the figures”; but you cannot, for discretionary
+reasons, go too far with brilliant tints without
+drawing some objections from the “pure sugar” advocates.
+Vainly may you try to explain that the
+Spanish green is “<i>from spinach</i>,” and that the blue
+and the red are equally harmless; but I think most of
+this prejudice is brought about by the violence of
+colour with which some eatables are “decorated.”
+Some of our exhibitions will prove this, and severe and
+thoroughly deserved are some of the criticisms we
+read on this subject when the confectionery critic goes
+round, pencil in hand, just to give them a “bit of his
+mind.” Pleasing effects may be obtained by a delicate
+handling of colour, and later on I intend giving
+instruction in this branch also, although, unfortunately,
+black and white photographic reproductions invariably
+convey a misleading impression as far as coloured
+designs are concerned, though fairly accurate when
+white sugar is used.</p>
+
+<div  class='figcenter id001'>
+<img src='images/image015.jpg' alt='' class='ig001'>
+</div>
+
+<div class='chapter'>
+  <span class='pageno' id='Page_16'>16</span>
+  <h2 class='c003'>Chapter II.<br> <span class='c010'>OUTLINE—BIRDS.</span></h2>
+</div>
+
+<p class='c011'>Having made the principles of figure piping as plain
+as I can to the reader, I think it is time that I take him
+by the hand, so to speak, and proceeded with something
+practical. It is to be assumed that he already knows
+the simple method of mixing his glacé Royal, and the
+making of his paper cornets, for, if he is an absolute
+beginner in piping, I would not advise him to commence
+on figures; but make himself, under tuition, a fairly
+skilled hand in the regulation work, as he will then be
+thorough master of the cornet, and be able to put on
+his fine strokes and heavy strokes, according to his
+will.</p>
+
+<p class='c012'>I think the easiest things to pipe in the figure line are
+birds, so we will take a couple for a start, and begin as
+I began many years ago, by doing plenty of outlines. I
+have already noted the great difference in birds, not
+only in size and shape, but in characteristic attitudes as
+well, and our first subject may as well be that familiar
+little harbinger of Christmas time—the robin. I have
+not the model of our little favourite by me at the present
+time, but I can see him in my “mind’s eye,” and
+commence thus, with a fine line from the paper cornet
+(Fig. 1). Commence at back of the head; carry the
+line carefully down over the forehead, along the beak,
+under the lower mandible, down the breast to the
+point under the breast-bone, where the thighs commence,
+which must not be too far back in this instance,
+or it will upset the natural balance of a bird in this position.
+Leave off at this point, and take your cornet
+<span class='pageno' id='Page_17'>17</span>back to the starting point; now carry your fine line
+down the back to the root of the tail, and when your
+judgment will tell you that it is far enough for the
+body, make the tail with an upward tendency, which
+will do much to establish the bird’s identity. Now recommence
+at the top of the thigh to meet the line under
+the tail. Although as yet the bird has no legs, you
+will plainly see if the body is in proportion, and, if so,
+you can add the legs—as in the illustration—the eye,
+and the wing also.</p>
+
+<div  class='figcenter id002'>
+<img src='images/image017.jpg' alt='' class='ig001'>
+<div class='ic002'>
+<p>Plate 1.—<span class='sc'>Robins.</span></p>
+</div>
+</div>
+
+<p class='c012'>This outline, when in the reproduction, will probably
+appear as if it were done with a fine white
+crayon; but in reality it is a line in glacé Royal, and,
+unless otherwise stated, it is my intention to do all the
+subsequent designs in this medium, and originality
+will be another point aimed at.</p>
+
+<p class='c012'>In Fig. 2 we have the same bird, but in a different
+<span class='pageno' id='Page_18'>18</span>attitude—<i>i.e.</i>, in the act of singing, and sitting the reverse
+way. A great many people find it somewhat
+difficult to do objects of this kind—looking from left to
+right; but this difficulty soon disappears with
+practice.</p>
+
+<p class='c012'>The method to be adopted in Fig. 2 is somewhat
+similar to the other—that is, to take your line from
+the back of the head over to the beak, and then after
+making a slight swelling in the throat, down the breast
+to the thigh. Indeed, the general instructions for
+No. 1 will do for No. 2; but it will be noticed at a
+glance how different are the positions of the two birds;
+and yet the reader has doubtless noticed them in these
+attitudes many a time and oft. Fig. 2 will almost
+answer for any bird in the act of singing. Something
+similar to it is adopted for the thrush, bullfinch,
+canary, &#38;c.; but it must always be borne in mind
+that the two last named have a much thicker beak
+than the robin, and there is a great disparity in the
+bulk as well.</p>
+
+<p class='c012'>I must here remark that the majority of intending
+figure pipers are too impatient; they want, and
+expect, satisfactory results to appear at the first or
+second attempt, and if these results do not come at the
+third, fourth, or fifth attempt, they come to the conclusion
+that it is “a gift”; but they have not got that
+“gift,” and thereupon give up further efforts. This
+is a great mistake, for persistent practice, I contend,
+will accomplish wonders, and I have individuals in my
+mind, even now, who very nearly came to the above-mentioned
+stage of despair; but after sticking to it
+still further, the reward came to them eventually for
+their dogged perseverance, so that they can not only
+accomplish figures “for the shop window,” but even
+for exhibition work as well. So I say to the pupil—for
+whom these instructions are intended—“Go at it
+with a determination to succeed, for I can assure you
+that I have been most agreeably surprised at the headway
+<span class='pageno' id='Page_19'>19</span>some young fellows of my acquaintance have
+made.”</p>
+
+<p class='c012'>We have seen how the robin and other birds may be
+done in outline while in a standing position. It will
+be as well to now give some idea as to the methods
+adopted for those when on the wing. Of course, the
+head is held much more forward, and the legs and feet
+doubled up under the lower part of the breast-bone.</p>
+
+<p class='c012'>The wings although appearing very natural in the
+finished study of a bird, will seem rather flat in the
+outline process; but still it will convey the idea forcibly
+enough. Just the same that expression may be
+given in black outline drawing by a few strokes of the
+artist’s pen: for be it remembered, we are but drawing—the
+glacé Royal taking the place of the ink, and
+the paper cornet taking the place of the pen, both have
+to go according to the will and skill of the operator;
+and to accentuate still further the analogy between the
+two forms of artistic work, both are essentially started
+in the same way, namely, by a thorough knowledge of
+freehand, outline work, as a forerunner of “filling-in”
+in the case of sugar, or light and shadow in the
+case of pen and pencil drawing.</p>
+
+<p class='c012'>While on the subject of birds, it will be as well to
+say something about the branches of trees and shrubs
+on which they sit. There is no hard and fast rule as to
+the correctness of outline in regard to the branch of a
+tree; for, as the reader knows well enough, they vary
+so much that no one pretends to say they have a true
+form, but twist and turn in a most wayward and
+eccentric fashion. Still, whatever their form or
+thickness, the feathered denizens of the wood will pose
+on those twigs and branches in a way that Nature has
+taught them to be the best way. It, therefore, behoves
+the piping student to get these branches at the
+proper angle, and by judiciously narrowing it at the
+farther end he may give a good idea of perspective.
+Although it may seem to be, at the first glance, an unnecessary
+<span class='pageno' id='Page_20'>20</span>detail to attempt to make a distinction
+in trees as far as piping is concerned, still, it is an easy
+matter to copy Nature to some extent even in this
+respect, as it is generally well known that the beech
+and horse-chestnut trees have a comparatively smooth
+bark, while that of the elm and oak is very rough, with
+a kind of mottled appearance at a distance. And as
+the majority of birds always have been and always will
+be associated with trees and their branches, it is as well
+to study them for the sake of making everything look
+in harmony when it comes to grouping, as we are but
+in the elementary stage yet, and I take it that the
+student is proceeding with those outlines, for the art
+of figure piping cannot be accomplished in the same
+off-hand manner as the ingredients of a pudding could
+be weighed out—put in a basin, mixed, and steamed
+for two hours; that would be an accomplished fact,
+and eventually an eaten pudding probably. But the
+subject we have in hand cannot be done in that way,
+so that it is no use dashing at it, but rather let the
+mind be steadily trained up to a pitch of enthusiasm,
+so that it is a pleasure to persevere, and thus no telling
+what excellent ideas will come in its train. It is this
+enthusiasm that brings on inspiration, to a great
+extent, in my opinion, and in this way our most
+eminent men—artists, novelists, poets—ah! and
+even confectioners, have at some time or other arrived
+at that pitch of excellence in handiwork which has
+caused the critics to declare, “Why, that is his
+masterpiece.”</p>
+
+<p class='c012'>In the management of leaves for ordinary piping—say,
+for the branches of the trees we have been describing—a
+small leaf tube might be used for some,
+while the plain paper cornet will answer the purpose
+for others. More elaborate leaf effects may be obtained
+by piping leaves on a slightly greased and bent
+surface, such as a piece of tin or a glass bottle, which
+leaves, when dry, are taken off in the bent state and
+<span class='pageno' id='Page_21'>21</span>added to the work; but, as our elementary designs are
+still on the outline principle, it will be sufficient to do
+them as indicated on the reproduction, while some instruction
+as to the more elaborate form of grouping
+will be given later on.</p>
+
+<p class='c012'>There is a diversity of opinion, however, among
+experts and critics, especially in the exhibitions, as to
+the “piping off” process; for the ingenious “piper
+off,” with his mechanical contrivances, can often get a
+more “taking” effect than the first-class “piper on,”
+who depends solely on his skill as a piper to get his
+effects, and most judges take this into consideration,
+and rightly award the prize where they see the most
+artistic merit without mechanical aid.</p>
+
+<div  class='figcenter id003'>
+<img src='images/image021.jpg' alt='' class='ig001'>
+<div class='ic002'>
+<p>Plate 2.—<span class='sc'>Robins.</span></p>
+</div>
+</div>
+
+<p class='c012'>In Figs. 3 and 4 of these outline piping sketches, it
+will be seen that the position of the birds is entirely
+different to those preceding them; and in the case of
+<span class='pageno' id='Page_22'>22</span>No. 3 the idea of flying is entirely conveyed by the
+management of the wings, and the balance of the bird
+is dependent on them, whereas in the other three it
+depends on the legs. As before stated, if we get these
+too far forward or backward, the most inartistic
+observer can see there is something wrong with it,
+although he or she cannot for a moment guess the
+cause.</p>
+
+<p class='c012'>In Fig. 4 I have gone a stage further in outline work
+by introducing the frame or “skeleton,” of a nest just
+to show why the bird is in that position with a small
+twig in its beak preparatory to the resumption of nest-building
+operations. All these birds may be piped
+according to the directions given for Fig. 1, and each,
+in turn, may be completed before the branch of the tree
+is introduced, for this reason:—if you do the branch
+of the tree first, you have to fit the bird to it; and in
+endeavouring to do this you may get its feet a little too
+much to the right or left, or the legs too long or too
+short; whereas, the bough on which you intend it to
+perch can very easily be brought up to the feet, and to
+get it in the right place, soon becomes an easy matter.
+The nest is easily managed, as it is but a bunch of irregular
+lines laid one over the other till proper formation
+is arrived at, always bearing in mind that the farther
+side of it must be made with rather faint streaks, while
+the part which is at the front must be in a rather bold
+and intertwining lines, which, if done too mathematically,
+does away with the natural appearance of the
+structure.</p>
+
+<p class='c012'>The few leaves which are represented are easily
+accomplished, and can be made with serrated edges
+or otherwise. As most of us who live in large cities are
+within easy distance of trees and shrubs of all kinds,
+a collection of leaves suitable for copying purposes, is
+always easily attainable, while those who live in the
+country will have them blowing in their backdoor;
+so there is no need to draw much on the imagination
+<span class='pageno' id='Page_23'>23</span>in this respect. Indeed, the all-round figure piper
+would do well to make himself tolerably well acquainted
+with forestry and botany, as well as natural history;
+so that in a case of emergency, where copying studies
+are not available, he could make up a design by drawing
+on his knowledge of the above-mentioned subjects.</p>
+
+<p class='c011'>Making further advances in the subject we have in
+hand, it will be as well to form an outline group; and
+this may be managed by bringing isolated birds in
+various attitudes together. We will take as our design,
+on this occasion, a group of pheasants.</p>
+
+<p class='c012'>Now, pheasants—as the reader is probably aware—are
+of the gallinaceous order of birds, and in shape
+somewhat resemble the domestic fowl. I think they
+are slightly more difficult to “reproduce in sugar”
+than the average singing bird, but not much; and,
+although it is just possible that some of my readers
+have never seen one in the life, I can assure them that,
+the pheasant, when viewed in his natural surroundings
+at the corner of a wood, or walking with stately
+tread over the adjoining meadow, is a most magnificent
+bird; his inanimate remains, which may hang in
+the poulterer’s shop, convey no idea of his beautiful
+proportions and plumage while in the life. It
+is for this reason that I take him as a subject; moreover,
+it has the advantage of being comparatively rare
+“in sugar.” Swans, doves, and storks are becoming
+fairly plentiful, so let as try our hand on something for
+a change.</p>
+
+<p class='c012'>Supposing that we decide on a group of four birds.
+I will take them according to the way I have seen
+them, and trust to memory for the accuracy of details.
+This method is adopted for three reasons:—First is,
+because the nearest lot of live pheasants I know of is
+not within seven miles from where I am writing; the
+second is because—leaving the copyright question out
+of it altogether—it is not my intention to copy from
+<span class='pageno' id='Page_24'>24</span>anybody; and, thirdly, because originality will always
+stand out conspicuously in whatever branch of art you
+may take up.</p>
+
+<div  class='figcenter id002'>
+<img src='images/image024.jpg' alt='' class='ig001'>
+<div class='ic002'>
+<p>Plate 3.—<span class='sc'>Pheasants.</span></p>
+</div>
+</div>
+
+<p class='c012'><span class='pageno' id='Page_25'>25</span>Take a fine-pointed paper cornet first of all for the
+bird marked A, which is represented as a running
+pheasant. Start piping a fine line in a similar manner
+to that described in a previous chapter on small birds;
+but carry the breast line and left thigh further back,
+and the right thigh and leg more forward, as seen in
+outline above, as this conveys the idea of running; for
+all game birds run in this way, which is a distinctive
+feature as compared with the mode of progression
+called hopping, as adopted by the jackdaw, the rook,
+and others of their kind. In Fig. B we have a pheasant
+in the act of flying; the position is almost a repetition
+of a preceding outline sketch, but the shape of
+the body is different—the neck is longer, the head
+smaller in proportion to the general bulk, while the
+length of tail alters the general outline considerably.
+This may also be piped in the manner described for
+small birds, and may be repeated time after time, until
+the student gets the “balance” and general appearance
+to his own satisfaction. In Fig. C we have a very
+characteristic position adopted by the pheasant. With
+an upright and alert appearance he turns his head half
+round, as if on the look-out for some expected danger.
+Fig. D is another characteristic attitude, and with
+the last-named we have completed the details which
+will make up a group of pheasants. It would be as
+well for the student to make himself master of each
+and everyone of these “units” separately before
+grouping, as he may perhaps find that one or two
+positions will be comparatively easy of execution to
+him, while the remainder will be difficult, and the result
+indifferent. In this case, if one bird, which is
+sadly out of proportion, were grouped with three good
+ones, it would upset the “arrangement,” altogether,
+and the average looker-on, although he may not be an
+<span class='pageno' id='Page_26'>26</span>artist, is generally quite capable of picking out a flaw
+of this kind.</p>
+
+<div  class='figcenter id003'>
+<img src='images/image026.jpg' alt='' class='ig001'>
+<div class='ic002'>
+<p>Plate 4.—<span class='sc'>Group of Pheasants.</span></p>
+</div>
+</div>
+
+<p class='c012'><span class='pageno' id='Page_27'>27</span>Taking it for granted, then, that the student can
+with confidence pipe any and every one of these elementary
+outlined pheasants separately, he may proceed
+to group them, as shown in Plate 4, and, by
+introducing a small indication of a bird in the distant
+horizon, it is easy to imagine that it may be a bird of
+prey, and that the pheasants are in a state of alarm
+in consequence; and this, of course, constitutes the
+subject.</p>
+
+<p class='c012'>Mention has been made of the wood-pigeon on the
+elm tree branch overlooking Piccadilly. Let us see
+what we can do with that. It will serve as a useful
+lesson as showing the difference in shape of a pigeon
+and a bird of the thrush tribe, for in the absence of
+colour, or light and shadow, we have only got our outline
+to depend on. It is not a very elaborate subject,
+it is true, but it would do for variety’s sake to go across
+a birthday or Christmas cake, and may take the fancy
+of somebody, for the wants of cake purchasers are
+extremely diversified. A case in point came to
+my knowledge quite recently, when a gentleman
+wanted cockroaches piped on a Christmas cake. This
+special request had to be executed in dark chocolate-coloured
+glacé Royal, and the effect may be imagined;
+but the purchaser was greatly pleased, simply because
+his wishes were carried out, and the “counterfeit presentment”
+of these culinary terrors had a life-like
+appearance.</p>
+
+<p class='c012'>Taking, then, the wood-pigeons and nest for a subject,
+we have got to bear in mind one or two facts in
+connection with these birds which may have escaped
+the notice of the average Metropolitan piper, although
+of late years (many thanks to the County Council and
+other bodies for it) these and other somewhat shy
+“Provincials” have made themselves quite at home
+in the parks; they have learned to know that they
+<span class='pageno' id='Page_28'>28</span>are treated with forbearance and kindness, and even
+protection, that they are perfectly safe from the pothunter’s
+gun and the wildfowler’s snare, the result
+being that the parks of London to-day can boast a
+greater variety of bird life than probably any other
+city in the world; and this fact gives the artistic
+student splendid chances, whether the medium employed
+is sugar, paint, or pencil.</p>
+
+<div  class='figcenter id003'>
+<img src='images/image028.jpg' alt='' class='ig001'>
+<div class='ic002'>
+<p>Plate 5.—<span class='sc'>Wood-pigeon and Nest.</span></p>
+</div>
+</div>
+
+<p class='c012'>The wild wood-pigeon, like its domesticated <i>confrère</i>,
+never lays more than two eggs for a sitting, but
+differs in his ideas of nest building, using a mere platform
+of twigs for the nest and a forked branch or
+stump of a tree for its support. The nest in Piccadilly
+was typical of this, and as there were a pair of strong-looking
+squeakers in it, which could be distinctly seen
+from the top of a Putney ’bus, the piping subject
+should make up quite a little family party. We will
+take his nest first, with a rather fine pointed paper
+cornet, and the glacé rather stiff. Some rather irregular
+<span class='pageno' id='Page_29'>29</span>cross lines may be made, which may form a
+somewhat flattened platform sort of nest, with no
+more depth than there would be in an ordinary flower-pot
+saucer. Projecting from the interior of this may
+be piped in outline the head and shoulders of the young
+pigeons. These always have a very squabby appearance
+at whatever age, and are never associated with
+the word “pretty” as is the case with a brood of young
+chickens or ducks. The bough of the tree may now
+be introduced on which the nest is built, with sundry
+branches spreading out therefrom, which can be
+brought under the nest. The old bird can be piped
+on the bough, with little fear of a mistake as to distance,
+as the legs of a pigeon being comparatively
+short, so much measurement is not required as with
+the long-legged variety of birds, and the pupil will find,
+as he still further advances, his eye and judgment will
+become so trained that his proper distances will come
+to him with almost unerring certainty.</p>
+
+<p class='c012'>While our subject lies in the vicinity of the Green
+Park, suppose we—mentally—take a walk across it,
+cross the Mall, and see what we can find in way of a
+subject or two in the lake beyond. There are waterfowl
+in plenty, and many a little “tit-bit” for the purposes
+of a piping picture here. As if the London
+County Council had not provided sufficient variety in
+the shape of ducks, there may be found also a very
+large contingent of seagulls, which, free and unfettered
+though they be, make it their business of coming all
+the way from the briny ocean to share in the safety
+and the good things which are provided for them, not
+only by the authorities, but by philanthropic individuals
+as well—so that object lessons may be found in plenty,
+almost within the shadow of Buckingham Palace.</p>
+
+<div  class='figcenter id003'>
+<span class='pageno' id='Page_30'>30</span>
+<img src='images/image030.jpg' alt='' class='ig001'>
+<div class='ic002'>
+<p>Plate 6.—<span class='sc'>Ducks and Swans.</span></p>
+</div>
+</div>
+
+<p class='c012'>Now, ducks and swans being so much associated
+with the water, they are nearly always represented in
+their natural element, nearly half the body being
+submerged, and legs and feet, to all intents and purposes,
+<span class='pageno' id='Page_31'>31</span>invisible; but still, they “come on shore”
+sometimes, and perhaps it will be as well to practise a
+few outlines, both in and out, as it will give a better
+idea as to proportions, for it will be noticed that the
+body of nearly all the aquatic birds is rather long in
+comparison with other members of the feathered
+tribe, while the legs of nearly everything in the duck
+line are much shorter in proportion to the body they
+have to carry.</p>
+
+<p class='c012'>In getting the effect of water for a piping sketch, it
+will be necessary to pipe a series of straight lines horizontally
+on your ground work, the distant part of the
+water being represented by short fine lines—not too
+numerous—while those in the foreground should be
+longer and thicker. This gives the idea of perspective,
+and although it is in sugar, it has the same effect as if
+it were done in pen-and-ink line drawing. The land,
+of course, should rise from the water at an angle more
+or less acute, according to the nature of the bank,
+which is to be represented, and, in the finished article,
+much more solid in appearance. But of that, more
+anon, as we are but in the outline stage at present, and
+these continued outlines will do more to foster a
+knowledge of bird and animal anatomy in the mind of
+a student than any other process I can think of, and
+plenty of practice will get the proper proportions so
+fixed on the operator’s mind that he will wipe out his
+subject with the greatest confidence and ease, so that
+the correctness of outline can be made apparent when
+viewed from the breadth of an ordinary room.</p>
+
+<div  class='figcenter id001'>
+<img src='images/image031.jpg' alt='' class='ig001'>
+</div>
+
+<div class='chapter'>
+  <span class='pageno' id='Page_32'>32</span>
+  <h2 class='c003'>Chapter III.<br> <span class='c010'>OUTLINE—ANIMALS.</span></h2>
+</div>
+
+<p class='c011'>Having made as plain as I can the method to be
+adopted in piping the preceding outline sketches, I
+will leave the aquatic subject in the hands of the advancing
+student, and, as we have gone fairly well—as
+far as variety is concerned—into ornithological designs,
+I think we may venture to touch upon the borders
+of that boundless field for practice—the animal
+world. Here it is somewhat difficult to select anything
+for the initial stages as being easier of execution
+than its fellows—that being a matter of opinion. All
+are beautiful in design, and well fitted for their usefulness
+and their needs, and we as copyists from
+Nature have first of all to acquire an anatomical knowledge
+of the general form of our living model, and then
+crown that knowledge by a never-ceasing observance
+of its characteristic attitudes, so that we may, by a
+few slight pressures of the paper cornet, give expression
+to the animal we endeavour to portray. However,
+I think that the deer tribes have, from time immemorial,
+lent themselves to the causes of art, and,
+as far as I can see, are as easy as anything; but I
+would advise anyone to avoid, as much as possible, the
+study of those to be seen on some of the old tapestries,
+or reproductions, which we see occasionally in the
+illustrated papers from the pictures by the “old
+masters”; because, if these were taken from life, we
+can only come to the conclusion that the breed of stags
+in those days was very different to what it is now—and
+we don’t want to study deer as they <i>were</i>, but as
+<span class='pageno' id='Page_33'>33</span>they <i>are</i>. It is not very easy for the young piper to
+study these beautiful creatures from life, unless
+he happens to live within easy distance of such
+places as Windsor or Richmond Park. True, the
+Londoner can view a few specimens in the Zoological
+Gardens; but they are mostly foreigners, and, of
+course, are not seen at their best within a wired enclosure,
+although even that is an opportunity which
+should not be lost sight of; and, failing that we can
+all have the benefit of the great and accurate pictures
+which England’s greatest animal painter—Sir Edwin
+Landseer—has left behind for our admiration and our
+education. Supposing, then, for a start, we take a
+couple of deer—the ordinary red deer of deer-stalking
+fame—wild and unfettered in his Highland home.
+We have few opportunities of seeing him, so we have
+to draw a little on the imagination and the description
+of those who have. True, he is used for stag-hunting
+in England, but on entirely different conditions to the
+first named sport; for here he is deprived of his horns,
+and kept in a semi-domesticated condition, taken to
+the place of meeting in a cart, released, and, after a
+time limit, the hounds are laid on his track. He seldom
+gets killed, however, for, when he has had enough of
+the sport, he usually trots into some farmhouse or out-building,
+is recaptured, and lives to run another day.</p>
+
+<div  class='figcenter id002'>
+<span class='pageno' id='Page_34'>34</span>
+<img src='images/image034.jpg' alt='' class='ig001'>
+<div class='ic002'>
+<p>Plate 7.—<span class='sc'>Piped Stag.</span></p>
+</div>
+</div>
+
+<p class='c012'>To commence the subject I have selected, take a
+fine-pointed cornet, with the usual amount of Glacé
+Royal therein, and start piping the top part of the
+head of stag, which is intended to represent one that
+is looking the other way; in this position I think it
+advisable to complete the head, including the antlers,
+before starting with the body. Now take your line
+down the front part of the neck to the lowest point of
+the shoulders, and then another line from the back
+of the neck over the withers to the root of the tail,
+then over the haunch down to the hock of the left leg,
+which it will be noticed is slightly forward. The fore
+legs may now be completed, and the line brought under
+the stomach, the left hind leg finished, and the right
+hind leg slightly extended backward, as if suddenly
+brought up to the halt by something which has attracted
+the animal’s attention. The tail can now be
+added, and a very brief inspection will suffice to convince
+the student if this outline figure is in proper proportion,
+always remembering that a stag has a rather
+“tubby” appearance about the body in proportion to
+the thinness of his legs. He does not appear to be
+symmetrically built for speed, like the racehorse or
+greyhound, for instance; but he can go for all that.
+His mate, the hind, which is represented on the left,
+may be piped first from the top of the head and down
+to the throat; the ears may then be put on, and the
+<span class='pageno' id='Page_35'>35</span>line for the back of the neck brought down over the
+withers along the back, over the rump, and down to
+the back of the forelegs which may now be put in;
+then the stomach and the hind legs completed, and
+this will constitute the first outline group in the
+animal life. Of course, there is a variety of positions
+in which we may pipe a stag, and, later on,
+these will be touched upon: but while the student
+is learning the one thoroughly, he is laying in a store
+of ability to branch off in whichever way his fancy
+leads him.</p>
+
+<p class='c012'>We will now take for our object-lesson, that good
+all-round servant of man—the horse. Although we
+need not go far afield to get our model this time, he
+is by no means so easy to accomplish as his plentitude
+would imply—for there are horses <i>and</i> horses; they
+have not got that “turned out of the same mould”
+appearance that stags have, but the variety is very
+great indeed, while some that we may see in our
+travels are just beyond the attentions of the
+R.S.P.C.A., and others there are, though sound in wind
+and limb, are anything but “things of beauty.” Still,
+we must make our selection, and as the average
+Englishman invariably prides himself on some sort
+of knowledge of our equine friend, it is to be assumed
+that the reader will know what sort to select and
+that to avoid when he comes to originate his own
+subjects.</p>
+
+<p class='c012'>We will take for our model the ordinary hack. He
+is, perhaps, the most plentiful, and although even he
+possesses various degrees of form, his general shape
+is such as to call forth the oft rehearsed title of “a
+useful looking nag.” I propose to delineate him
+to the best of my ability in the act of standing, trotting,
+and leaping—and by following out the instructions
+in regard to the stag, the reader may accomplish
+the outline work of this and most other subjects in
+the animal line. The horse standing is intended to
+<span class='pageno' id='Page_36'>36</span>represent one in a field—turned out to grass, in fact—without
+halter or trappings of any kind. By
+simply placing the ears slightly forward it will convey
+the idea of “Expectancy,” or that his attention
+has been drawn to some distant object, such as his
+owner or driver coming through the gate.</p>
+
+<div  class='figcenter id003'>
+<img src='images/image036.jpg' alt='' class='ig001'>
+<div class='ic002'>
+<p>Plate 8.—<span class='sc'>Three Horses in Outline.</span></p>
+</div>
+</div>
+
+<p class='c012'>The horse trotting I have done by completing the
+head first to the back of the ears, the line has then
+been drawn down the back of the neck, over the
+withers, along the back, over the rump, and down to
+the “near” or left fetlock joint. The paper cornet
+is then taken to the base of the jawbone, the throat,
+or front part of the neck is put in, and the line carried
+along the extended left foreleg to the point of
+the hoof. By looking at this it will be found that the
+top line of the horse is complete, and you will see
+pretty clearly at this stage if the back is likely to be
+too long or too short. If satisfactory, the left foreleg
+may be completed, and the line carried under the
+stomach with a slight curve upwards, as it nears the
+flank, and then the under line of the extended left
+hind leg, including the hoof. We have now what
+appears to be the extended half of a horse with but
+two legs—and can see plainly enough if it is going to
+be a failure when complete by the proportion of all
+the parts delineated; if apparently satisfactory, we
+put in the “off” or right legs, slightly doubled up
+<span class='pageno' id='Page_37'>37</span>under the stomach as shown, the tail can then be
+added and the eye. I have gone into these details
+because I have an idea that there are, perhaps, more
+critics on the points of a horse and his action than
+on any other animal living. Every Englishman
+seems to be a judge, more or less, and great are the
+arguments, friendly or otherwise, even among experts
+in horseflesh, although they would not bestow a glance
+or waste an opinion on the most perfect cow.</p>
+
+<p class='c012'>However, we are not experts, but only casual
+observers, and we will try and get our models as they
+are, if we can. It will be as well, however, to note
+that there does not seem to be so much argument
+about a trotting horse as one that is galloping, and
+photography itself seems to settle the arguments
+pretty clearly about the first-mentioned mode of propulsion,
+for, judging by the snapshots, I find the legs
+of the trotter are very often placed as the artist draws
+them, and as we are accustomed to see them in our
+daily walks. But it is not so with galloping; so rapid
+is the motion that we cannot follow the legs with
+our eye, so the artist has to draw a good deal from
+his stock of imagination, and the accuracy of that is
+very often greatly upset by the unerring snapshot,
+which “fixes” the striding racehorse in perhaps the
+hundredth part of a second. What do we see then?
+A horse with head almost erect, his hind legs extended,
+one of his forelegs extended, and the other
+in a vertical position with the hoof touching the
+ground looking, at the distance, as if he were poised
+on a broomstick, and three-parts of the weight being
+behind—looking like some equine experiment to defy
+the laws of gravitation. That this position was
+correct when the snapshot caught him is beyond
+doubt; but we need not copy it for all that, for he
+was but the fraction of a second in that position,
+and we can select others which will better answer
+our purpose. Moreover, if some great artist were to
+<span class='pageno' id='Page_38'>38</span>exhibit a painting of last year’s Derby winner passing
+the post in the position, say, at this year’s Royal
+Academy Exhibition, the least they would say of
+him would be that he was bordering on the “eccentric,”
+correct though he might be.</p>
+
+<p class='c012'>We will now proceed with the horse that is jumping.
+In adopting this position, I do not think we
+are trespassing on the impossible or the improbable,
+as our vision is capable of taking in the attitude of
+the jumper. Moreover, that lightning detective, the
+camera, “snaps” him in similar form; so that with
+such an ally at our side, we may venture to proceed.</p>
+
+<p class='c012'>The horse’s head may be piped in first, as in the
+preceding case; and, in doing the line for the back,
+great care should be observed to bring it nicely downwards,
+because our horse, this time, is rearing, so to
+speak, from the ground, and his great thigh muscles
+have propelled him upwards and forwards. We have
+to get the angle of his backbone according to the
+height he is supposed to be jumping, and, of course,
+his legs and stomach have to be treated accordingly.
+Having got the back line down to the root of the tail,
+carry it down to the hock, and thence to the point
+of the hoof—which is supposed to be about a foot
+from the ground. A line may then be made from
+under the jawbone down the chest, and the bent foreleg
+put in, the line taken under the stomach to the
+flank, and then the hind leg completed. Here we
+may see if any alteration is necessary, and, if not,
+the other two legs may be added, the tail, and the
+eye also. As an accessory to this, a rustic fence
+may be added, and even in the placing of this some discernment
+is required, for, if you get it too far forward,
+the horse will have the appearance of overreaching
+himself and doomed to come down on the top of it; on
+the other hand, if you get it too far back, it will have
+an impossible look, and give the animal the appearance
+of flying, instead of leaping. I think the best effect
+<span class='pageno' id='Page_39'>39</span>can be obtained by piping the first or foreground post
+of the fence somewhere under the hoof of the foreleg,
+and then, by a little management of perspective, take
+the rails under the stomach, just about where the
+saddle girth or the stirrups would be and just a
+medium distance below them. This detail may
+seem somewhat unimportant; but, simple though
+it seems, it is really surprising what a difference even
+the eighth of an inch will make in the placing of these
+posts and rails, and it is always best to do them after
+the horse is completed, as it is far easier to alter them,
+if necessary, than it is to alter him to suit the rails.</p>
+
+<div  class='figcenter id003'>
+<img src='images/image039.jpg' alt='' class='ig001'>
+<div class='ic002'>
+<p>Plate 9.—<span class='sc'>Outline of Lady Feeding Pigeons.</span></p>
+</div>
+</div>
+
+<p class='c012'>As we are now rapidly nearing the end of the outline
+stage of figure piping, it will be absolutely essential
+to touch on the “human form divine.” There
+are innumerable other outlines which might be practised;
+but I think the student—be he of average
+ability—might be almost left at this juncture to
+choose his own subjects. If still more elementary
+outline work is needed, and if he has thoroughly
+“grasped” the methods and can turn the specimens
+out to his own satisfaction, at the present stage, why
+a wide field is open to him for further progress, which
+needs no introduction. The human figure, though
+almost ever present for study, is, perhaps, more difficult
+<span class='pageno' id='Page_40'>40</span>than anything else in the way of piping—in fact,
+we might consider that we are bordering on the “classical”
+stage when we can manage the <i>genus homo</i>;
+but still there are various degrees we can touch upon
+before we arrive at the culminating point.</p>
+
+<p class='c012'>In piping a human being, it will generally be found
+that the face is the most difficult—especially in
+three-quarter or full-face; in profile, a fairly good
+expression can be obtained, and even that with the
+greatest possible care; but as our mission is now on
+outlines, we will leave that for a brief space, and
+study more in proportions. We will take for our
+subject a lady feeding pigeons, and, without ignoring
+the animal world altogether, what more appropriate
+than a dog of the St. Bernard kind looking on as an
+interesting spectator? A few fowls may also be
+introduced, and these will complete the subject.
+First of all pipe the outline forming the lady’s hat,
+and then the head; the back and front lines may
+then be gracefully brought down to ankles, and the
+lower part of the skirt completed. A lady friend of
+mine has told me that my feminine ideals are not
+quite up to date in regard to the fashions; this
+may be so, and I fully appreciate this little bit of
+friendly criticism, with a promise to study the fashion-plates
+a little more than I have hitherto done. Having
+got your back and front lines completed, the arms
+may heighten the effect. The pigeons and fowls can
+be piped in, and lastly the dog.</p>
+
+<div  class='figcenter id001'>
+<img src='images/image040.jpg' alt='' class='ig001'>
+</div>
+
+<div class='chapter'>
+  <span class='pageno' id='Page_41'>41</span>
+  <h2 class='c003'>Chapter IV.<br> <span class='c010'>BAS RELIEF.</span></h2>
+</div>
+
+<p class='c011'>And now, seeing that we have gone through a fair
+number of outline studies, preparatory for the more
+important part of filling in, we will commence with
+what we may call—</p>
+
+<div class='nf-center-c0'>
+<div class='nf-center c002'>
+    <div><span class='sc'>Sketches in Bas Relief.</span></div>
+  </div>
+</div>
+
+<p class='c012'>Here we have to study the anatomy of whatever
+we intend to portray in a more intensified form than
+hitherto, as, within the finest of outlines, while yet
+wet, the body has to be “squeezed” with light pressure
+for comparatively flat parts and heavier pressure
+for the more prominent or muscular parts. The
+glacé Royal must not be so stiff for this purpose as
+you would have it for string work on a wedding cake,
+neither must it be “sloppy,” but just so that it will
+settle down nicely.</p>
+
+<div  class='figcenter id003'>
+<span class='pageno' id='Page_42'>42</span>
+<img src='images/image042.jpg' alt='' class='ig001'>
+<div class='ic002'>
+<p>Plate 10.—<span class='sc'>Spaniel Dog and Pheasant.</span></p>
+</div>
+</div>
+
+<p class='c012'>To make a start, we will take a spaniel dog and
+pheasant, which will be an appropriate design for
+almost any sporting function, or, indeed, a Christmas
+cake, as, during the festive season, there are
+plenty of purchasers who have sporting proclivities.
+Though the outline of a dog has been given before,
+it was of a different type and position; so to make a
+repetition of it would be useless. For this purpose
+moreover, we want it looking the reverse way, and
+for the purposes of earlier stages of Bas Relief we had
+better still commence fine outlines, filling the body
+in afterwards. Pipe the head looking upwards and
+the ears rather inclined forward, and after the body
+line and legs are completed you may commence to
+fill in. Although we have a good indication of the
+ear at this stage, it will be as well to leave its final
+touches till the whole picture is dry or nearly so, as,
+considering the rather soft state of the glacé Royal
+it will not do to overload it, or it might break bounds
+and spread too far each way. Having so far completed
+the dog by filling in those parts which constitute
+the shoulders, ribs, hind quarters, &#38;c., as in
+illustration, the pheasant may now be put in. It is
+not flying in the same direction as those previously
+depicted, and, as it is going from left to right, it will
+be slightly more difficult of manipulation. When the
+head, body, and tail are finished, it will be as well to
+let them dry before adding the wings, for the same
+reasons mentioned in connection with the dog’s ears;
+and while they are drying, the blades of grass, fern
+leaves, trunk of tree and branches may be added.
+<span class='pageno' id='Page_43'>43</span>For some of these, a small quantity of the glacé
+Royal may be separated and a little more sugar added
+in order to make it stiffer, for some of the blades
+of grass and stems of fern leaves require to be rather
+fine to give it a natural effect.</p>
+
+<p class='c012'>Care should be taken as much as possible to get the
+relative proportions of dogs and birds or horses and
+men, when grouped together, especially where represented
+in the foreground, as it tends to make a distinction
+in breed and size: for instance, if the dog
+represented above was intended to be a retriever, he
+would have to be made larger, while the pheasant
+would remain the same.</p>
+
+<div  class='figcenter id003'>
+<img src='images/image043.jpg' alt='' class='ig001'>
+<div class='ic002'>
+<p>Plate 11.—<span class='sc'>A Doubtful Starter.</span></p>
+</div>
+</div>
+
+<p class='c012'>It is not usual to introduce the comic element in
+cake decoration, but at Christmas time, when happiness
+and merriment are rife, and good wishes to that
+end are plentiful enough, a few subjects bordering on
+the comic are admissible. So I introduce one here,
+which will explain itself; it should be piped on a
+dark ground—chocolate for preference—either in
+<span class='pageno' id='Page_44'>44</span>medallion form—or chocolate icing run in an oval
+or a circle on the top of the cake. The mule may be
+piped first, on the same principle as mentioned previously,
+and the men afterwards and if the icing is
+rather soft it will be as well to let their bodies dry
+before adding the arms. The reason for this is obvious,
+for whereas the muscles of a horse or dog are
+blended in, so to speak, with the surrounding flesh,
+the arms of a man are “hung on” as it were, and,
+therefore, stand out from the body; therefore, they
+should be piped on after the body is dry to give the
+high relief that is necessary. Care should be taken
+in getting the correct distances of the men from the
+animal, otherwise the general idea of “pushing” and
+“pulling” will be lost.</p>
+
+<div  class='figcenter id003'>
+<img src='images/image044.jpg' alt='' class='ig001'>
+<div class='ic002'>
+<p>Plate 12.—“<span class='sc'>Won by a Length.</span>”</p>
+</div>
+</div>
+
+<p class='c012'>Another design with a sporting title might be here
+introduced. It is an incident which might be seen
+in any country district where rabbits abound, and it
+might as well figure in a piping sketch as in any other
+form of illustration. It is almost needless to relate
+the circumstances, but briefly the rabbit has been
+surprised in his feeding ground by a fox terrier, and
+<span class='pageno' id='Page_45'>45</span>a terrible race for life has been the result; but although
+a good distance had to be covered, and a
+fence negotiated between “bunny” and his burrow, he
+has succeeded at the finish and “Won by a Length.”</p>
+
+<p class='c012'>In piping small subjects, there are times when you
+may venture to “squeeze” out the miniature animals
+without going over the perfect outline first, and this
+fox terrier, with body and legs extended, may be
+treated in that way. The head and neck may be
+done first, a little extra pressure for depth of shoulder
+and thickness of barrel, finer round the loins, and
+then the thigh with the hind leg extended. The
+posts and rails will form a short lesson in perspective
+piping—for we have to make them fairly substantial
+in the foreground—and gradually lessen or melt
+away to the distance. In order to do this, we must
+get the first post high and solid in comparison with
+the rest, and keep shortening them, and making
+them thinner as they recede. It is necessary to
+manage the horizontal rails, too, in a similar way.
+The intervening span between the fence and burrows
+may be piped in a series of irregular curved lines,
+for we want it to appear like a ditch; the grasses
+and ferns in the bank on the left should be piped in
+with icing which has been made a little stiffer than
+that used for the animals, and the branches of the
+tree will require the same medium.</p>
+
+<div  class='figcenter id002'>
+<span class='pageno' id='Page_46'>46</span>
+<img src='images/image046.jpg' alt='' class='ig001'>
+<div class='ic002'>
+<p>Plate 13.—<span class='sc'>Dogs and Cat</span>—“<span class='sc'>Waiting for Thee.</span>”</p>
+</div>
+</div>
+
+<p class='c012'>Yet another “serio comic” subject may be introduced,
+in which again the popular fox terrier is in
+evidence, in which, too, his arch enemy the domestic
+cat has to use her climbing powers to get out of his
+way. It will serve as a companion picture to the
+foregoing; moreover, it will make a variation in the
+attitude of dogs under different conditions. I think
+in this group it is as well to finish the tree first, and
+then introduce the cat on the branch, this being the
+main object in the picture. The right-hand dog can
+then be piped, especial care being taken in the head,
+as he is supposed to be looking intently upwards,
+and his ears may be placed rather forward so as to
+convey the impression that the whole of his attention
+is “focussed” on the one spot. As in the case of
+the preceding terrier, the body may be piped without
+the assistance of a complete outline, or with it,
+according to the advance the student may have
+made, and the method adopted above will answer
+equally well for this. The dog on the left, which is
+partly hidden by the trunk of the tree, may now be
+piped, care being taken to get the head well elevated,
+as also with his companion on the other side.
+The irregular strokes, which represent the ground, will
+<span class='pageno' id='Page_47'>47</span>by this time cause little difficulty to the student,
+always bearing in mind the bold strokes for the foreground
+and the fine ones for the background. Here
+is introduced a small stream at the foot of the tree;
+it serves to break up the continuity of the ground,
+and slightly adds to the rustic appearance of the
+scene. Very faint outlines of a cottage in the distance
+may be lightly added, when the subject, as a
+piping sketch, may be considered complete.</p>
+
+<div  class='figcenter id002'>
+<img src='images/image047.jpg' alt='' class='ig001'>
+<div class='ic002'>
+<p>Plate 14.—<span class='sc'>Man in the Snow.</span></p>
+</div>
+</div>
+
+<p class='c012'>Before advancing towards more extended designs,
+one more minor subject may be given—bordering
+as it is, on the comic side. Mr. Phil May has given
+us many ludicrous types of men under the heading
+“Songs and their Singers”; but this little
+<span class='pageno' id='Page_48'>48</span>snow scene is not intended in any way to clash
+or “pirate” his creations, but simply to stand
+or fall on its own merits or demerits, as a freak
+of fancy. It has appeared many times on Christmas
+and other cakes, and, in the eyes of a certain section
+of buyers, it is held just as “taking” for the festive
+season as the more prosaic “Robin on the twig.”
+The method of doing this subject is fairly simple, the
+man with the heavy stick being piped in first, after
+which a heavy ground may be done, and before this
+is allowed to dry, a few rather long indentations may
+be made to represent the “Footsteps in the Snow”;
+the leafless trees in the background may be added,
+and numerous small flaky dots distributed all over
+the surface, which will give it a rather realistic effect.</p>
+
+<p class='c012'>Coming to a more complicated, and therefore a
+more ambitious, subject altogether, it will be advisable
+for the pupil to provide himself with a fairly large
+surface of some kind to practice on—such as the back
+of an ordinary black tea-tray. The subject itself is
+not exactly taken from life, but is mainly drawn
+from the imagination, as a result of reading descriptions
+in the sporting press of this class of shooting.
+We have had, in the preceding sketches, dogs in
+various attitudes on land: this last design will serve
+if only to illustrate them for an aquatic purpose, and
+by grouping these and several other “items” together
+make up a picture in sugar which will tell its
+own tale. This is a subject which may be started
+anywhere almost, but perhaps, the boat and its occupants
+should receive our attention first, as we can
+then “draw” up to it from the left afterwards.
+Proceed, then, to pipe the boat first and the man
+who is shooting next, to be followed by the man who
+is seated, also the dog; the reeds may then be added,
+and the best method of doing these is to start at the
+base of the stem, and, with a graceful sweep, bring
+them to a point—the majority of them bending to
+<span class='pageno' id='Page_49'>49</span>the breeze in one direction. The stems at the base
+should be kept fairly level, as they have to be represented
+as growing in water; and, to give this effect,
+rather irregular horizontal lines have to be piped,
+longer, and fairly thick, in the foreground, and fewer
+and less numerous as they recede. The dog swimming
+with a bird in his mouth can be piped in now,
+also the small reedy island with the water spaniel
+on it. I have omitted to state the cloudy effect has
+been obtained simply by rubbing some fine dry icing
+sugar on the ground work with the forefinger, and it
+is as well to do this really before any piping is put on
+at all, or it can be left out entirely—just as a matter
+of taste. The flock of wild fowl, which we may
+imagine have been driven from their hiding place by
+the dogs, will be now introduced, and one or two of
+them must bear unmistakable evidence of having
+been “hard hit” by the gunner, and, therefore,
+should be depicted well in the line of fire from the
+fowling-piece.</p>
+
+<div  class='figcenter id003'>
+<img src='images/image049.jpg' alt='' class='ig001'>
+<div class='ic002'>
+<p>Plate 15.—“<span class='sc'>A Stormy Day in the Fens.</span>”</p>
+</div>
+</div>
+
+<div  class='figcenter id001'>
+<span class='pageno' id='Page_50'>50</span>
+<img src='images/image050.jpg' alt='' class='ig001'>
+</div>
+
+<div class='chapter'>
+  <span class='pageno' id='Page_51'>51</span>
+  <h2 class='c003'>Chapter V.<br> <span class='c010'>MENUS.</span></h2>
+</div>
+
+<p class='c011'>As figure piping lends itself readily to this class of
+work, there is a wide field for design not only for
+present day functions, but those of the future as well.
+These may be piped in a variety of forms, and the
+groundwork for piping on may be silk, satin, velvet,
+tinted cardboard, or any other foundation that will
+take kindly to icing sugar. Taken altogether, this
+class of decoration depends more on the artistic taste
+of the piper than most of the other branches, because
+you have to study the effect of different tints in your
+background and the unaided effect of the piping itself.
+In the case of a Christmas or other cake, a few silver
+leaves, comfits, or gum paste novelties, may with
+impunity and advantage be added, which, of course,
+would “soften” down the attention from any possible
+defect in the piping. But in the work on the menu
+you have to take great care, as the slightest mistake
+is not very easily rectified, or, at least, it has a “nasty
+habit” of leaving a slight stain behind it. But the
+pupil who makes up his mind to go on a few “trial
+trips” first could not do better than get a large school
+slate and mark it out in lines similar to illustration.
+He could practise his writing in the small space and
+the figures round the margin. It is almost needless
+to state that this suggestion for a piped menu is not
+intended to supersede the printed article—at least,
+not in the original, as, of course, it would be much
+too large for the table; but if neatly framed and
+hung at the end of dining-room, it is not altogether
+<span class='pageno' id='Page_52'>52</span>unappropriate for the occasion. Moreover, impressions
+or reproductions may be made by the half-tone
+process which would at least recommend itself for a
+special occasion, if only on the score of novelty, and
+could then be brought down to a size suitable
+for use on the table. In this class of work it behoves
+the piper to make himself pretty well acquainted
+with most of the prominent points of the British
+sports and pastimes, with the addition of naval,
+military, and other scenes; so that if it should be
+his intention to pipe a menu for a Golf Club dinner,
+for instance, he could illustrate that menu with such
+scenes as “Driving from the Tee,” “Bunkered,” “A
+Long Putt,” and so forth. It is the same with other
+scenes, and novelties of this kind will invariably take
+the eye of exponents of a game—be it Golf, Football,
+or Cricket.</p>
+
+<div  class='figcenter id002'>
+<img src='images/image052.jpg' alt='' class='ig001'>
+<div class='ic002'>
+<p>Plate 16.—<span class='sc'>Design for Piped Menu, etc.</span>—<span class='sc'>Pheasant Shooting.</span></p>
+</div>
+</div>
+
+<p class='c012'><span class='pageno' id='Page_53'>53</span>The menus we are now going to treat are military
+and aquatic, and we will take the “aquatic” first.
+The reader will see at a glance that this sketch
+is intended for the Oxford and Cambridge Boat
+Race. The original is on a dark and light
+blue background, which makes this fact more
+evident still. The various details of this design were
+gained by direct observation, for a good many
+years ago I lived not very far from Putney Bridge,
+and used to see the crews in training. At that
+time, however, the idea of turning any of those scenes
+into a piping design never for a moment occurred to
+me; but rough pencil sketches were taken all the
+same, and from the recorded memories thus obtained
+this aquatic menu was designed.</p>
+
+<div  class='figcenter id002'>
+<span class='pageno' id='Page_54'>54</span>
+<img src='images/image054.jpg' alt='' class='ig001'>
+<div class='ic002'>
+<p>Plate 17.—<span class='sc'>Aquatic Menu.</span></p>
+</div>
+</div>
+
+<p class='c012'>In piping a series of sketches of this description, it
+is essential to collect your incidents and then let them
+illustrate the progress of the contest in rotation. The
+first scene, “Training,” is not very difficult. The
+trotting horse with the trainer, or “coach,” on his
+back may be piped in first, and then the heavy irregular
+<span class='pageno' id='Page_55'>55</span>lines which represent the river bank, a series of
+fine lines to represent the water in the river, and on
+this a long low boat or outrigger, with faint indications
+of nine men in the boat as represented; a very
+faint outline of distant trees (which has to be done
+with a very fine pointed paper cornet) will indicate
+the opposite bank, and the willow tree may be boldly
+done in the foreground to complete the first sketch.
+“Gone to Putney” represents two of the oarsmen
+going down to the river from the direction of the boathouses
+to embark in their frail craft, which is presumably
+waiting for them for a practise spin towards
+Barnes Bridge. In the third sketch we have two
+young ladies at the edge of one of the numerous
+creeks, who may be sisters, cousins, or otherwise, of
+certain members of the crew who are now practising
+in the upper reaches of the river. These may be
+piped without the preliminary outline, as also the
+solitary oarsman who has just arrived on the scene.
+Here, as in previous designs, the necessity of perspective
+piping will be apparent, for, since our
+medium is glacé Royal without any blending of
+neutral tints, we have to get the distant effect by
+the sole means of reducing the scale of our objects.</p>
+
+<p class='c012'>There is considerably more work in the last sketch
+of this series, although the difficulties are not so great
+as they may appear at first sight, for it is only a matter
+of grouping, what the student has been practising
+in detail during the earlier part of these instructions.
+“A Struggle for Supremacy” is just such a scene as
+may be witnessed in the vicinity of Barnes Bridge on
+any boat-race day, when the leading crew with stern
+determination are holding their lead, while the others
+are putting forth almost superhuman efforts to reduce
+it. It is a matter of small moment which of
+these figures may be piped first—perhaps the horses,
+and, as they are looking partly from left to right,
+they may be less easy than those looking the reverse
+<span class='pageno' id='Page_56'>56</span>way. While these horses are drying, the spectators
+on foot may be added one by one, with a few irregular
+lines to indicate where the groundwork of the river
+bank is going to be; fine horizontal lines, too, for the
+river may be added, and then the distant boats. When
+the horses have become partly dry, the riders may be
+piped on—care being taken that they sit as naturally
+as possible. The river bank (or towing path, as this
+part is generally called) may be completed with plenty
+of “body” in that part which is nearest to you.</p>
+
+<div  class='figcenter id002'>
+<span class='pageno' id='Page_57'>57</span>
+<img src='images/image057.jpg' alt='' class='ig001'>
+<div class='ic002'>
+<p>Plate 18.—<span class='sc'>Military Menu.</span></p>
+</div>
+</div>
+
+<p class='c012'>The second menu—which is designed for military
+functions, and especially those in relation to cavalry—is
+introduced here by way of variety, and a glance
+will suffice to show the difference in subjects as compared
+with the other. This is as well, for the various
+scenes include a goodly number of horses in various
+positions: each and every one of these the pupil can
+copy singly if he chooses. Natives of the Metropolis
+will scarcely need an explanation as to the first scene;
+but for the benefit of the far away provincial, it may
+be stated that Hurlingham, which is the home of
+aristocratic pastimes, lies on the fringe of London in
+the Fulham district. It is here that polo is to be seen
+at its best—a pastime which is adapted to, and adopted
+by, most cavalry regiments. So the first scene on
+the menu represents rival military teams at this
+equestrian game. These horses may be piped as in
+the past, and allowed to get tolerably dry before adding
+the riders to them. Care, of course, must be taken
+in making the riders in their correct attitudes, so as
+to give life and spirit in the scene as far as lies in our
+power. Sketch No. 2 represents a trooper practising
+outpost duty at Aldershot; while the third is intended
+for the military charger at full gallop with his rider
+in a tent-pegging competition at the Agricultural
+Hall during the annual Military Tournament. The
+next step of the professional soldier is, as we may
+assume, “Foreign Service,” and there are, perhaps,
+<span class='pageno' id='Page_58'>58</span>more difficulties in the delineation of this subject
+than in any of its predecessors, for in piping, with
+nothing but the white icing, we cannot very well get
+one animal behind the other with any degree of
+accuracy in all details, so we have to use outlines only
+for some of the offside horses, which method,
+although its result appears somewhat “sketchy,”
+will convey the idea more forcibly than if two solid
+horses were merged into one. It will be seen by
+this last sketch that the team of artillery horses
+is represented in a hilly country; therefore, the
+leader should be first piped and well elevated, so that
+those in the rear are much lower when they are completed.
+The officer’s charger, in advance, too, should
+be well up the hill, and the groundwork must be piped
+slanting downwards, with a couple of trees of the
+palm variety on top, just to give it that foreign aspect
+which we intend to convey. A very faint undulating
+line will give a “shadowy” idea of distant mountains,
+while a couple of bursting shells from the enemy’s
+artillery will give a realistic touch to the scene. Perhaps
+I may be permitted to state in behalf of the art
+of figure piping generally, that these menus we have
+just had under consideration, have been successful
+beyond the designer’s expectations, having been
+awarded a special silver medal—appreciated the
+more from the fact that it was presented by Mr. J.
+Szanyo, the King’s confectioner—at the Universal
+Cookery Exhibition, Royal Albert Hall, London,
+1902, and the first prize (gold medal) for “The most
+Artistic Piece of Work of any kind,” at the International
+Confectionery Exhibition, Royal Agricultural
+Hall, London, 1902.</p>
+
+<div  class='figcenter id002'>
+<span class='pageno' id='Page_59'>59</span>
+<img src='images/image059.jpg' alt='' class='ig001'>
+<div class='ic002'>
+<p>Plate 19.—<span class='sc'>Patriotic Menu.</span></p>
+</div>
+</div>
+
+<p class='c012'>Although we have had two menus under consideration,
+I think there is yet room for another, as it is
+variety of design we want, and may as well have it
+on a menu as on anything else. As this has been
+done partly in colours, the reproduction is not so
+<span class='pageno' id='Page_60'>60</span>clearly defined; but, perhaps, a little explanation will
+assist the reader. It is intended for a patriotic
+menu. In the original it is headed by “God Save
+our King,” then a crown, which is piped in yellow to
+represent the gold, and crimson to represent the velvet.
+Two doves are flying towards it with sprigs of laurel
+as emblems of peace. The crown is supported by
+the Rose, Shamrock, and Thistle, in colours. At the
+head of the menu proper, is the Prince of Wales’s
+feathers, which is flanked by leeks emblematic of
+Wales; and from the ribbon at the base, spring two
+Union Jacks in colours, then follows the menu itself
+in italics. The sketches which flank the menu proper,
+are respectively “Epsom,” “Sandringham,” “Aintree,”
+and “Cowes,” while the last scene is Boer and
+Briton shaking hands, entitled, “Peace,” so that
+the idea is to represent the British sports in which His
+Majesty takes a great interest. The menu itself is
+piped in white, on a red ground, which is edged with
+gold, and the wide margin around it is a Royal blue,
+the figure piping being in white. We thus have a
+combination of red, white, and blue. It is, perhaps,
+not necessary to go into detail as to how this is done,
+as a glance of the method adopted in the previous
+designs will suffice; but this is simply to illustrate
+another of the uses of Figure Piping. As reference
+has been made to piping in colours, however, I may
+mention here that in certain subjects some very good
+effects may be obtained; but for anything which is
+intended to be eaten, of course, our range of colours
+are somewhat limited—or at least, among those which
+may be pronounced “harmless” in this category, I
+think we are allowed to dabble a little in pale green,
+yellow, pink, and brown, or chocolate, and some very
+novel effects can be got up even with this limited
+array, especially in the Christmas cake or chocolate
+medallion line. While, if we go beyond the eatable
+stage, and go in for piped menus or framed pictures
+<span class='pageno' id='Page_61'>61</span>for our shops, or sitting-rooms, we can almost get up
+an effect like a water-colour drawing, the only difference
+is the piping picture has the additional novelty
+of being in bas relief, which has rather a taking effect
+when viewed from a short distance with a side-light
+shining upon it. These, too, will last for very many
+years if kept in an ordinary dry room, so that the
+artistic confectioner may vary the monotony of
+always making something for somebody else to
+destroy.</p>
+
+<p class='c012'>In mixing coloured icing for a landscape, for instance,
+two or three shades of green may be made;
+but, as in water-colours, nothing should be too
+“glaring”; a few drops of Browning or “Black
+Jack” will always sober down a too brilliant green,
+and a little extract of saffron added will make another
+shade, and a knowledge of each, with the “happy
+medium” thrown in, will be beneficial “assets”
+towards the art of Figure Piping in colours. The
+methods to be adopted in the arrangement of the
+various tints will be greatly simplified if the operator
+has a slight knowledge of the general use of colours,
+as he will then know where to place them to get the
+best effect.</p>
+
+<div  class='figcenter id001'>
+<img src='images/image061.jpg' alt='' class='ig001'>
+</div>
+
+<div  class='figcenter id003'>
+<span class='pageno' id='Page_62'>62</span>
+<img src='images/image062.jpg' alt='' class='ig001'>
+<div class='ic002'>
+<p>Plate 20.—<span class='sc'>A Reminiscence of the Boer War.</span></p>
+</div>
+</div>
+
+<div class='chapter'>
+  <span class='pageno' id='Page_63'>63</span>
+  <h2 class='c003'>Chapter VI.<br> <span class='c010'>MISCELLANEOUS.</span></h2>
+</div>
+
+<p class='c011'>Before closing this little book, it may be as well to
+present the reader with a few more illustrations, and
+a brief explanation concerning them.</p>
+
+<p class='c012'>The following illustration of a piping study is
+from the original, which was designed at the time
+that Great Britain was in the thick—or, rather, at
+the waning point—of the Boer War. It will be
+too much repetition for me to describe over again
+the methods to be adopted in piping these figures,
+but briefly the top left-hand figure was intended to be
+that of the ever-popular Baden-Powell, watching for
+the relief column which eventually accomplished its
+purpose. It is needless to describe the central figure
+in the top line, as he will be a backward eight-year old
+schoolboy who does not recognise, or feel a certain
+thrill of pride at the very utterance of the name of,
+“Bobs.” The equestrian figure on the right was
+originally intended for the Earl of Airlie, for he
+bravely met his death when charging the enemy at
+the head of his Lancers. The remainder of the design
+will explain itself.</p>
+
+<p class='c012'>Our next study is a group of designs illustrating
+some important episodes in the life of a fox, the
+central figure showing the poultry-loving and “crafty
+gentleman” himself in the act of carrying off his
+prey. “Notice to quit” follows, and so on to the
+moment of retribution, when his misdeeds are finally
+expiated under the woodland tree. This group was
+<span class='pageno' id='Page_64'>64</span>piped all white on a chocolate ground, and was the
+forerunner, in a sporting sense, of the more ambitious
+work which is given on page <a href='#Page_66'>66</a>. It was in coloured
+piping, and was more in the nature of a <i>bona fide</i>
+picture in glacé Royal.</p>
+
+<div  class='figcenter id003'>
+<img src='images/image064.jpg' alt='' class='ig001'>
+<div class='ic002'>
+<p>Plate 21.—<span class='sc'>Episodes in the Life of a Fox.</span></p>
+</div>
+</div>
+
+<div>
+  <span class='pageno' id='Page_65'>65</span>
+  <h3 class='c014'><span class='sc'>On Butter and Lard Piping.</span></h3>
+</div>
+
+<div class='c015 figcenter id003'>
+<img src='images/image065.jpg' alt='' class='ig001'>
+<div class='ic002'>
+<p>Plate 22.—<span class='sc'>Design in Butter Piping for Boar’s Head, etc.</span></p>
+</div>
+</div>
+
+<div  class='figcenter id003'>
+<span class='pageno' id='Page_66'>66</span>
+<img src='images/image066.jpg' alt='' class='ig001'>
+<div class='ic002'>
+<p>Plate 23.—“<span class='sc'>Full Cry</span>” (see page <a href='#Page_65'>65</a>).</p>
+</div>
+</div>
+
+<p class='c012'>Except for practice, or, perhaps, with some uneatable
+speciality for a Christmas show, I would not advise
+the use of lard for piping. Both of these mediums
+are prepared in the same way, however. That is
+slightly warmed (not melted) in a basin, and then
+beaten up with a three-pronged fork or small whisk,
+until it becomes of a creamy appearance, and about
+the same consistency as glacé Royal. In using the
+lard for practice, any of the foregoing designs might
+be utilized, and piped on the back of an iron tray or
+any other dark enamelled surface, as it is then easier
+to remove it when no longer required. This lard
+piping practice should always be a forerunner to the
+butter decoration, which is used for glazed ox tongues,
+hams, boar’s heads, beef, galantines, &#38;c. Figure piping
+<span class='pageno' id='Page_67'>67</span>lends itself readily to this class of work, and as the
+weight of material is almost nil for the accomplishment
+of a design, it is just as well to use a little of the
+best butter you can procure for the purpose, so as to
+be in keeping with the quality of the viand it assists
+to embellish. A fairly warm place should be selected
+for butter piping, as, if it is done in a cold larder, the
+butter will get fast in the cornet and become unmanageable,
+and that in the basin will become lumpy
+through the surface and sides getting set. The piping
+itself may be done in precisely the same way as with
+glacé Royal, and I herewith give a few designs which
+are not only suitable for the purpose named, but have
+been mostly executed in “grease,” and, as the illustrations
+will show, have been used on boar’s heads.
+Piping on glazed ox tongues should always be neatly
+done, and the designs not too heavy, otherwise they
+look vulgar and “messy,” while the artistic effort of
+the piper makes it appear overloaded.</p>
+
+<div  class='figcenter id002'>
+<img src='images/image067.jpg' alt='' class='ig001'>
+<div class='ic002'>
+<p>Plate 24.—<span class='sc'>Boar’s Head Piped with Butter.</span></p>
+</div>
+</div>
+
+<p class='c012'><span class='pageno' id='Page_68'>68</span>In my experiences I have known a simple piping
+sketch in butter—which has decorated a piece of
+pressed beef—to be the cause of bringing out the
+whole family party, especially when some subject
+has been hit upon, not altogether accidentally, which
+has had its bearing on the hobbies or sporting proclivities
+of one or more members of the family.
+Indeed, on one occasion, it was the means of getting
+an order for over 300 menus, illustrated from designs
+in glacé Royal; and it is, perhaps, only natural
+that the member of the family who is almost sure
+to be the pioneer in taking notice of these little
+efforts, is the artist of the house, generally one of the
+daughters.</p>
+
+<p class='c012'>Although I feel I have now got to the end of
+“Figure Piping,” I by no means wish to convey
+the impression that the subject itself is unworthy of
+further comment or effort. But I do think that the
+young piper who wishes to vary his every-day style by
+a few figures, may get a few hints from the foregoing
+pages which will enable him to start on a better footing
+than if he had not studied them. Figure piping
+in its broad sense is something like cooking and confectionery—the
+climax is never reached; but in the
+first-named it is as well to bear the fact in mind,
+that he who has the most artistic practice, and the
+keenest eye for fresh subjects and general effect, will
+not only accomplish what few things are delineated
+herein, but will open up a field for himself which may
+reveal possibilities that he never dreamt of.</p>
+
+<div class='nf-center-c0'>
+<div class='nf-center c002'>
+    <div><span class='sc'>The End.</span></div>
+  </div>
+</div>
+
+<div class='pbb'>
+ <hr class='pb c015'>
+</div>
+<div class='tnotes x-ebookmaker'>
+
+<div class='chapter ph2'>
+
+<div class='nf-center-c0'>
+<div class='nf-center c009'>
+    <div>TRANSCRIBER’S NOTES</div>
+  </div>
+</div>
+
+</div>
+
+ <ul class='ul_1 c002'>
+    <li>Fixed typos; non-standard spelling and dialect retained.
+    </li>
+  </ul>
+
+</div>
+<div style='text-align:center'>*** END OF THE PROJECT GUTENBERG EBOOK 78972 ***</div>
+</body>
+<!-- created with ppgen.py 3.57i (with regex) on 2026-06-05 19:32:56 GMT -->
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diff --git a/LICENSE.txt b/LICENSE.txt
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+This book, including all associated images, markup, improvements,
+metadata, and any other content or labor, has been confirmed to be
+in the PUBLIC DOMAIN IN THE UNITED STATES.
+
+Procedures for determining public domain status are described in
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+
+No investigation has been made concerning possible copyrights in
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+[Project Gutenberg](https://www.gutenberg.org) public repository for eBook [#78972](https://www.gutenberg.org/ebooks/78972)